CHAPTER VI

Design Framework

6.1 Design Philosophy

―As an Architect you design for the present, with an awareness of the past, for a

future which is essentially unknown‖

- Norman Foster

6.2 Design Concept

6.2.1 Major Design Concept

An Effective Connectivity of the Human Neocortex Introducing

The Modern Filipino Architecture and Modern Industrial

Architecture

The most common architecture in this generation, Proponent‘s choice is

Modern Filipino Architecture mixing the Modern Industrial Architecture. Different

shapes are the proponent‘s choice for the facade, walkways and bicycle ways

showing the hospitality of the project for the Occupants. The building concept came

up to this design because of a Neocortex. An effective connectivity of the human

neocortex or the human brain connectome maybe describe in three forms:

anatomical, functional and effective, the proponent will give the design that will fit to

the comfort of the occupants.

Modern Filipino Architecture. People nowadays appreciate and visit places

related to millennial. The researcher has come up with the proposal‘s concept,

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because we, Filipinos, seek to imitate other country‘s architecture while our very own

art and culture seems to be sinking. The proposal aims to provide a fantasy-like

architecture that will promote and reinvent the arts and culture of the

Philippines.

Modern Industrial Architecture. Buildings from around the world focusing

not only on its main goal of housing a production line also garnered attention

because of their design. Since then, and even in this day and age, veritable works of

art have been created by exceptional industrial architects.

Industrial architecture is a field that has also evolved to combine functionality and

design and reveal impressive construction worthy of admiration and recognition.

6.2.2 Minor Design Concept

 Form

Exterior design is one of the very first to catch people attention. Variety

in building forms should be employed to create visual character and interest.

Form refers to the shape or configuration of a building. Form and its opposite,

space, constitute primary elements of architecture. The reciprocal relationship

is essential, given the intention of architecture to provide internal sheltered

space for human occupation. Both form and space are given shape and scale

in the design process. In addition, the placement of a building form in relation

to its immediate site and neighbouring buildings is another crucial aspect of

this form/space relationship. Just as internal space is created by voids in

building form, exterior space can be defined or poorly defined by the building

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 form as well.

6.2.3 Design Considerations

 Circulation and Accessibility

To maximize the interaction between the occupants and the natural

environment, a defining feature of the design is a system of continuous open

spaces that serves as a recreational amenity link between individual

developments. The development will provide easy transverse of transport

from any way of travel.

 Safety and Security

Utmost safety/security of the users in the development will be considered.

 Function

The function delivers both occupant and occupancy mutual connection.

Everything inside is a meaningful piece which operate necessities. Mixed-

function initializes typical consequences on transitional elements but totally

inverse when it comes to quality selection on output matters. Every single

space is functional in terms of fixed operation services on inundated

occupancy. This also envisioned functional equipment for preparation for

emergency measures.

 Time

A timely and responsive development for the present and future needs

of the users. It includes broad understanding of many things such as people,

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 environment and physical principles before it came up to a workable building.

Time is an important factor in the conceptualization of building. There should

have a chance to save and maximize it. Building is a thing subjected to time.

Building is appreciated and depreciated along with time and time sets a

schedule for how long will it takes to distinguish the return of capital for the

establishment of that building.

 Environment

The project aims to infuse ideas into architecture by subverting the

idea that architecture should shelter nature. Green building or environmental

friendly building is a construction of buildings through a process responsible

for Nature. This process covers environmental sources, starting from the

design, implementation, construction, materials, maintenance, renovation,

until the deconstruction of the building. This concept complements the

classical type of construction particularly in terms of cost, functionality,

durability and comfort.

 Acoustics
The acoustic designs will serve as controller and absorber of sound,

especially those unwilling sound, in every enclosed area.

6.2.4 Specific Design Consideration

To be able to meet the design standards of the National Building Code

of the Philippines.

