TECHNOLOGICAL INSTITUTE OF THE PHILIPPINES

363 P. Casal Street, Quiapo, Manila

COLLEGE OF ENGINEERING AND ARCHITECTURE

ARCHITECTURE DEPARTMENT

HIMIG-BALANGAW: THE PARAGON OF PHILIPPINE MUSIC EONS

(A PROPOSED NATIONAL MUSEUM OF PHILIPPINE MUSIC HISTORY MANIFESTING ICONIC,
FUTURISTIC, INTERNATIONAL AND CULTURAL EXEMPLIFICATION)

IN FULFILLMENT
OF THE REQUIREMENTS
FOR THE SUBJECT

ARCHITECTURAL DESIGN 8
(AR 421S4)

=== &&& ===

Submitted by

DE LEON, BILL BRYAN

SARAGINA, ALLAN DOMINIQUE

ARCH42S1

Submitted to

Ar. NATHANIEL CRUZ

NOVEMBER 3, 2021
 TECHNOLOGICAL INSTITUTE OF THE PHILIPPINES
363 P. Casal Street, Quiapo, Manila

ARCHITECTURE DEPARTMENT

HIMIG-BALANGAW: THE PARAGON OF PHILIPPINE MUSIC EONS

(THE NATIONAL MUSEUM OF PHILIPPINE MUSIC HISTORY MANIFESTING ICONIC, FUTURISTIC,
INTERNATIONAL AND CULTURAL EXEMPLIFICATION)

B. PROJECT OBJECTIVES

- The National Museum of the

I. PROJECT BACKGROUND
A. THE PROJECT
HIMIG-BALANGAW (“Song of the
rainbow”) is an ancient Tagalog figurative
phrase defining the colors of the rainbow as
an expression of diversity of Philippine
music transcending in different periods that
shape our national identity. The National
Museum of Philippine Music History is the
fourth edifice celebrating the beauty, history
and identity of our nation’s music
transcending into different generations
weaving our rich history and culture. The
museum expresses gestures of music from
the pre-colonial period, to the new
millennium. It comprises of large-scale halls
that define the generations of Philippine
music, linked with a sky bridge that
manifests life and the direction of Philippine
music from its maiden past to the present
day towards a vibrant, bright and stable
future of music.
The museum is set to be erected
in the heart of the abode of Philippine art,
which is the Cultural Center of the
Philippines Complex at Pasay City.
Oriented towards the golden sunset of
Manila Bay, The National Museum of
Philippine Music History is set to be
designed in an architectural style
embodying the spirit of Philippine music in
its neo-futuristic sense infused with local
craftsmanship, neo-vernacular approach.
Philippines manages and develops
the national reference collections in
the areas of artistic and cultural
heritage and natural history, and
carries out permanent research
programs in biodiversity, geological
history, human origins, pre-historical
and historical archaeology, maritime
and underwater cultural heritage,
ethnology, art history, and moveable
and immoveable cultural properties.
- Appreciation of the collections and
research findings of the National
Museum of the Philippines, as well as
technical and museological skills and
knowledge, are disseminated through
exhibitions, publications, and
educational, training, outreach,
technical assistance and other public
programs.
- Use of contemporary approach in
architectural design, breaking free of
conventional forms and norms of
designing national museums in the
Philippines; adherence to mandatory
regulations of establishing cultural
museums.
- Intrinsic research about international
standards for cultural museums will
adhere to attain a world-class facility
showcasing local culture; make use of
ecological elements to be part of
physical aesthetics of a national
museum.

