Metroplexed

noreply@blogger.com (Metropulis) — Fri, 13 May 2011 18:04:00 +0000

FROSHED

Posted in this blog several years ago was a behemoth standing along Vito Cruz that pushed my desire to teach in an architecture school. Leap 2 years forward, I am already preparing for my second year as a faculty in a design program housed in the same giant plotter (this is a complement).

Before stepping into the academe, one could imagine my confidence as first-time lecturer whose optimistic attitude remain untainted by professional practice. I thought wrong. During my first day at school, this idealist and proud mentor-wannabe, found himself behind the vintage looking classroom-computer, clueless where and how to start an intro. It felt like I was seeing the light in the tunnel as my life when I was a student flashed before my eyes. The experience in the room was like an apparition of a not too distant past. The last two hours of that day was saved by the thought that we were all neophytes or colloquially called in CSB, “frosh.” Half of the term ended with me struggling and finding my way to deliver the syllabus with perfection. Paranoia sets in as it whispers that blame is upon me when these students end the term without their lessons learned. It took a while before it sunk in what our program chairperson advised us during our orientation; that we have an academic freedom, provided that the learning outcomes are met. The sound of freedom in a design academe is music but I found myself more paranoid because of the time wasted. Somehow, I pulled it off. Redemption was sweet towards the end as I saw my students produce good results. You always feel that you knew you could have done better… had you known.

The students' output was a testament that indeed, design language can be thought, not in a superficial way but as a thought process. To make up for the lost opportunities in engaging them in design discourses, I set up one on one (grouped) sessions with my students, to somehow introduce to them vocabulary of design processes. That short period of time, somehow made an effect to those who were dedicated to their tasks. It could have been better…”had I known,” like I already said….

Noticeably, one can see the students’ pure view of architecture. It is good for them to realize that they can do anything at first before they are bombarded with limitations. This freedom allowed them to create new things and ideas. It is normal that they hesitate at first attempt, but with proper steering, they progress impressively. That is the beauty of teaching frosh, they are like infants whose first words of “dada” is music to their father’s ears. The best work of my frosh students are akin to that experience. No, this is not an indication that I want to be a father soon.

Image above. Karla Elefante and Kevin Singzon’s “Petals.” The final studio work is for the group to design a space that CSB students can use. The group created a disc module with a standard size of 1.2 meter in diameter. The discs were provided with notches on its four quadrants for connection purposes. This was a structural element that they played to create a program for the site.

noreply@blogger.com (Metropulis) — Sat, 24 Jul 2010 09:01:00 +0000

ATTEMPTS

The long break from Metroplex was because...

a. I became too busy with magazine business
b. I ran out of ideas. LOL
c. I was obsessed with designing Tsuper Magazine and contributing for Flow Magazine.

They are all lies, because...

a. I became too busy with magazine biz.
Truth: Before Tsuper Magazine, I was way busier.

b. I ran out of ideas. LOL
Truth: I have ideas, but I was too busy with restaurant city.

c. I was obsessed with designing Tsuper Magazine and contributing for Flow Magazine.
Truth: I was obsessed vacationing and enjoying the perks of being an editor of a Travel oriented magazine.LOL

noreply@blogger.com (Metropulis) — Sat, 24 Jul 2010 05:58:00 +0000

BACK IN THE CITY

I did not leave the city. I was physically here, but my mind was somewhere it did not have to work. It is possible. It was as if I was gliding in nothingness and allowed time to stop while events still ensued. In that dull time, I dabbled into renovation work of Angela Apartments, an art deco apartment in downtown Manila http://www.theangelaapartments.com/. It was a revival of a previous work put on hold for 6 years. I love to create newly processed "things," and not recreate the past with a lie. I remember proposing for this building in 2003 where my group introduced the concept of "insertion" to an existing building. Last year, I got a call from the owners seeking my help to finally realize our common dream. It was a noble cause, for a city (Manila) that does not value its existence (majority), there are still people who are willing to invest in it. I accepted it because aside from my deep respect for the owners, I want to contribute to the preservation of one of the few standing art deco buildings in Manila. I was called to put the plans on paper and validate it with a signature. The interiors were done by another firm. The showroom is now being constructed and soon, Manilenos will have an opportunity to live in an authentic old building. We are still waiting. Patiently waiting for Angela to finally fly again.

noreply@blogger.com (Metropulis) — Mon, 01 Feb 2010 04:29:00 +0000

WHISPERING ICONOGRAPHY

While new developing cities obsess with architectural icons that yell its iconic qualities, an architectural piece by Giancarlo Mazzanti modestly announces itself in the landscape of Santo Domingo, Colombia. Biblioteca Parque Espana is a library overlooking the city. The icon is not imposing and melds with the surrounding foliage, as if rocks sitting on top of the hill. This iconography resembles Jean Nouvel’s Proposed Tower in

