The Future of Filipino Architecture

Posted by Paul Blasco on May 1, 2012 · 4 Comments

Original post: http://paulblasco.tumblr.com/post/16627935053/the-future-of-filipino-architecture

Also posted in Arkitektura.ph: http://arkitektura.ph/posts/4

What is the future of Filipino architecture? The answer seems terrifying as slums sprawl
endlessly, identical skyscrapers rise up monthly, and every single housing project is inspired by
foreign styles. What future can we expect from an uncontrolled growth of the small, the ugly,
and the foreign? Disturbing question. But what’s more disturbing is that architects are blaming
the bad economy, if not the bland billboards. Oh yes, we, Filipino architects, have all kinds of
excuses; we never blame ourselves. Yet if we look at Manila, the buildings, the houses, and the
skyscrapers shape much of its ugliness, than the billboards that are actually dwarfed in
comparison. And we oftentimes forget that when we are asked to project “Filipino” in our
architecture, we reference the humble bahay kubo, the “architecture of beauty” that has nothing
to do with a high budget, let alone a prosperous economy. It continues to bother me now that we
always fail to see our shortcomings as architects. We are the shapers of this nation, the form-
givers of the future. What we see around us, today and tomorrow, will always be a reflection of
our profession.
If we don’t blame other professions, we blame our own colleagues instead. That they are doing it
for the money and not for beauty. Ironically though, we are so apt to go out of the country for the
money. We leave behind the problems of Filipino architecture to those colleagues we so despise.
When there’s enough in the savings bank, we go back, at last, to our country. But when we find
it as ugly as before, we continue to blame everybody else. Several of the architects who have
stayed and have been doing it for the money, are now bigger and more prosperous. Several of
those who went abroad and have returned, could only complain that the savings accumulated
through the years is not enough to win the local competitions – the right connections are
required. And again, we’re stuck with all the excuses in the world. One thing is certain: the
international firms that thousands of Filipino architects are working for abroad, are doing
it both for beauty and money. Were there any complaints from the Filipino architects? None. Not
just because of the high pay but more importantly because we know in our heart of hearts,
although we hate to admit it, that we also have to do it for the money in order to grow our firms
and tackle the big problems. Yet even with such knowledge, most architects settle with design
boutiques, and comfort themselves with the notion that bigger firms translate to poor output. But
if you ask these same architects the top firms they look up to, no design boutiques will make the
list. Norman Foster, Zaha Hadid, Renzo Piano, Kenzo Tange, from America to Europe to East
Asia, world-renowned architects were never small-time. They have big ideas from the start, and
have big ambitions ever since. If we look at our own lineage, we know that the great Leandro
Locsin didn’t lose his sensibilities in large-scale projects, and despite his growing firm. He did it
both for beauty and money. He designed the first few skyscrapers in Makati CBD, one of the
first large-scale cultural centers in Asia, and the largest residential palace in the world. That must
remind us that big firms, indeed, tackle big challenges. The last structure Locsin designed was as
small as his first one, tiny by comparison to his hotels and offices, but just as marveled
upon. That must also remind us that financial challenges is never an excuse to create a work of
art.

Several of those who stayed accuse the brain drain phenomena to all those who left the country.
But the accusation only applies for those people who left and never came back. Those who did
come back actually emerged as leaders in the design profession – in architecture, interior, and
furniture design. Ed Calma, Jorge Yulo, Joey Yupangco, Alex and Janet Medalla, Dominic
Galicia, Anna Sy, Kenneth Cobonpue… What you do today to increase your value – whether
you’ll leave or not – doesn’t matter. What matters most is that tomorrow, you will lead the
profession.

If it’s not the billboards, nor the economy, other architects insist that it must be the educational
system to blame for. Thus, we see the great diaspora of new graduates seeking further education
abroad. Perhaps, that outlook is rooted in the fact that our National Hero received higher learning
in Europe, or that several of our National Artists for Architecture had the same exposure. But we
have to note that Jose Rizal was a bright mind even as a child, before he stepped out of
Philippine shores, or that Leandro Locsin was a probinsyano from Negros who didn’t have any
foreign education. A quick review of several great foreign architects reveal that their successes
was not strictly attributed to the universities they attended. Renowned architects didn’t come
from a few good universities. The laureates of the Pritzker Prize, for example, come from varied
backgrounds. Worth noting are Tadao Ando and Peter Zumthor, both were not formally trained
in architecture, but whose works are considered to be among the best of their generation.
Oftentimes, the greatness of an architect is measured by how persistently brave he faces the
challenges of his time. And solves them. If we look around, we see how several of us are cowed
by the challenges of contemporary Filipino architecture.