Use of developed spaces that
accommodate locomotive, vocal, visual,
auditory and memory as fundamental
elements of knowledge growth for clients
and sub-clients.
C. THE CLIENT
BRIEF HISTORY OF NATIONAL MUSEUM
The National Museum of the
Philippines can trace its history to the
establishment of the Museo-Biblioteca de
Filipinas, established by a royal order of the
Spanish government on August 12, 1887.
On February 12, 1998, Republic
Act No. 8492, The National Museum Act of
1998, was approved as the new charter of
the National Museum that reestablished the
institution as an autonomous government
trust instrumentality under a Board of
Trustees, and which designated the
President of the Philippines as the
Honorary Chairman and Patron of the
National Museum. Later that year, the first
stage of the National Museum complex was
realized with the formal inauguration of the
Museum of the Filipino People in the
converted Old Finance Building, a key part
of official commemoration of the centennial
of Philippine independence that culminated
on June 12, 1998.
Under the administration of
President Benigno S. Aquino III, the vision
for the National Museum complex in Manila
as formulated in the 1990s was revived,
with the turnover of the Tourism Building
that will allow for the establishment of the
permanent home of the national natural
history collections, in line with the housing
of the national anthropological and
archaeological collections in the Old
Finance Building and the national fine arts
collections in the Old Legislative Building.
Together these collections all encompass a
significant and considerable part of the
national patrimony that the National
Museum preserves in perpetual trust for the
Filipino people
One of the recent milestones of
the National Museum of the Philippines is
the long-time coming realization of its
National Museum Complex, which is
enacted by the law in 1998 under the
Republic Act 8492. It was on June 28, 2016
that the National Museum of Natural History
was initially launched through a ceremonial
turnover of the Tree of Life with its unveiling
by then President Benigno Aquino III with
his cabinet secretaries as representatives.
Finally, on May 18, 2018, highlighting the
International Museum Day celebration, is
the public opening of the National Museum
of Natural History.
With the growth and expansion of
the National Museum’s scope and
functions, on April 26, 2019, the Republic
Act 11333, also known as the National
Museum of the Philippines Act, was
signed by President Rodrigo Duterte. The
law was enacted to strengthen the
mandate of the institution in the
management and development of
museums and collections of national
importance in field of arts, cultural
heritage, and natural history making the
museum more responsive to the 21st
century and needs and demands of its
stakeholders.
SUB-CLIENTS:
The inhabitants of Metropolitan
Manila along with nearby provinces
(usually from Northern Luzon, Central,
Southern and Bicol Region, depending on
vehicular accessibility) determine the sub-
clients of this proposal. They contribute for
the greater goal of the museum as an
interactive avenue of learning and
appreciation for our history. In addition,
sectors of both government and some
private institutions contribute economic
growth through tourism and culture,
producing recognition from international
affairs and revenue for progress and
future improvement.
D. PROJECT SCOPE AND LIMITATIONS
SCOPE:
- Use of R.A. 8492 and R.A. 11333
together with the prescribed architectural
 standards of R.A. 9266 and NBC, the
mandatory specifications and clearances
of establishing a nationally-recognized
edifice.
- Innovating open planning strategies that
align international standards of producing
cutting-edge aesthetics along with
functional attributes that make its own
identity.
- Alternative construction methodologies
will be taken into consideration to ensure
cost constraints and essential utilities in
a building envelope.
II. SITE JUSTIFICATION
A. SITE SELECTION CRITERIA
There are 3 potential sites within
the CCP Complex being considered by the
designers in erecting such magnificent
structure. These are:
1. 2 site lots located at the southwestern
side of the complex, facing the north
side of GSIS Museum and Corporate
Office; one located at the structure’s
west façade, with J. W. Diokno
Boulevard as its access

- Harmonious balance between function,

architectural aesthetic and ecological
attributes shall be paramount in utilizing
national museum design.

LIMITATIONS:

- Strict adherence to mandatory standards

along with cost constraints and site
conditions can be factors of limitation to
this proposal however through effective
intrinsic research and development with 2. Site lot located beside the popular Star
eradicate such constraints converted into City at its western side, with the
Cultural Center of the Philippines at its
innovative ideas and methodologies.
northern face; original site of once
known amusement park called “Boom
E. PROJECT DEVELOPMENT
na Boom”
1. Architectural and conceptual design
provisions through consultations
2. Site analysis, accessibility and existing
planning factors
3. Classification of building specifications
4. Provision of timeline of project
development
5. Proper monitoring, procurement and
avoidance of constraints