Spain

, combined with the grouping of sail-like silhouettes of Utzon’s Sydney Opera House. Although Nouvel’s tower and this library are both abstraction of a rock formation, Mazzanti’s building evokes softness. From afar, the building looks solid but inside, the volume is actually expressed as another skin. Window placements are abstractly placed to glisten at night and resemble like rock stains. What is striking about this library is its understated presence, yet still leaving us a strong recall. Its high elevation makes it visible from all sides, blending harmoniously with the landscape.

C R E D I T S :

Biblioteca Parque Espana
All Photos by Sergio Gomez

noreply@blogger.com (Metropulis) — Fri, 02 Nov 2007 05:46:00 +0000

PSYCHEDELIC MANILA

I propose Avenida to become the catalyst for a psychedelic aesthetic. But to realize it, it must come back to its better state, a pedestrianized strip. How valuable the architecture is in Avenida? Not only Avenida was the entertainment mecca of the city, where animated neon signages enlivened the streetscape, building design along this street is ideal for our tropical setting. The arcaded or covered sidewalks made strolling in the city comfortable. When FM Atienza embarked on a renewal project for this street, the vehicular traffic was rerouted elsewhere, and the buildings along Avenida became the centerpiece. Now that traffic is back, stress is reintroduced. People won’t have the time to pause for a moment to appreciate their surroundings. Ignorant people can now sneakily demolish another valuable building along Avenida without us noticing it. The claim that the pedestrianized Avenida invited prostitution is hard to believe, because it has always been there even before it was redeveloped. Now that it is back to its old chaotic state, authorities will have a hard time policing the areas because of so many obstructions, as compared to having just an open space and people. If we are to revive this street and able to convince Mayor Lim to consider the value of the street, as a place rather than as a road, Avenida can be a starting point for the psychedelic movement. In my correspondence with P.Laurel, the proponent behind the Manila Center for the Arts, she expressed her wish to have a streetscape as colorful as the street scene in Salvador de Bahia, Brazil (The photo I posted under “A Call for a Psychedelic Manila”). The objective is to have a similar approach to the street but produce an output that is more “Pinoy.” I have seen heritage buildings abroad revived in newer or fresher colors, it is a wish that we see the same thing done to ours. But what if, we dress up our buildings the same way we dress up our jeepneys, tricycles or calesas? If you compare the jeepney with a car, the jeepney will appear gaudy and sometimes we even call it “baduy.” But not if we let this “baduy” aesthetic engulf our streetscape. Of course, the Manila Street Gallery will take part while the buildings host expressions of Filipino creativity. Imagine slogans, street language, caricatures, and comic illustrations painted on the walls of Avenida buildings. One building can even have many colors and revive its neon signages.

Along with dirty ice cream, cotton candy, balloon, kakanin, or gulaman vendors, the real character of Manila's streetscape will emerge.

CREDIT:

Photo of Avenida by SeafoodCup of Flickr

noreply@blogger.com (Metropulis) — Mon, 15 Oct 2007 14:22:00 +0000

MANILA STREET GALLERY OF ART

Even before Metroplex started, I have always pondered on Manila’s LRT situation. I thought that without the elevated concourse, Manilenos could have better appreciated their city. We all want a city experience that is romantic because its architectural heritage enriches street life. Unfortunately, LRT is what a lot of Manila experience is all about. A massive spine of elevated concrete that overpowers every street it dissects. LRT led to demise of Taft and Avenida because of unattractive street life and low land values.

In my previous post, “Great Walk of Edsa,” a reader suggested the installation of Filipino blown-up paintings on the Billboards of Edsa. It was a good idea that inspired me to generate a scheme that uses Filipino artworks to strongly define Manila’s streetscape.

The vignettes show that a mural done in a massive scale can give us a powerful imagery of Filipino expression in an urban setting. We let them age and evolve. Probably after five years, another set of artists can paint on the walls of the concourse.