As evident in our history, Filipino architecture have always been a follower of foreign
movements. Baroque, Renaissance, Neo-classical, Art Deco, Art Nouveau, Modern, Post-
Modern – we brag we have them all. What we don’t realize is the big difference between having
something just like anybody else, and starting something that the rest of the world followed. We
argue that the Baroque churches we have are different from those found in Spain, and we can
rightfully call them our own – they are not Spanish, nor European. But one Filipino architect
who went to Europe and saw their Baroque churches for the first time got his spirit crushed with
despair. Indeed, he recollected, what we have is different – far too different in craftsmanship and
scale, far too weak to arouse the senses as much as the colossal cathedrals he saw in Europe. His
colleague reminded him that Europe has thousands of years of architectural tradition compared
to the centuries we have, so reality is forgivable. But this fact looses its grip if we consider
Singapore, who earned her freedom later than us, have no significant architectural tradition
before, but whose architects are now playing an important role in contemporary architecture. We
argue that our contemporary architecture has a vernacular flavor which makes it unique in the
world. But a scan of Southeast Asian contemporary architecture will yield a different answer: our
architecture is not unique. When will we realize that there’s no future in being a follower? The
problems other countries have are different from ours. We can’t address our problems by waiting
for the next architectural revolution from Europe, or America, or China. It seems that the
challenge of creating something novel is beyond our creativity.

We are so full of excuses but are so poor with solutions. Even the problem of sidewalks seems
too difficult to address. We need to keep in mind that the problems will only continue to pile up
and the level of challenge will only keep on getting worse. What will become of our profession
in this new millennium if we don’t think and act big? What will become of Filipino architecture?
If we think the problems of today are insurmountable, will we stand a chance to the challenges of
tomorrow?

Like any other child, Felino “Jun” Palafox Jr. liked playing in the sand.

But while other children would build sand castles out of their fairytale imaginations, the young
Palafox would instead strive to create miniature townships, cities and buildings and adorn these
with rivers and bridges—yes, all out of sand.

Palafox, a world-renowned green architect and urban planner who have had, perhaps, the lion’s
share of triumphs and successes, alongside a few controversies on the local scene, admits to the
Inquirer of a childhood fascination over building miniature structures, which eventually evolved
into a lifelong passion for architecture.
And this passion continues to move and reshape not only the local city skyline but the landscapes
of many other central business districts and key cities around the world.

Fast forward to today, Palafox Associates, which he founded in 1989, has perhaps achieved what
no other similar firm has accomplished to date—garnering over time more than 200 accolades
and citations from various local and international organizations and award-giving bodies.

The company is likewise involved in the planning of more than 12 billion square meters of land
area and the design and architecture of more than 8 million sq m of building floor area and in
undertaking more than 900 high-profile large-scale projects in 37 countries.

“I’ve been an architect for 40 years. It’s time to celebrate the past and continue designing the
future,” Palafox says.

Early exposure

According to him, what really helped inculcate in him the fascination in building and creating
structures evolved from his early exposure to the basics of it.

“When I was 10, my father taught me and let me drive so I can do errands and drive for the
family. At 11, I drove the jeep with a trailer and led the construction crew to haul gravel and
sand to build a basketball court with my brothers, sisters and friends,” he relates.

His mother, he adds, was an art teacher who taught him how to draw, make paper folding and
artwork with eggshells bound together with glue they made by themselves.

When has was 13, Palafox entered the seminary where he had his classical secondary education,
after which he took up Architecture at the University of Sto. Tomas. Palafox likewise studied to
be an urban and environmental planner at the University of the Philippines as a United Nations
Development Program scholar.

“I was name-hired to work as a senior architect and planner in Dubai in 1977. I was only 26
years old when I was offered the job and I was 27 when I reported for work, one of the 20
expatriates. The ruler of Dubai gave instructions to design a garden city out of the then barren
desert, and plan a world-class 21st century city. That project reminded me of my childhood days
on the beach,” Palafox reminisces.
Founding his own firm

PALAFOX discusses plans with the contractors in one of Palafox Associates' projects in Bam,
Iran.