3. Site lot located at the periphery of

Manila and Pasay City; it was also
once popularly known landmark along
F. B. Harrison Street in Pasay City, the
site of the former Harrison Plaza.
 essential
s
4. Proximit
y to
airport /
█
sea port
/
railways
5. Good
public █
transport
6. Distant
proximity
to design
The proposed National Museum █
material
of Philippine Music History is erected in a supplyin
futuristic fashion, whereas it will defy the g sites
masculine geometry of its surrounding 7. Distant
structures. In addition, a strategic criterion proximity
for determining such feature will be a notion to
to attain the exceptional shape of the construct █
proposed structure. 8 criterion are ion
considered to visualize the capability of the equipme
site in attaining the proposal’s nt sites
characteristic, as shown below: 8. Near to
business
SITE 1 centers
Note: Criteria Scoring Scale in table indicating 1-5; 1 █
and
being lowest, 3 being average and 5 the highest. accomm
CRITE DESCRIPTI 1 2 3 4 5 TO odations
RIA ON TA 9. Close
L proximity
1. Link to Urban
to
major Proximit
develop
thorough y and 15
█ ment
Transp fares for Land █
areas
ortation loading/u Sites
(newly-
and nloading built)
Optimu 2. Minimal 9 structure
m travel s
Distanc distance 10. Site road
e to █ network
nearby █
symmetr
landmar y
ks 11. Low tax █
3. Availabili 12. Central
Infrastr ty of to major
ucture, power Market markets,
Resour and Econo food and █
█ 21 12
ces and water my, entertain
Utilizati and Labor ment
on building sites
utility 13. Availabili
█
ty of
 manpow ,
er, low sunset)
labor 19. Nature
cost habitat
Govern 14. Proximit and
ment y to human █
Proximit governm are
y and ent protect
█
Mandat centers ed
e and 20. Efficacy
Regulat corporat and
ion e offices conveni
15. Efficacy ence of
Environ
of handlin █
8 mental 12
approval g
Risk
and constru
regulatio ction
n of waste
█
mandate 21. Far
(RA distanc
9266, e/proxi
PD mity
█
1096, from
BP 344) disaster
16. Orientati -prone
on of site area
to water 22. Use of
forms, local
land design
forms in
and/or █ referen
features ce to
that can surroun
█
affect ding
the structur
Landsc structura es
ape, l integrity derived
Cultural
Site 17. Presen from
/
Physica ce of cultural
15 Heritag
l and vegetati context 10
e Site
Natural on for 23. Adaptiv
█ Proximit
Feature landsca e
y
s pe transfor
revitaliz mation
ation to
18. Site emphas
proximit ize the █
y to cultural
aestheti attribut
c █ es of
weather architec
pheno tural
mena design
(sunrise TOTAL SCORE 102
 y to
constru
ction
SITE 2 equipm
Note: Criteria Scoring Scale in table indicating 1-5; 1 ent
being lowest, 3 being average and 5 the highest. sites
CRITE DESCRIPTI 1 2 3 4 5 TO 8. Near to
RIA ON TA busines
L s
1. Link to centers
█
major and
thoroug accom
hfares modatio
█
Transp for ns
ortation loading/ 9. Close
and unloadi Urban proximit
Optimu ng 9 Proximit y to
m 2. Minimal y and develop 11
Distanc travel Land ment
█
e distanc Sites areas
e to █ (newly-
nearby built)
landma structur
rks es
3. Availabi 10. Site
lity of road
power network █
and symmet
water ry
█
and 11. Low tax █
building 12. Central
utility to
essenti major
als markets
4. Proximi , food █
ty to and
Market
Infrastr airport / entertai
Econo
ucture, sea █ nment 11
my,
Resour port / sites
19 Labor
ces and railway 13. Availabi
Utilizati s lity of
on 5. Good manpo
public wer, █
█
transpo low
rt labor
6. Distant cost
proximit Govern 14. Proximi
y to ment ty to
design █ Proximit govern
material y and ment █ 8
supplyi Mandat centers
ng sites e and
7. Distant corpora
█
proximit
Regulat te are
ion offices protect
15. Efficacy ed
of 20. Efficacy
approv and
al and conveni
regulati ence of
on of handlin █
mandat █ g
e (RA constru
9266, ction
PD waste
1096, 21. Far
BP distanc
344) e/proxi
16. Orientat mity
█
ion of from
site to disaster
water -prone
forms, area
land 22. Use of
forms local
and/or design
█
feature in
s that referen
can ce to
affect surrou
█
the nding
structur structu
Landsc
al res
ape,
integrity derived
Site
17. Presen Cultural from
Physica
ce of 13 / cultural
l and
vegetati Heritag context
Natural 8
on for e Site 23. Adapti
Feature █
landsca Proximit ve
s
pe y transfo
revitaliz rmatio
ation n to
18. Site empha
proximit size
█
y to the
aestheti cultural
c attribut
weather █ es of
pheno archite
mena ctural
(sunrise design
, TOTAL SCORE 92
sunset)
19. Nature
Environ
habitat
mental █ 13
and
Risk
human
 SITE 3 constru
Note: Criteria Scoring Scale in table indicating 1-5; 1 ction
being lowest, 3 being average and 5 the highest. equipm
CRITE DESCRIPTI 1 2 3 4 5 TO ent
RIA ON TA sites
L 8. Near to
1. Link to busine
major ss
thoroug centers
█
hfares and
█
Transp for accom
ortation loading modati
and /unload ons
Optimu ing 10 9. Close
m 2. Minima proximi
Urban
Distanc l travel ty to
Proximi
e distanc develo
ty and 11
e to █ pment
Land █
nearby areas
Sites
landma (newly-
rks built)
3. Availab structur
ility of es
power 10. Site
and road
water networ
█ █
and k
buildin symme
g utility try
essenti 11. Low
█
als tax
4. Proximi 12. Central
ty to to
airport / major
sea █ market
Infrastr
port / s, food █
ucture,
railway Market and
Resour
s 17 Econo entertai
ces and 11
5. Good my, nment
Utilizati
public Labor sites
on █
transpo 13. Availab
rt ility of
6. Distant manpo
proximi wer, █
ty to low
design labor
materia █ cost
l Govern 14. Proximi
supplyi ment ty to
ng Proximi govern
sites ty and ment █ 7
7. Distant Mandat centers
proximi █ e and
ty to corpora
Regulat te and
ion offices human
15. Efficac are
y of protect
approv ed
al and 20. Efficac
regulati y and
on of conven
mandat █ ience
e (RA of
█
9266, Environ handlin
PD mental g
1096, Risk constru
BP ction
344) waste
16. Orienta 21. Far
tion of distanc
site to e/proxi
water mity
█
forms, from
land disaste
forms r-prone
and/or area
feature █ 22. Use of
s that local
can design
affect in
the referen
structur ce to
al surroun
Landsc █
integrit ding
ape,
y structur
Site
17. Presen es
Physica
ce of 11 derived
l and
vegetat Cultural from
Natural
ion for / cultural
Feature █
landsc Heritag context
s 8
ape e Site 23. Adaptiv
revitaliz Proximi e
ation ty transfor
18. Site mation
proximi to
ty to empha
aesthet size
█
ic the
weathe cultural
█
r attribut
pheno es of
mena archite
(sunris ctural
e, design
sunset) TOTAL SCORE 84
19. Nature
█ 9
habitat
 Amongst all of the proposed sites of this
iconic proposal, the SITE 1 garnered the
highest criteria earning a score of 102 points
followed by SITE 2 with 92 points and
succeeded by SITE 3 with 84 points. These
are evaluated according to the prescribed
characteristic of the site itself, ensuring the
proposal stand out with the metropolitan
skyline.
B. MACRO-MESO SITE ANALYSIS: REGION /
PROVINCE / TOWN
B.1. REGION
NATIONAL CAPITAL REGION (NCR)
The National Capital Region
(NCR), also known as Metropolitan Manila, is
the country’s political, economic, and
educational center. The smallest region in the
Philippines, it is the most densely populated
region which is a home to over 12 million
Filipinos. The National Capital Region (NCR)
is the only region in the country without any
province. It is subdivided into 17 local
government units (LGUs) comprising of 16
(sixteen) cities and one (1)
municipality: Caloocan, Malabon, Navotas, V
alenzuela, QuezonCity, Marikina, Pasig, Tag
uig, Makati, Manila, Mandaluyong, SanJuan,
Pasay, Parañaque, Las Piñas, Muntinlupa;
Pateros is the lone municipality in the region.*
The National Capital Region,
officially designated as NCR, is an
administrative region in the Philippines
occupying the central section of Luzon. It
covers 1 municipality, as well as 16 highly
urbanized cities. The regional center is the
City of Manila.**
ANALYSIS
The National Capital Region has a
population of 12,877,253 according to the
2015 national census. Its total urban area,
composing of the urban agglomeration
which refers to the continuous urban
expansion of Metro Manila into the
provinces of Bulacan, Cavite, Laguna and
Batangas has a population of 24,123,000. It
is the most populous region in the
Philippines, the 7th most populous
metropolitan area in Asia, and the 3rd most
populous urban area in the world.*
The most populous cities in Metro
Manila are Quezon City (2,936,116), Manila
(1,780,148), Caloocan (1,583,978), Taguig
(804,915), Pasig (755,300), Parañaque
(665,822), Valenzuela (620,422), Las Piñas
(588,894), Makati (582,602) and
Muntinlupa (504,509).*
INTERPRETATION
By the interpreted definition of the
aforementioned region of the country, it
gives us an understanding of
accommodating incremental percentage for
clients and sub-clients to benefit this
exceptional structure to be erected.
B.2. PROVINCE
CITY OF PASAY (PASAY CITY)