From one station to the next, the concourse walls can host a work of an artist or two. The artworks are to be labeled by the name of its author. This way we don’t just bring color to the drab street of Manila, finding a place might become easier by being a bit more specific. In this example, you can simply find a building along Taft Avenue by referring to Taft – Dela Rosa Street Gallery. Also, the place can be more encouraging to setup shops because there is a massive artwork / attraction in front of them. Points of interest along this stretch can also be strengthened. In front of Philippine Women’s University, the concourse can be painted by the best of its visual arts students, thus naming this area, Taft –PWU Street Gallery. Same principle can be applied for De-La Salle University, Sta. Isabel College and other areas of the LRT. Imagine how this colored concourse can complement the equally colorful Metropolitan Theatre.
In response to FFL Imelda Marcos’ “bringing art to common man” the idea of a street gallery can make Art accessible to everybody, rich and poor. The masses are given the opportunity to appreciate art without having to pay fees in a museum or feeling alienated in an air-conditioned gallery. Hopefully, this huge public art will inspire everybody to make art or paint Manila the same way.

noreply@blogger.com (Metropulis) — Sun, 14 Oct 2007 07:49:00 +0000

A CALL FOR A PSYCHEDELIC MANILA!

In the late 1970’s, Former First Lady Imelda Marcos, in her City beautification program introduced the project “Kulay ng Anyo ng Lahi” (Color Form of the Race). She commissioned murals to be embellished on all planar surfaces of Manila’s public spaces. This event was in conjunction with the Manila Arts Festival that coincided with the IMF-World Bank conference in 1976. The event according to her, “fosters an interaction between artists, business and the masses; will bring art to the common man and prevent its being monopoly of the monied few, a restricted intellectual activity; will create jobs for the needy; will establish Manila as another important landmark in the world map” (Benesa 1980, 18 / Edifice Complex 2003)

I like the idea of bringing art to common man. If there is anything Filipinos are very good at, is their ability to express themselves in Music and Art. I want that to surface in the cityscape of Manila. I thought if Brazil has its colorful heritage town of Salvador de Bahia that celebrates African Heritage through music, drums and art, why not use it as an inspiration? We already started with the houses along SLEX that are grouped in colors through the project, Metro “Gwapo” (handsome). If we can push this endeavor a bit further, introduce more colors, we can probably strengthen the aesthetic we created for the jeepneys or the calesas. I personally never liked isolated murals, commonly seen on walls of schools, because I always found it dirty. But what if we exaggerate it? Hallucinate and drown ourselves with the colors of our culture. That way, the collective experience of these murals is stronger. Invest in the talents of our artists and creative pinoys! The garish jeepney might become more at home (although still, environmentally unfriendly) if we let Manila and its dwellers burst its true colors.

Photo of Salvador de Bahia by chillin travel of Flickr

noreply@blogger.com (Metropulis) — Mon, 08 Oct 2007 15:29:00 +0000

MONOCLE’S TOP 20 MOST LIVABLE CITIES

TOP 10

MUNICH 1

COPENHAGEN 2

ZURICH 3

TOKYO 4

VIENNA 5

HELSINKI 6

SYDNEY 7

STOCKHOLM 8

HONOLULU 9

MADRID 10

NEXT 10

MELBOURNE 11 / MONTREAL 12 / BARCELONA 13 / KYOTO 14 /VANCOUVER 15 / AUCKLAND 16 / SINGAPORE 17 / HAMBURG 18 / PARIS 19 / GENEVA 20 ... MANILA ??

Monocle’s July/August 2007 Issue

One might notice that most countries in the top ten are European Cities. We may think that Monocle is biased. Based in London, the magazine started by saying:

You may be sitting in an egg-shaped Sir Norman Foster design building on the Thames, and wondering why your city didn’t make the top 20 there are some very sound and simple reasons…

In the past years, I have always looked at London as a hotbed for architecture experimentations, the only reason why I thought the city is fantastic. I was surprised that the city didn’t make it in the ranking. But Monocle explained why. It mentioned that while London enjoys an economic boom and influx of talents from around the world, it faired poorly in …

Public Transportation / Health

/ Sustainability Initiatives /

Drinking Hours /Airport / Crime

Furthermore, the magazine suggests that the city should invest on ...

Public Infrastructure / Built environment

/ Essential Services
Other Criteria:

Tolerance / Local Media

/ International Flight Connections

It was clarified that the ranking was a quality of life survey and not about the best financial centers of the world. This was done by identifying the components why the city is not just attractive and wealthy, but truly livable. The survey was done in three months period. Monocle claims that their survey is 50% subjective and 50% scientific, a mixture of raw data and opinion. It also explained that a truly livable city is the one that gives endless opportunities. He made Baghdad as an example because it offers many opportunities at the moment, but not necessarily giving you a high quality of life. It also set Berne as an example for a city that provides the ideal quaint life. But since Berne does not have an international airport, it was cut from the list. Crime, excluded a lot of U.S. cities and London flanked in healthcare, education, communication, connectivity, tolerance and drinking hours (See Mayor Lim!? Drinking is not too bad. Culturally, we like to drink!). It is interesting to note how Monocle brought up London’s 2012 Olympics as festival-style adventures to divert the public’s attention from the city’s crumbling infrastructure (similar to ours). As the article progresses, the magazine explained why some popular cities didn’t make it. They even reviewed the fairness of their research because none of the South American, African cities made the list. Then the magazine affirmed that there were no anomalies in their ranking. The paragraph ended with a statement “Could we happily live in any of the remaining cities (Monocle’s top ranking cities) for the rest of our days? Yes”