But it was also in 1977, during his time in Dubai, that Palafox met Henry Sy, who then
encouraged him to return to the Philippines. When he returned, he worked also for Sy and the
Ayala Group, before eventually founding Palafox Associates in 1989.

“Palafox Associates started in a period of change. I founded Palafox Associates on the same year
as the Web, the fall of the Berlin Wall, the fall of Communism in Western Europe and coup
attempts in the Philippines. Palafox Associates had to be versatile to evolve through global
changes,” he explains.

He was fortunate, he says, that as a professional, he and his company had the unparalleled
opportunity of working for great men like the Sultan of Brunei, Dubai’s ruler Sheik Rashid,
Henry Sy, Enrique Zobel and Eugenio Lopez Jr.—mentors who have helped Palafox build and
shape his career in the Philippines and later on paved the way for his firm, Palafox Associates, to
be known internationally as well.

These visionary clients also included other royalties, sheiks, presidents, tycoons, taipans,
religious groups, good mayors, good governors and corporations and individuals like John
Gokongwei, Rico Tantoco, Jose Quiros, Oscar Lopez, Manolo Lopez and Regina Lopez, expert
consultants and all other stakeholders in construction and construction-related businesses.

In the Philippines, Palafox Associates has helped design and plan large-scale landmark buildings
like Rizal Tower, Luna Gardens, Amorsolo East and West, Hidalgo Place and the master plan of
the Rockwell Center, shopping malls SM and Robinsons, masterplan for Sta. Elena, the Country
Club, Camp John Hay, Clark Global Gateway, and new buildings among more than 800 projects.
The company has also been commissioned by the Sultan of Brunei to design the largest mosque
in the Philippines, the Sultan Hassanal Bolkiah Masjid in Maguindanao, as well as one of the
landmark shrines in Misamis Oriental, the Divine Mercy Healing Shrine.

Abroad, it has designed the Philippine Chancery in Brunei, the Tzu Chi public schools in Bam,
Iran, and the Special Needs Children Center in Saudi Arabia, among others.

Detractors

Needless to say, the highly successful journey of Palafox was not immune to challenges. But he
did not delve much into the negative, as he opted to rather look at what else he, as an architect of
his caliber, can further offer to the Filipinos and the country.

“One of the greater challenges are the detractors, but I don’t spend time thinking about them. I
just pray for them for enlightenment. When you have detractors, they motivate you to do better,
to achieve more towards global excellence,” Palafox notes.

Putting his detractors aside, Palafox instead focuses his efforts to educate others.

“For me, an architect should not just be waiting for the paycheck. There should be a best effort to
educate others. We strive to be top Filipino architects to show the world that the Filipino is
globally competitive. One of the things that I advocate for as an architect and a planner is to
elevate the stature of the Filipino professional,” he explains.

Palafox stresses that for every line you draw, there must be a story. That behind each design
should be a narrative. If you do a good job, think of the beneficiaries. If you do a lousy job, think
of the sufferers.

CASTING a large shadow: Led by founder, principal architect and urban planner Felino Palafox
Jr., the 23-year-old firm has expanded from a staff of three in 1989 to over a hundred employees.

“I believe architecture is not only art, science, form, and function, it should also have a humane
quality, one that always takes into consideration its impacts to the pedestrian, the users, and the
environment. We apply the triple bottom-line: people, planet earth and profit. If you try to
always be in a state of grace, you can sanctify your work and please the Chief Architect up there.
The future of architecture and planning in the Philippines depends on how we address present
challenges,” he notes.

“We have to start accepting the changes that push us—we do not have to hesitate,” he says.
“Change is the only constant thing in the universe. Therefore we should always be prepared to
accept it. We should also invest to make our future better. If asked for what has been my favorite
project, I would always answer: ‘The next one.’”

Of course, the huge successes being enjoyed by Palafox Associates should also be attributed to
the exemplary management style being employed by Palafox.

“As much as possible, I also try to imbibe in the staff a discipline of gratitude by always saying
thank you and giving credit where credit is due. This is also exemplified in our standards of
writing business letters—we always start and end with a ‘Thank you,’” he says.

Instead of naming different divisions in the organization’s department, Palafox said his company
forms interdisciplinary teams or units (unity) in order to encourage teamwork.

“Professionalism, honesty, and integrity are also very important for me. On a higher plane,
honesty and integrity among architects, for instance, is reflected through our adherence to
transparency, accountability, good governance, professionalism in our practices and conduct of
business,” he concludes.