In terms of area, Pasay City is the
third smallest political subdivision in the
National Capital Region. It is adjacent to the
City of Manila and is bounded to the south
Parañaque, to the northeast by Makati and
Taguig and to the west in Manila Bay. The
city is located at latitude 14º 32' and
longitude 121º 00'. The City has a total land
area of 18.50 square kilometers of which
5.5050 square kilometer is the City proper,
9.5 square kilometers is being occupied by
the Civil Aeronautics Administration (CAA)
complex, which include the Ninoy Aquino
International Airport (NAIA) and the
Villamor Air Base and the rest of the
reclamation area with 4.00 square
kilometers. Thus, among the local
government in the region, Pasay has the
greater area devoted to utilities covering
51.35% of its total land area or 9.50 square
kilometers. The City is known for its
entertainment - business-restaurants,
coffee shops, and clubs, particularly those
located along Roxas Boulevard, facing
Manila Bay. A large part of Metro Manila's
"tourist belt" is located in the City. Pasay is
composed of seven (7) districts, divided
into twenty (20) Zones, with a total of 200
Barangays. Zone 19, Covering Barangays
178 and 191 is the largest among the zones
with an area of 5.10 square kilometers.
Zone 1, on the other hand, is the smallest
covering Barangays 1 to 3 and 14 to 17 with
an area of 100,000 square meters (0.1 sq.
km.).***
ANALYSIS
The road network or major
thoroughfares dominant in the City of
Pasay are: Epifanio delos Santos Avenue
(EDSA), Taft Avenue, Roxas Boulevard, D.
Macapagal Boulevard, South Luzon
Expressway, and most importantly, J.W.
Diokno Boulevard which happens to be the
major road closest to the site itself. Travel
time usually takes 20-30 mins (if rush hour
traffic occurs) or 15-20 minutes (early
morning or late-night travel time). Public
transportation such as the LRT, some
jeepneys, buses, taxis, vans, and seen in
most streets, tricycles. Privately owned
cars by old residents of Pasay are mostly
being used.
INTERPRETATION
Transportation, road networks and
pedestrian accessibility are attained in a
manner of continuous usage, having Pasay
City one of the busiest, bustling cities in
Metro Manila. It also helps the effective
development to some extent, through the
help of the Local Government to boost their
heritage in the form of accommodations
and some entertainment and leisure
establishments/structures present. This
can manage a complementary sense to
built such interactive museum designed for
cultural appreciation in a futuristic
approach.
B.3. TOWN
CULTURAL CENTER OF THE
PHILIPPINES (CCP) COMPLEX,
BARANGAY 76 ZONE 10,
PASAY CITY
The CCP Complex is an 88-
hectare property of reclaimed land along
Roxas Boulevard fronting Manila Bay. This
ideal location, plus the more than two
kilometers of waterfront areas make the
CCP a prime land for cultural and holding or staging of cultural exhibitions,
commercial development. performances and similar activities.****