I discussed this with my colleague and he gave me a challenging question. “Most livable” in whose standards? The magazine’s? The West? or Tyler Brule’s? It remained unanswered, until now. If Monocle’s standards are the ones in the list they mentioned, I ask myself, aren’t these the standards of cities of developing countries (including Manila) already? Some criteria Monocle enumerated are necessities for a modern city to function and become livable. How can anyone relax in an unsafe neighborhood? Or how can a city dweller be efficient or more productive, when time is wasted on the road because of traffic? The addition of a standard like a good international airport, may not instantly relate to the concept of livability. The magazine aimed for higher standards, by adding a criterion. But again, Monocle agrees that livability will always be subjective. I wonder how the magazine will rate Manila. While the city has a lot of shortcomings, Filipinos still has the love and dream for its country if not for their city. Current boom in investments from Filipinos abroad for a retirement home in the Philippines proves, that no matter how livable or unlivable your city is, home is where your heart is. I guess it is not the city that has a high tolerance level but its people. And it’s a good thing.

But isn’t it better if we are emotionally attached to a Manila that meets good standards of livability?

noreply@blogger.com (Metropulis) — Thu, 04 Oct 2007 10:04:00 +0000

HERBERT MUSCHAMP, ARCHITECTURE CRITIC, IS DEAD

Herbert Muschamp, a writer for The New York Times whose wildly original and often deeply personal reviews made him one of the most influential architecture critics of his generation, died on Tuesday night in Manhattan. He was 59 and lived in Manhattan..............His openness to new talent was reflected in the architects he championed, from Frank Gehry, Rem Koolhaas, Zaha Hadid and Jean Nouvel, now major figures on the world stage, to younger architects like Greg Lynn, Lindy Roy and Jesse Reiser and Nanako Umemoto.

New York Times

(Click the title to read the rest of the story)

noreply@blogger.com (Metropulis) — Wed, 03 Oct 2007 04:57:00 +0000

THE GREAT WALK OF EDSA People powered to walk on Edsa Part 1

Two years ago, I was planning to submit a competition entry to JA (Japan-Architect) Magazine’s Shinkenchiku Competition for a town landmark. Unfortunately, I was not able to set aside time for it. But my idea for the entry was to reverse our negative impression of Edsa by improving its experience. Edsa has two (If I am not mistaken) notable landmarks that both depict the history and aspirations of the Avenue (World’s Original Peaceful People Power plus sequels). My question was, in what other ways can we strengthen the essence of the place? With the existing conditions I mentioned in my previous post, can we still afford to cramp EDSA with another landmark when it is already visually cluttered? Tisha B, a colleague, saw the potential of elevated walkways in the Makati CBD. She wanted to propose under Urbanscape, (a department in our former office, Archipelago) an elevated walkway along the entire stretch of EDSA. This way, people will not just have safe and comfortable public space to walk on; they will have the option to walk, should traffic becomes unbearable.Her idea sprung a concept for a landmark. I developed it further.Since the MRT is already there and a vision for sidewalks looks dim, instead of just a walkway, why not propose an elevated street for people!?

Imagine a new Edsa with a new and elevated street, where vehicles or train underneath are just small glimpses. In effect, we expand, elevate, reclaim Edsa’s sidewalk. The MRT will function like a subway. The undulating levels of the concourse can provide variations in height and configuration for the different areas of Edsa. Also, existing buildings can renovate their second levels to provide access to the elevated street. Buildings along Edsa will have two floors that are leasable for retail or F&Bs, resulting to a vibrant street life. We make Edsa more viable as a place to live, work and play. The immense and long open space can give Manila its much needed open space. Technology for landscaping and trees will also help us to finally “green” our city where Edsa becomes our potential Central Park (the longest and leanest in the world). This strip is like a humongous version of Bonifacio High Street but this time more utilitarian, as it provides Manilenos an alternative means to travel and experience the city.

Water Lilies

We walk on what seems to be discs floating above Edsa. The discs give the elevated street a lighter impression. The openings provide daylight to the road and concourse underneath. Instead of the usual overpass, or elevated access, the discs can seemingly hover towards the second level of the buildings along Edsa. Imagine a vibrant street life on the discs. Enjoy the sights of cafes and restaurants people walking, jogging, or biking. At night, the underside of the discs emits yellow light providing the floor surface a diffused glow.