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6.3 Architectural Style Guide

6.3.1 Modern Filipino Architecture

The modern architecture of the Philippines following World War II has been

strongly influenced by the modern architecture of the United States, as compared to

Southeast Asian and European influences. Traces of Filipino modern architecture

can be seen in the contemporary mainstream Filipino architectural scene. This

phenomenon may well explain the cliché: architecture as the symbol of progress.

Many building owners express their success through their buildings, which often

have some relation to the progressive architecture in the United States. As a result,

several cities are crowded with buildings that are direct copies of buildings in New

York or Chicago. Architects that have no strong objective or talent often have great

difficulty in designing buildings with a domestic touch.

Figure 142 The Terraces at Dao

Source: https://www.google.com/

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 Buensalido Architects set out to design a facility that could be leased to

different tenants and to revitalize and energize the neighborhood. In terms of design

requirements, the concept of the terraces at Dao incorporates nature‘s dualism. The

designers played with the natural and artificial light to create unique, interesting, and

light-flooded buildings.

Figure 143 CIIT College of Arts and Technology in Quezon City

Source: https://www.google.com/

The facade of the CIIT College of Arts and Technology in Quezon City is an

example of one of the firm‘s principles of incorporating Philippine design in a subtle,

modern way. Its patterns and colors are inspired by Filipino habi or weaves.

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 Figure 144 Jason Buensalido
Source: landasia.ph

The exposure of Filipino architects to the prevailing western styles of the

1930s and 1950s gave birth to localized strains of Art Deco and the International

Style. This architectural renaissance continued until the 1970s where local

architecture giants like Carlos Arguelles, Jose Zaragoza, and Leandro Locsin

created memorable structures that were modern yet culturally and climactically

responsive. Political turmoil and brain drain of the 1980s, however, put a brake on

this development. And today, we are still gripped with an unfortunate case of colonial

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mentality, an inferiority complex that has resulted in themed-subdivisions and

copycat architecture.

Intensive research and even consultations with anthropologists led to the four

points of Filipino culture for architecture that Jason Buensalido expounds on in his

book Random Responses. He shares that these four points are derived from

prevailing themes evident in local culture that describes Buensalido+Architects‘

approach in creating Filipino architecture:

1. Responsive vernacular models: Typologies that respond to existing

cultural and climate conditions

2. Weaving: Philippine culture has a wealthy tradition in craft of weaving. It

can also be taken as our propensity to gather together as a family and as a

community.

3. Personalization: The acknowledgment that there is no one-size fits all

solution, and of the need for individual expression. This is illustrated in local

culture by way of jeepneys and the seasonings we use to flavor our meals to

personal preferences.

4. Optimism: The Filipinos‘ inherent positivity even in the midst of disaster.

Our penchant for celebrations in the form of fiestas and holidays were all

illustrated with projects by the firm that best expressed these points.

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 Figure 145 Francisco “Bobby” Mañosa: The Autumn of the Architect
Source: landasia.ph

Francisco 'Bobby' Mañosa (born February 12, 1931) is a Filipino architect

noted for his Filipino inspired architectural designs. His most notable work is The

Coconut Palace.

Mañosa devoted his life‘s work to creating a Filipino identity in architecture.

Inspired by traditional vernacular forms such as the bahay kubo and the bahay na

bato, Mañosa combined traditional forms and indigenous materials with modern

building technology to create structures he felt were best suited to the Philippines‘

tropical climate.

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 Francisco Mañosa was born in Manila, Philippines. He currently lives in Ayala

Alabang Village as a retired but decorated architect. He has 3 children, all of whom

now work for the family company. Bambi, the eldest and only daughter, is the head

of the interior design department of Mañosa & Co, as well as the Director of the

Tukod Foundation. Dino acts as CEO of the entire Mañosa Group, and is the

founder and CEO of Mañosa Properties. Francisco's youngest son, Gelo, continues

his architectural legacy as the CEO of Mañosa & Co.

While not working on his projects for the company, Francisco Mañosa was

also part of the jazz band The Executive Band. He played piano for the band.