The reclamation of this property INTERPRETATION

came in several stages beginning in 1960
until its completion in the late 1970’s.
Engineering studies have indicated that all
areas of the reclamation have fully settled
and are ready for development. Of the 88
hectares, the CCP owns a total of 62.4
hectares (71%) while the remaining 25.5
hectares (29%) are owned and managed
by other government agencies (the Sofitel,
Coconut Palace and Gloriamaris
Restaurant by the GSIS; the PICC by the
Bango Sentral ng Pilipinas; and Star City by
the Privatization and Management Office.
The CCP Complex is built to
create a spectacle of culture in the manner
of renowned Filipino Architectural
structures designed in a contemporary
approach by well-known architects. This
manifestation implies the revolution of
creating sites that celebrate culture in a
tangible sense; and to showcase that
Filipino Architecture is worth to be
cherished.

The CCP Complex is part of the

entire Boulevard 2000 property which C. MICRO SITE ANALYSIS: THE SITE AND
covers approximately 1,500 hectares of ITS IMMEDIATE ENVIRONS
reclaimed land along the southern coast of
Manila Bay. The Boulevard 2000 plan
designates the CCP Complex as the Arts C.1. TOPOGRAPHY
and Entertainment section.**** ILLUSTRATION AND ANALYSIS

ANALYSIS

The goal to develop the CCP

Complex into a world-class facility for arts
and culture is pursuant to the decision of
the Board of Trustees and Management to
pursue the CCP mandate as stipulated in
P.D. 15 (CCP Charter):
To construct, establish and
maintain in a single site, a national theater,
a national music hall, an art gallery and
other such buildings and facilities as are
necessary or desirable for holding of
conferences, seminars, concerts and the
like; To awaken the consciousness of our
people to our cultural heritage and
to encourage them to assist in its
preservation, promotion, enhancement
and development; To cultivate and
enhance public interest in, and appreciation
of distinctive Philippine arts in various
fields; To discover, assist and develop
talents connected with Philippine
cultural pursuits and create greater
opportunities for individual and national
self-expression in cultural affairs; To
encourage the organization of cultural Image (Above): Topographical
groups, associations or societies and the Map of the CCP Complex from NAMRIA,
seen along with the chosen site of the
 proposed National Museum of Philippine
Music History.******
The CCP Complex site itself is
adjacent to the reference marker for sea
levels, and its shoreline is made up of
adobe stones piled up as seawall to avoid
wave impact when inclement weather
occurs.
INTERPRETATION
The site, though by nature was
once undergone a land reclamation back in
the
maiden days of establishing the
CCP, had been survivor of some notable
earthquakes that affected the region. This
is an indication of ensuring the proposed
site to use modern approach in designing
sea wave damage and seismic movement
resistance to evoke resilience of the
structure itself.
C.2. SOIL AND SLOPE MAP
ILLUSTRATION AND ANALYSIS
Image (Above): Slope Map of the
CCP Complex, seen along with the chosen
site of the proposed National Museum of
Philippine Music History.*****
C.3. GEOGRAPHY
Above: Ground Water Laterite and
Histosols are predominant soil types in the
CCP Complex vicinity and its closest
thoroughfare which is the Roxas Boulevard.
The slope range of CCP Complex
reaches its maximum elevation at 108
meters and dominant elevation range is at
6 meters. The site itself is adjacent to the
reference marker for sea levels, and its
shoreline is made up of adobe stones piled
up as seawall to avoid wave impact when
inclement weather occurs.
In terms of soil profile, Laterites
are soil types rich in iron and aluminum,
formed in hot and wet tropical areas. Nearly
all laterites are rusty-red because of iron
oxides, while Histosol (Greek “histos”
meaning “tissue”) are characterized by high
organic carbon contents. All of them must
have at least 12% organic carbon (about
20% organic matter). This minimum carbon
content for Histosols rises in soils with
appreciable clay content and must be at
least 18% (30% organic matter) in soils with
50% or more of clay. (Brady, 1990).
INTERPRETATION
The advantageous identification of
soil and slope can help determine the
stability and structural concept of the
National Museum of Philippine Music
History to its resistance against natural
disasters, both seasonal, conditional and
anticipatory. These can help determine the
type of structural design and how to
effectively design the museum in its
futuristic state.
ILLUSTRATION AND ANALYSIS
Pasay covers a total land area of
18.64 square kilometers
(7.20 sq mi), making it the third smallest
political subdivision in the National Capital
Region and fourth in the whole country. The
city can be divided into three distinct areas:
the city's urban area with an area of 5.505
square kilometers (2.125 sq mi); the Civil
Aeronautics Administration (CAA) complex, while Manila Yacht Club is at its Northern
face.