Flores de Yellow

If trees are not possible, let’s use vines! We construct giant arbors where yellow flowering plants can creep or crawl on. The elevated walkway or street becomes like a stretched tree canopy where you see movements of people inside. It will be an elongated blob that will soften our perception of the concrete MRT concourse. For access and overpass, the blob can stretch to
reach both sides of the road.

Both schemes will introduce yellow flowering plant or tree. It will be ideal to find plant specie that flower during the Anniversary of the first People Power. Imagine on ordinary days, Edsa is a lush tree-shaded road. During the season of People Power Anniversary, these trees or plants bloom its yellow flowers. While walking on the elevated street or driving, petals will fall, reminding us of Edsa’s story. Wind will also sweep the petals, providing the road a shower of yellow flower-confetti. That way we do not only green the city, we also romanticize our history.

CREDITS

Photo of Edsa by Angry little Boy of Flickr

noreply@blogger.com (Metropulis) — Sun, 30 Sep 2007 13:20:00 +0000

E D S A 4

EDSA is a major artery that connects North and South of Metropolitan Manila.
Whether you drive a car, commute or ride the MRT, Edsa will always be the highway we either dread to go (because of terrible traffic) or the highway we dread to go (because of visual, air and noise pollution). I just can’t imagine liking it, except for one very rare moment. When my friends parked in front of Megamall and walked comfortably on the car-less thoroughfare towards Robinsons to join its last and coolest Street Party, Erap’s Despedida. I also remember the yellow themed EDSA People Power in 1986.The road was still very wide and flooded with people wearing yellow shirts holding yellow flowers and banners.

Edsa today is defined by a Metro Rail Transit concourse that splits the road into two. Stand on one side of the road and you will feel a bit lost and alienated. In order to cross, you will have to go two flights of up and another two flights of down on the pedestrian overpass. Let’s just say, it is trying to be consistent with the undulating levels of the MRT concourse. Despite traffic, Edsa is still categorically, a highway. Being a major spine that serves more than 50% (I think) of the commuting and driving population, it opened some areas for business opportunities even without the presence of decent sidewalks. For now, the road connects major commercial, financial shopping centers of Metro Manila but sooner or later, Edsa will be a long road of side by side mixed-use developments. This is evinced by the several condominium buildings along Edsa that take advantage of the MRT’s proximity.

Ideally, MRT should be underground. This way, street-life is more visually pleasing because it enjoys natural daylight. Rizal Avenue with its good mix of post and pre-war architecture suffered the effect of an elevated LRT. Taft (especially PWU Building, La Salle Building and Luneta Areas) and Avenida still look very promising if you don’t see any visual blockage on the street. For Edsa, without thinking of the cost implications of the subway system, the concourse space could have been better used as Edsa’s sidewalks.

Another issue Edsa faces is visual pollution. Billboards, static or moving are everywhere. I remember a British photographer’s note of his photo of Morayta’s billboards, at the corner of Espana. He sarcastically said that you will never find billboards, these many and high in London. I said to myself,¨Wait til he sees Edsa.¨

Time to do something! (MetroFlex)

CREDITS

chad041893 of Flickr

noreply@blogger.com (Metropulis) — Tue, 18 Sep 2007 17:44:00 +0000

THE MODERN FILIPINO HOUSE

My colleague, Edson Cabalfin will have the second of his lecture series at the Silverlens Gallery along Pasong Tamo Extension on September 29, 2007, from 4:30 to 6:30 pm. Entitled The Modern Filipino House: Philippine Residential Architecture of the 1960’s, Cabalfin will discuss how modernity in homes was translated by Filipinos at that time. In his last lecture, he presented an impressive overview of Philippine Modern Architecture as support to the Photo Exhibit of Iza Lorenzo. Do not miss this rare architecture event.