In 2012, Francisco Mañosa had a fall in which he cracked two vertebrae

which had to be fused in order to heal. He also needed heart bypass surgury in

order to repair a life-threatening ventricular blockage.

Figure 146 Coconut Palace (Tahanang Pilipino)

Source: https://c2.staticflickr.com

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 For more than five decades he was a lone voice in the wilderness, preaching

―back to the bahay kubo and the bahay na bato,‖ while contemporaries such as Lor

Calma and Leandro Locsin explored the innovations of Le Corbusier, the Bauhaus

school and later Frank Gehry and Kenzo Tange.

The fact that he has situated himself at the polar opposite of the modernists

has made Mañosa something of a contentious figure in local architectural circles.

Although many younger architects such as Ning Encarnacion-Tan and Emmanuel

Miñana have been strongly influenced by his work, just as many have rejected his

neovernacular approach, perhaps finding it too ―Filipiniana‖ in its use of motifs and

patterns drawn from traditional structures.

The main objection to his style is summed up by architect Royal Pineda, as

quoted by Powell: ―Modern architecture needs to respond to the lifestyles of today

and the future. It has to move forward. It is constantly evolving. We should not be

restricted by images of the bahay kubo and bahay na bato.‖

As Powell noted, ―One criticism leveled at Mañosa‘s approach is that ‗you

cannot export it.‘ But is that valid, for Mañosa has always been primarily concerned

with creating a Filipino identity in architecture?‖

―In order to design Filipino, you must understand what it means to be Filipino,‖

he was also fond of saying.

As early as the late 1950s, with brothers Jose and Manuel Jr.—both also

architects of note—he was already mining vernacular forms. The Sulo Restaurant,

an early Makati landmark, drew on motifs from Muslim Mindanao. One of the

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brothers‘ last collaborations, the corporate headquarters of San Miguel Corp., was

inspired by the Banaue rice terraces.

On his own, Mañosa pulled off a tour de force in the Tahanang Pilipino,

completed in 1980. Meant to be a guesthouse for visiting performers at the nearby

Cultural Center of the Philippines (CCP), the two-year project soon escalated into

the tropical baroque ―Coconut Palace‖ as the architect explored new uses for the

coconut tree, as well as other indigenous materials, creating a number of previously

nonexistent downstream industries in the process.

Organic extension

Mañosa‘s work seemed to be an organic extension of the man himself: A

traditional family man, he excelled in designing supremely liveable homes that invite

family togetherness. A devout Catholic—a Papal Knight, no less—Mañosa also

excelled in religious architecture, designing the Edsa Shrine as well as the so-called

―nature church‖ in the Mary Immaculate Parish in Las Piñas, an inspired design

whose anahaw roof seemed to hover weightlessly over the worshippers, as they

knelt on pews which seemed to grow out of the ground.Every project expressed the

architect‘s own quest for Filipino identity.―I design Filipino, nothing else,‖ Mañosa

declared early on and made good his boast, even if it meant turning down lucrative

jobs that didn‘t meet his aesthetic standards. He had built up a successful practice,

especially after the Tahanang Pilipino. There were also lean years, when he could

have used the money being offered him to design more conventional projects, but

Mañosa has stuck to his guns all these years.

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 The controversial nature of Mañosa‘s life work could also explain why few

took up the cudgels for him when he found himself embroiled in the National Artist

Award scandal of 2009, even though he had been short-listed for the architecture

category years before and many still believe he is deserving of the award.

‗Contemporary Filipino‘

In any case, it‘s all water under the bridge now.

Mañosa & Co., the architectural firm that he built over half a century of work,

continues his mission of championing modern Filipino design.

The heavy lifting he leaves to his three children: Dino, who heads the

company‘s property development arm; Angelo, who is chief designer for the

architectural firm; and Bambi, who is in charge of interior design and the company‘s

educational foundation.