INTERPRETATION

The strategic location of

the site for the National Museum of
Philippine Music History will be easy for
vehicular accessibility and can
accommodate the citizens of Pasay City
and neighboring cities within the
Metropolitan Manila to visit this neo-
futuristic structure.

C.4. SEISMIC CONDITIONS (GROUND

RUPTURE AND EARTHQUAKE
LANDSLIDE RISK)
ILLUSTRATION AND ANALYSIS

which includes the Ninoy Aquino

International Airport (NAIA) and
the Villamor Airbase, with an area of 9.5
square kilometers (3.7 sq mi); and
the reclaimed land from Manila Bay with an
area of 4.00 square kilometers (1.54 sq mi).

Pasay is composed of seven

districts, subdivided into 20 zones, with a
total of 201 barangays. The barangays do
not have names but are only designated
with sequential numbers. The largest zone,
with an area of 5.10 square kilometers
(1.97 sq mi), is Zone 19, which covers
barangays 178 and 191. The smallest zone
with an area of 10 hectares (25 acres) is
Zone 1, covering Barangays 1 to 3 and 14 Image (above, 1st photo): CCP
to 17. Complex (indicated in red dot) with
neighboring cities under risk of ground
The location is situated at the rupture from earthquakes showing no to
renowned Cultural Center of the Philippines minimal damage; and
(CCP) Complex in Pasay City, Metro (2nd photo, below): CCP Complex
Manila. The city’s periphery is: City of (indicated in red dot) with neighboring cities
Manila in the North, Parañaque, Las Piñas under risk of earthquake-induced landslide;
in the South, Manila Bay at West and Cities showing the site unaffected.
of Makati and Taguig at the East. The
complex itself is strategically located at the
gap of Libertad Channel at its South face

C.5. THALASSIC AND PLUVIAL CONDITIONS
(Image: above, top): NAMRIA
Map of NCR showing Ground Rupture; and
(Image, below): Map showing possible
earthquake-induced landslide. Both images
are actual maps used in the first 2
illustrations to ensure the possible
constraints within the site.
Upon observation, the site (CCP
Complex) which is at the western edge of
the Metropolitan Manila, its proximity to the
West Valley Fault line lies 11.2 kilometers
which happens to be far from the track of
the fault line. Along with the prescribed
distance of no-built zone (5 meters), the site
is secured from the threats of earthquake-
induced landslides although, the ground
rupture indicates the imminent danger to
the site but a minimal trace, unlike the
nearby cities such as Makati, Taguig,
Muntinlupa, and Pasig are susceptible to
the imminent threat.
INTERPRETATION
Seismic conditions are to be
greatly considered by the designers to
ensure the stability amidst the land
formation of the site is only undergone a
land reclamation, the structural integrity
should also withstand these imminent
constraints/threats in ensuring the National
Museum of Philippine Music History one of
the earthquake-proof structures within
Metro Manila.
(STORM SURGE, RAIN-INDUCED
LANDSLIDE)
ILLUSTRATION AND ANALYSIS
Image (above, 1st photo): CCP
Complex (indicated in red dot) with
neighboring cities under risk of storm surge
during inclement weather; and
(2nd photo, below): CCP Complex
(indicated in red dot) with neighboring cities
under risk of rain-induced landslide;
showing the site unaffected.
D. INITIAL SITE SCHEMATIC DIAGRAM
(Image: above, left): NAMRIA Map
of NCR showing Rain-induced landslide;
and (Image, right): Map showing possible
storm surge. Both images are actual maps
used in the first 2 illustrations to ensure the
possible constraints within the site.
Being shown on the map, the site
has been considered safe from the threats
of possible rain-induced landslide in every
inclement weather in the Metropolitan
Manila however, the map indicating
possible storm surge has been a focal
consideration also along with the ground
rupture, showing the seawall of the site
being breached/shaded, indicating
imminent damage within the site.
INTERPRETATION
The designers are set to establish
countermeasures to secure the site’s
integrity from imminent thalassic (sea-
based) disasters, by strengthening the area
that faces Manila Bay. Making use of
strategies being done to some notable
structures built over reclaimed lands at
seas, this will be a focal point and a major
feat to design an iconic and resistant
structure in this cultural complex.
The designers aim to create an
exceptional form of the proposed National
Museum of Philippine Music History that
defy conventional norms of design from its
surrounding iconic structures. The
designers chose to make the
transcendence of masculine into feminine
structural forms, elevating the aesthetics
and dominates the view of the site.
The site schematic diagrams are
defined in such a way that all parameters of
the location itself are covered and are
aimed to be with adherence to the proposed
National Museum of Philippine Music
History. The images are attached on the
succeeding pages.
III. DESIGN INPUTS
A. DESIGN STANDARDS AND PERTINENT
LAWS