Seen in the many buildings and homes being constructed all over the Metro show that the Philippines is experiencing a building boom. In the financial districts, you see these condominiums look desolate and unoccupied. But wonder why another one is being built at the next corner. Why? More and more Filipinos abroad are sending in money to invest in a retirement or a vacation home. I remember Daphne Osena’s byword “The dream of owning a Filipino home” in her show Urban Zone. The show features newly built houses and interiors of condominiums done in different “styles” of design. One style emerges as the most popular, Modern Asian. Contemporary Asian is used as the more appropriate term. But what is it exactly? Magazines, books and even television shows depict Contemporary “Asian” Design in Interiors and Architecture as space in warm colors, rich details, with the bonus of making a small nook for a tropical garden or koi pond. The caboodle is sometimes accented with Asian rare items the owner or designer boasts. Seeing these houses make me feel like I am in spa or a hotel, relaxing and calming. It is interesting to link the city’s other “booms” such as spas, facials, fitness and (artificial) teas - SOMEHOW a related lifestyle concept that influenced us to make our house, our very own spa. Why not? However, I rarely see an “Asian” Modern house addresses its being Asian SPATIALLY, except in the little cutesy items that adorn the space. But then again, what is Asian in the first place? It is so diverse, your Chinese Buddha might conflict with your Indian Buddha, side by side with the Quiapo’s Holy Nazarene. I guess it’s all a matter of mixing the right stuff to make it look well made (arranged). And why was it called Modern or Contemporary? Is it because it is housed in a space made of concrete with interiors rich in varnished moldings and halogen lamps? Is this the Modern Filipino House Today?

noreply@blogger.com (Metropulis) — Mon, 17 Sep 2007 14:57:00 +0000

COLLEGE OF SAINT BENILDE SCHOOL OF DESIGN & ARTS

Photos taken by Tristan Granados

noreply@blogger.com (Metropulis) — Mon, 10 Sep 2007 18:34:00 +0000

MANILA'S NEW GIANT

“That even a “balut vendor” (duck egg vendor) will stop to see it.” It is a memorable quote from a mentor, while he was pushing us to break the mold in designing our buildings. In the entire cityscape of Manila, nothing had come close to that reality. Not until Ed Calma’s CSB-SDA Building (College of Saint Benilde –School of Design and Arts) rose to say hey!, look at me.

Ride the MRT, the bus or even the jeepney, you will overhear comments from people on how modern, big or white the building is. It is fascinating when you see people turn their heads to glance at the white behemoth along Pablo Ocampo Street. Some CSB students even delayed their graduation in order to attend a semester in the new building. Whether the feedbacks are negative or positive, the building can stir curiosity and reactions. Is it because, it’s something new to the eyes of Manilenos? Or the building simplylooks magnificent. The answer will always be subjective.

The first time I saw the completed CSB-SDA Building, I must admit I was awestruck by its size and godlike presence (the magic of white paint and cladding). A colleague once told me that its whiteness makes it glow like a giant lamp at night. Approaching the building is through an inclined piazza, where you notice a number of protruding volumes, meant to function like benches (I assume). I didn’t bother to stick around because it was too hot. I thought, the bold folding gesture of the building would have made more impact, had it shaded (my entry) the piazza. I was still in the impressed mode, when I saw something familiar. Folding strips on the ceiling that crawls to an enclosed mezzanine space, reminds you of the details of the now-closed Restaurant 12 at Greenbelt Mall. Later on, through an interview of Calma by a friend, it was confirmed that the New CSB-SDA building is indeed a blown up vers
ion of that restaurant he also designed. Near the lobby, visitors are screened in Metrorail-like swipe-card pedestals. While waiting for the elevator, you look up and see the folding gestures, and repeating balconies in a 4-5 storey high atrium. It reminded me of the balconies of Winka Dubbeldam’s Greenwich Project. The first area we visited was the administrative office on the topmost floor. The office enjoys an impressive view of Manila. Adjacent is the faculty room. Inside, you see visual connections between different programs, a classroom below, director’s lounge on the left and further beyond, the student cafeteria below. You get a feel of the quality of spaces that some star-architect’s like Thom Mayne or Rem Koolhaas make. The design was further explained by Ed Calma in the Manila Times August 12 2007 ISSUE:

“This is probably the first building of its kind that manifests the multidiscip
linary teaching approach of the school,” says Calma. “The building takes its form from the spirit of design creativity; nothing was pre-conceived. This way, it would provide a much more stimulating learning environment compared to the usual box with corridors and flat lines.” Though the aesthetic elements of glass and steel are omnipresent, it is astounding to learn that no two rooms and no two floors of the SDA building are the same. A masterpiece of form and function, hallways of the SDA building were designed in a way that they can be converted into impromptu exhibition space whenever needed. In addition, the glass windows allow natural light to get in as well as provide ample ventilation, thus reducing the building’s energy consumption. “If you have a place that already teaches you a vocabulary of space, then you already establish a kind of language for design and arts,” explains Calma, adding, “That makes the building a tool for education.”