Although keeping to the house style, the firm has newer designs that push the

envelope of what modern Filipino architecture can be, incorporating technical

innovations that make the structures ―green,‖ that is to say, climate-responsive and

energy-efficient.

They are no longer alone. ―Contemporary Filipino‖ is the current buzzword in

au courant architectural circles.

While the popularity of the Mediterranean and California bungalow styles

remains undimmed, ―tropical‖ Southeast Asian styles are all the rage, and Filipino

design is no longer the poor relation ushered in through the back door, but an equal

and increasingly popular option for young and well-heeled homeowners.

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 Young design hotshots such as Jason Buensalido have won acclaim for

designs that draw on the bahay kubo and bahay na bato for inspiration. It‘s not just

budget homes; even deluxe multimillion-peso residences designed following modern

Filipino lines are no longer unheard of.

Bobby Mañosa has lived to see his dream finally realized: the lowly bahay

kubo and the quaint bahay na bato finally elevated to their proper place as

expressions of the native Filipino genius. It‘s just ironic that his own role as Filipino

architecture‘s most vociferous champion and tireless proselytizer isn‘t more

generally acknowledged, a prophet unrecognized in his own land.

―It‘s a generational thing,‖ says Angelo Mañosa. ―The younger generation is

the privileged generation. They don‘t really pay homage to the past. It‘s really the

older architects, those in their 40s and 50s, who acknowledge my dad‘s influence.

―He really planted the seeds that are bearing fruit today,‖ he continues. ―He

wasn‘t the only one, of course, but he was really one of the pillars, and it‘s good that

we‘ve come to a point as a country where we can take pride in being Filipino. Even

in such areas as fashion, people have become more nationalistic.

―People now have different interpretations of what contemporary Filipino

architecture should look like,‖ he continues. ―Some can get very space-ageish; ours

is more toned down. We still carry the very simple bahay kubo lines, and that tends

to differentiate us. Our designs may not be very trendy, but they hold their own over

time. Twenty, 30 years on, they‘ve stood the test of time.‖

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 Figure 147 Frank Lloyd Wright
Source: https://www.theparisreview.org

Frank Lloyd Wright (June 8, 1867 – April 9, 1959) was an American

architect, interior designer, writer, and educator, who designed more than 1,000

structures, 532 of which were completed. Wright believed in designing structures

that were in harmony with humanity and its environment, a philosophy he called

organic architecture. This philosophy was best exemplified by Fallingwater (1935),

which has been called "the best all-time work of American architecture. His creative

period spanned more than 70 years.

Modern Architecture or modernist architecture was based upon new and

innovative technologies of construction, particularly the use

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of glass, steel and reinforced concrete; the idea that form should follow function; an

embrace of minimalism; and a rejection of ornament. It emerged in the first half of

the 20th century and became dominant after World War II until the 1980s, when it

was gradually replaced as the principal style for institutional and corporate buildings

by Postmodern architecture.

Modern architecture emerged at the end of the 19th century from revolutions

in technology, engineering and building materials, and from a desire to break away

from historical architectural styles and to invent something that was purely functional

and new.

Figure 148 Falling Water

Source: https://media.architecturaldigest.com

Fallingwater is a house designed by architect Frank Lloyd Wright in 1935 in

rural southwestern Pennsylvania, 43 miles (69 km) southeast of Pittsburgh. The

house was built partly over a waterfall on Bear Run in the Mill Run section of Stewart

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Township, Fayette County, Pennsylvania, located in the Laurel Highlands of the

Allegheny Mountains. The house was designed as a weekend home for the family of

Liliane Kaufmann and her husband, Edgar J. Kaufmann Sr., owner of Kaufmann's

Department Store.

After its completion, Time called Fallingwater Wright's "most beautiful job,"

and it is listed among Smithsonian's "Life List of 28 places to visit before you die."