A.1. SPECIFIC DESIGN STANDARD

A heritage centre, heritage facility,
or heritage museum is a public facility
– typically
a museum, monument, visitor centre,
or park – that is primarily dedicated to
the presentation
of historical and cultural information
about a place and its people, and often
also including, to some degree, the
area's natural history. Heritage centres
typically differ from most traditional
museums in featuring a high proportion
of "hands-on" exhibits and live or
lifelike specimens and
practical artifacts.

Its standard can elevate greater

potential for the proposed National
Museum of Philippine Music History to
be one of the acclaimed United
Nations Educational, Scientific and
Cultural Organization (UNESCO)
World Heritage Sites, and helps in
redefining the standards of Philippine
national museums from its
predecessor sites.
A.2. RELATIVE PROJECTS
1. Solomon R. Guggenheim
Museum, Manhattan, New York
City
Brief synthesis
The property includes a series of eight
buildings designed and built over the
first half of the 20th century; each
component has specific
characteristics, representing new
solutions to the needs for housing,
worship, work, education and leisure.
The diversity of functions, scale and
setting of the components of the series
fully illustrate the architectural
principles of “organic architecture”.
The buildings employ geometric
abstraction and spatial manipulation as
a response to functional and emotional
needs and are based literally or
figuratively on nature’s forms and
principles. In adapting inspirations
from global cultures, they break free of
traditional forms and facilitate modern
life. Wright’s solutions would go on to
influence architecture and design
throughout the world, and continue to
do so to this day.
Criterion (ii): The 20th-
Century Architecture of Frank Lloyd
Wright demonstrates an important
interchange in the discourse that
changed architecture on a global scale
during the first half of the 20th century.
The eight components illustrate
different aspects of Wright’s new
approach to architecture consciously
developed for an American context;
the resulting buildings, however, were
in fact suited to modern life in many
countries, and in their fusion of spirit
and form they evoked emotional
responses that were universal in their
appeal. Reacting against prevailing
styles in the United States, this
approach took advantage of new
materials and technologies, but was
also inspired by principles of the
natural world and was nurtured by
other cultures and eras. These
innovative ideas and the resulting
unified architectural works were noted
in European architectural and critical
circles early in the century and
influenced several of the trends and
architects of the European Modern
Movement in architecture. Wright’s
influence is also noticeable in the work
of some architects in Latin America,
Australia and Japan.
Integrity
The serial property contains all the
elements necessary to express its
Outstanding Universal Value since it
encompasses the works generally
understood by critics and other
architects to have been most
influential. Each component highlights
a different aspect of the attributes that
demonstrate this influence and
contributes to illustrating different
aspects of the Outstanding Universal
Value in a defined and discernible way,
and reflects clear cultural and
architectural links. As an ensemble,
they prove to have exerted an
influence on architecture over the first
half of the 20th century.
The boundaries of each of the
components include all the key
elements to express their significance,
although a minor boundaries
modification in Taliesin, to include all
the structures and gardens designed
by Wright, would allow a better
understanding of the whole property.
The boundaries in components located
in relation to wider natural settings
allow an accurate representation of the
relationships between the buildings
and their surroundings. The
components of the serial property
include the buildings and interior
furniture and all are overall adequately
protected; none suffers from adverse
effects of development or neglect.
Each building has benefited from
careful and comprehensive
conservation studies and expert
technical advice to ensure a high level
of preservation.
Authenticity
Most of the components of the serial
property have remained remarkably
unchanged since their construction in
their form and design, use and
function, materials and substance,
spirit and feeling. Conservation of each
of the buildings, when needed to
correct long-term structural issues or
repair deterioration, has been in
accordance with high standards of
professional practice, ensuring the
long-term conservation of original
fabric wherever possible, and the
significant features of each site; in all
cases work has been based on
exceptionally complete
documentation. Very few features
have been modified; the changes and
replacements of material component
parts must be understood as a means
of retaining their forms and uses. In
cases where the original function has
changed, the current use is fully
consistent with the original design.
The relationship between the sites and
their settings is in general acceptable;
the residential low-density areas where
some of the buildings are located have
not experienced drastic changes in
scale over time, although this is an
aspect that must be considered in the
protection and management systems.
In the case of buildings located in
natural settings, only Taliesin West
poses some problems because of the
expansion of the city of Scottsdale.
Protection and management
requirements
Each property has been designated by
the United States Department of the
Interior as an individual National
Historic Landmark, which gives it,
under federal law, the highest level of
protection. One of the components of
the series is owned by a local Party to convey the Outstanding
government; the others are privately Universal Value of the serial
owned by non-profit organizations, property.1*
foundations and an individual. Each
building is protected from alterations,
demolitions, and other inappropriate 2. National Museum of Cambodia,
changes through deed restrictions, Phnom Penh, Cambodia
local preservation ordinances and
zoning laws, private conservation
easements, and state law. Active
conservation measures have been
carried out for all of the components.