Areas of the buildings were designed to fit different design and art programs, intended to be reactive and dynamic with each other. The Performing Arts Department was planned cleverly. The studio spaces are ideal preparatory spaces, as they were conveniently located right behind the backstage of the Auditorium. The studios and classrooms are visible from the corridors as some of the walls are made of glass. Some complaints include, distractions of students and even teachers from people passing by. The windows along the hallways utilized glass louversto shield it from rainwater. From the outside, you see the louvers form an abstract pattern, repeating the design’s linear and folding gestures. While I tour the well-lit corridors, I noticed that some areas are warm and lacks good air circulation. It made me curious how much the building spends for electric bills. My jaw dropped when I was told of the 3 Million Pesos or 64,000 USD worth of monthly electric bill, and at that time, the building was not fully operational yet. I have always thought that the combo of avant-garde and sustainable design is like oil and water, they don’t mix. Apparently, a lot of people (architects and non-architects) I interviewed also say that the building doesn’t mix well with the surroundings. Small houses near or right beneath SDA building complain how the structure deprived them of sunlight. To many of us, its design is not site sensitive. While I agree of SDA’s visual alienation, I also thought that modernist design especially of the avant garde, is most of the times aggressive. So why question it? What if, it is intended to yell at us? Or awaken us from the obsession of building the face of the past? I still have questions about the overall design though. While we see a strong formal folding at the front of the building, we don’t see it happening at the back. We read the rear area as a maximized and boxy volume, that doesn’t translatethe dynamic program inside. Imagine the building without the backside, or the backside employs same folding language, the building appears stronger and probably lighter. But as it is, the building is already notable for its features new and unique to Manila.

Sure, it is not as internationally famous as the media frenzied OMA’s CCTV building in Beijing or the HDM’s nest-like stadium for the Bejing Olympics, but in a third-world country like the Philippines, it is already big star. It was already 3 decades ago since the city enjoyed an architectural madness when the former first lady, Imelda Marcos built a Brasilia-like complex, the Cultural Center of the Philippines. Somehow, the 1.5 Billion Pesos (30 Million USD) SDA building created some buzz in the architecture scene. The design was a product of a competition, a practice that local companies and institutions should implement to bring out the best of local talent. The word “best” might sound too bold, but it was only Calma’s design that radically veered away from the University’s Neo Classical theme. There was a last minute request from School officials to change the design direction back to Neo-Classical. But Calma’s expertise does not, and will never speak the language of traditional architecture. To laymen, his office is known for its minimalist designs. To architects, Ed is either the under-board architect or better, an adamant modernist. I personally like how the project turned out, because I could not imagine another oversized Parthenon built, envisioned to inspire its users to create “NEW” designs. How the Calma-designed SDA building will influence students? Let’s find out in five years.

(A PICTURE GALLERY SHALL BE UPLOADED)

noreply@blogger.com (Metropulis) — Sun, 02 Sep 2007 15:56:00 +0000

MANILA POOL CITY

Because the old baywalk redevelopment brought back Filipinos to a public space, I learned to appreciate it. It is sad that it is gone. The recent development at the baywalk prompted me to work on some ideas.

Roxas Boulevard shall retain its trademark image: the flank of coconut trees. The lollipop lights stay as memory of Atienza’s efforts. At the baywalk, we jog, skate, or walk along the promenade while we either watch the sunset or take the plunge into the the landscape / waterscape? of Manila Pool City. We swim at the pools with the illusion of swimming in the waters of Manila Bay. We create a destination that is like no other in the city. This will bring back Manila city-zens to the baywalk promenade without having to rely on commercial establishments.

Pool with a Boardwalk

Axes and Archipoolago

Axes

The image does not show real coordinates, but lines (boardwalks) should point the direction to the country’s best beaches and other resort destinations. Paving design can integrate information about these resorts.

ArchiPOOLago

Proposal for an archipelago of pools and floating open spaces, accessible via floating raft or a small boat. The design is a rhetoric of how the country’s archipelagic setup created a divide in transportation and communication. This will be experienced in the inaccessibility of other pools and open spaces of Archipoolago. Some pools can be operated by the hotels along Roxas Boulevard.

The next area to be redeveloped is the service road of Roxas Boulevard. Historically, this was a linear park that connected Rizal Park and another huge park where Central Bank and Harrison Plaza now stand. Since the other side has the Pool/s as its magnet for people. Manila Mayor Lim might find legitimacy in putting the commercial structures along the service-road. This former linear park can be made over and accommodate island-type kiosks of retail and F&B’s (food and beverages). This way, Ground floor spaces of buildings along Roxas Boulevard, especially the Art Deco ones are integrated in the commercial development of the area. Outdoor seating for dining and unwinding will bring Roxas Boulevard back to life while the famed Manila Sunset remains viewable.