The house was designated a National Historic Landmark in 1966.] In 1991, members

of the American Institute of Architects named Fallingwater the "best all-time work of

American architecture" and in 2007, it was ranked 29th on the list of America's

Favorite Architecture according to the AIA.[7] It and several other properties by

Wright were inscribed on the World Heritage List under the title "The 20th-Century

Architecture of Frank Lloyd Wright" in July 2019.

6.3.2 Modern Industrial Architecture

The beauty of nature never ceases to amaze human beings. Mountains,

rivers, beaches, and flowers are but a few of the most beautiful views some people

will encounter. However, there is a significant value to how far humankind and

civilization have managed to create beautiful structures, including buildings, bridges,

and churches. All of which reflect their style and inspiration of the architect behind

them.

Industrial architecture is a field that has also evolved to combine functionality

and design and reveal impressive construction worthy of admiration and recognition.

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Buildings from around the world are focusing not only on its primary goal of housing

a production line also garnered attention because of their design.

Figure 149 Carey Lyon

Source: https://www.jonite.com/

Lyons is an Australian architecture firm based in Melbourne. Established in

1996 by brothers Corbett Lyon and Carey Lyon, they were soon joined by third

brother Cameron, Neil Appleton and Adrian Stanic, and are all now directors. Lyons

is known for large commercial and institutional buildings such as the RMIT Swanston

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Academic Building, Melbourne, the Australian Institute of Architects (Victoria),

Exhibition St, Melbourne, the John Curtin School of Medical Research in Canberra,

the Central Institute of TAFE in Perth, the Queensland Children's Hospital in

Brisbane, the School of Medicine and Menzies Research Institute in Hobart and the

School of Medicine and Research in Sydney.

The Lyons brothers are third generation Melbourne architects, grandsons of

concrete pioneer and hotel designer Leslie M Perrott Snr, whose firm later

became Perrott Lyon Mathieson. Their father was Ron Lyon, a director of the Perrott

firm in the 1960s–90s, who married architectural delineator Marietta Perrott,

daughter of Leslie M Perrott Snr. Les Perrott Jnr also worked in the firm, becoming

director in the 1960s–80s, and their uncle Eric Lyons was also an architect.

Figure 150 Chayi Industrial Innovation Center

Source: https://www.jonite.com/

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 The site is located in sub-tropical climate zone characterized by its hot and

humid weather. According to this, the strategy of this project emphasizes the

utilization of the natural resources in this climate condition. The adopted methods

include solar energy, rainwater reuse, and an outdoor temperature cooling

mechanism via the setting of the micro-climate

Figure 151 Kangan Batman Institute by Lyons

Source: https://www.jonite.com/

The new Automotive Centre of Excellence (ACE) in Melbourne‘s Docklands

accommodates a dedicated training and showcase facility for Australia‘s automotive

trades and manufacturing. It consists of high-bay workshop spaces, specialist

workrooms, classrooms and office accommodation.

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Modern industrial architecture examples :

 Inotera Headquarters & Production Facility by tec Design Studio

 Kangan Batman Institute by Lyons

 Helicopter Building by Stephane Maupin & Nicolas Hugon

 Bio Mass Power Plant by Matteo Thun & Partners

 Cabel Industry by Massimo Mariani

 Chateau Cheval Blanc Winer by Christian de Portzamparc

 Campo Viejo Winery by Ignacio Quemada Arquitectos

 Chayi Industrial Innovation Center by Bio-architecture formosana

 Cloudy Bay Winery by Tonkin Zulaikha Greer Architects + Paul Rolfe

Architects

 Confectionery Factory Roshen by Yunakov Architects

 Gas Kompressor Station Egtved by C. F. Møller Architects

 GH Genhelix Biopharmaceutical Facilities by estudioSIC

 Glacial Water Bottling Plant by Panorama

 La Face Cachée de La Pomme by Fournier Gersovitz Moss Drolet et

Associés Architects

 Metalsa by Brooks + Scarpa Architects

 Oloron Saint Marie Multimedia Center by Pascale Guédot

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