Points:

Manila Bay Pool City - A New Landmark and Destination for Manila

Manila Bay - Tourist Visits will increase

Manila Sunset - Tourist Visits will increase

Roxas Boulevard Service-Road - Redeveloped for Commercial Purposes

Roxas Boulevard property - More Commercially Viable

Roxas Boulevard Hotels - More bookings

noreply@blogger.com (Metropulis) — Mon, 27 Aug 2007 16:48:00 +0000

BYEWALK

The newly elected Mayor Alfredo Lim recently removed the commercial establishments along the baywalk. A project of former mayor Lito Atienza, I was not a fan of the baywalk development because the structures block the view of the bay and the sunset. I like a clean and sweeping stretch of coconut trees along Roxas Boulevard. I remember exchanging friendster messages in 2004 with a resident in the area, regarding how “baduy” (flashy) the lamp posts are. I disliked it, with the notion that no public consultation was solicited. He told me that there was a consultation, and the existing design is far better from what City Hall originally proposed. He also convinced me that it is probably what the locals wanted. Like the jeepney, it is an eyecandy that easily attract majority of the Filipinos. I remember touring a German friend in the area. While making him try halo-halo” (a local iced goody) from Aristocrat, the place was so festive. There were marching bands playing Filipino songs that made people dance and sing. And then I remember Cuba, how it is described to be a country that lives its own music. The streets of Santiago de Cuba and Havana are filled with dancing and singing as well. I just realized that we were actually doing the same thing already. Although it is in the tune of Otso-otso, Boom tarat tarat and Spaghetti Dance, it is music to them and probably what best represent Pinoys today. I still think that the new father of Manila just wants to ensure that peace and order are maintained in the city. But as an architect and an aspiring urban designer, I know that there are better ways of achieving security while Filipinos still enjoy "fun" filled public spaces.

noreply@blogger.com (Metropulis) — Mon, 27 Aug 2007 08:34:00 +0000

Catch it if you can.

The National Museum is about to close the exhibit: Building Modernity, A Century of Philippine Architecture and Allied Arts. It showcases how architecture and urbanism in the Philippines evolved in the twentieth century, within the framework of Modernism. The curator Gerard Lico, categorized the buildings into different tropes based on how they were influenced by movements and ideologies.These are Modern as a Civilizing Project, Modern as Vernacular, Modern as Technological Progress, Modern as Statecraft and Modern as Global Enterprise. The pictures, drawings, blueprints and even artifacts displayed, tell us that there is a substantial architectural history in the

Philippines. Just a thought...

. If we pay little value to our older and ornate buildings, how do we value Manila's modernist architectural heritage?

Located at the fourth floor of the Museum of the Filipino People, I was informed that the exhibit will close on the first week of September. We need more exhibits like this!

noreply@blogger.com (Metropulis) — Tue, 24 Jul 2007 17:55:00 +0000

What is METROPLEX?

Perplexities in Today's Complez Metropolis

This is my first post. And it has been a long time before I decided to finally say something in the blog world, to the "city-zens" of Manila and to the denizens of the Architecture/ Design Culture all over the world! Ok, that sounded too ambitions. But the blog is all about my musings, my rants and most importantly, my ideas for the city. I shall start where I am currently base... Manila, The capital of the Philippines and home to a multiplying 11 million souls. This is a city often misuderstood and and misinterpreted (e.g. Claire Danes' comments about our hospitable roaches)/ Sometimes, Manila is more recognizable than the nation itself, made familiar with the 7,099 islands, is it? and 2,000 shoes of Imelda MArcos. The country was the "can-opener" of Asia in the mid-twentieth century, but then again in the age of internet and terrorism, that cheesy term is already obsolete. I am still obsessed with the city as I am obsessed with Prison Break (TV series). I continuosly fascinate myself with photos of old buildings and streets scnes that show how kickass the city was. I admit that I am a hopeless romantic for Manila. I still dream how this capital could have grown, had the Americans not bombed, and some misinformed locals deliberately destroyed what is left of the city. Yes, time to move on. A University of the Philippine professor once asked me, why the obsession with the past? Although I remain a fan of Grandma Zaha and her uncle Rem (world leaders and thinkers of Modern Archtecture...so far) I want the past to be preserved! These old buildings shall be th eplatform to juxtapose new ones. Imagine the high-tech monsters of War of the Worls ravaging same high tech cities. You cannot. The movie will not be as gory because the human factor attached to the familiar and nostalgia is not there. Like a director, I will need a set to enhance and sometimes hypothetically "destroy," for the city to spring new ideas to give way to cuter architectural monsters. As a debut, I make Manila, my hometown as subject for this experiment.