Each site has an effective

management system that makes use
of a suite of planning and conservation
guidance. The management
coordination body is the Frank Lloyd
Wright World Heritage Council,
established in 2012 via a
Memorandum of Agreement between
the Frank Lloyd Wright Building
Conservancy and the owners and/or
representatives of the owners of the
individual component properties. The
Frank Lloyd Wright Building
Conservancy, an NGO with offices in
Chicago organized for the purpose of
preserving and protecting the
remaining works of Frank Lloyd Wright,
coordinates the work of the Council.
Since the Council has an advisory
capacity, its role in the decision-
making process should be The National Museum of Cambodia,
strengthened. founded in 1920, possesses one of the
world's greatest collections of Khmer
The development and implementation artifacts. They include sculpture,
of management plans for those ceramics and ethnographic objects
components which do not already have from the prehistoric, pre-Angkorian,
them is recommended; risk Angkorian and post-Angkorian
preparedness and visitor management periods.
must be considered for all of the
As an active member of the
components of the serial property.
UNESCO/Japanese-Funds-in-Trust
project “Revitalising World Heritage
Key indicators to monitor the state
Site Museums in Cambodia, Laos and
of conservation of the buildings Viet Nam”, the Museum will open the
according to their specific joint sub-regional exhibition dedicated
characteristics have been to the interconnection of the World
identified; they are mostly related to Heritage Sites (Angkor, Preah Vihear,
building materials and, in the cases Vat Phou, My Son, Thang Long Citadel
of Fallingwater and Taliesin West, to and Ho Citadel) on 19 February 2013
landscape features. The indicators, and will host education programmes
though, are not directly related to related to this exhibition until June
the attributes proposed by the State
2013 for young people’s appreciation
of their history and heritage.
The exhibition of the National Museum
will also present a particular aspect of
Khmer culture which is still alive:
Kbach. They are the ornamentation
motifs of flower, vine, flame, lotus
petals, bamboo-shoot or water-buffalo
teeth, used to decorate objects and
architectural elements throughout
Cambodia, and people have long
drawn these motifs from the
environment and social life - from the
Angkorian period to today. 2*
3. Museumsinsel (Museum Island)
Berlin, Berlin, Germany
Situated in the very heart of the city,
the Museumsinsel Berlin is one of
the country’s major sights,
attracting hundreds of thousands of
guests from all over the world each
year. This unparalleled museum
ensemble was the cradle of today’s
Staatliche Museen zu Berlin and is
where it showcases its magnificent
collections of art and cultural
artefacts spanning several millennia
from Europe and the wider
Mediterranean region. In 1999
UNESCO announced that it
recognized the Museumsinsel
Berlin as a place of world cultural
heritage for being 'a unique
ensemble of museum buildings
illustrating the development of
modern museum design over the
course of more than a century'.
The initial plans for the construction of
the Museumsinsel Berlin were driven
by the humanistic ideals of the
Enlightenment that prevailed in the
early 19th century. Various ‘star’
architects of their day, such as Karl
Friedrich Schinkel and Friedrich
August Stüler, were instrumental in
shaping the island in the river Spree,
the city’s historical birthplace and its
current urban heart. Their masterworks
of Neo-classical architecture continue
to lend the Museumsinsel Berlin its
unmistakable character. The opening
of what is now known as the Altes
Museum in 1830 under the reign of
Friedrich Wilhelm IV, marked the start
of the Museumsinsel Berlin becoming
a 'sanctuary of art and science'.
Thereafter followed a succession of
new buildings: the Neues Museum
(1843–1855) the (Alte) Nationalgalerie
(1867–1876), the Bode-Museum
(1897–1904, known originally as the
Kaiser Friedrich-Museum) and finally
the Pergamonmuseum (1910–1930).
After the Second World War, the
thousands of objects in the collections
belonging to the state of Prussia were
either strewn over countless sites,
many of them unknown, or had been
destroyed; the buildings themselves
were severely damaged. Following the
reunification of Germany, the
collections of former East and West
Berlin were merged, and work
gradually began on the renovation of
the museum buildings to meet the
demands of modern, visitor-oriented
standards, which lie behind
today’s 'Masterplan Museumsinsel',
which forms the overarching
 framework for the redesign of the
Museumsinsel Berlin as a whole.*
The overarching significance of the
Museumsinsel Berlin was reflected in
its recognition by UNESCO as a place
of World Cultural Heritage in 1999. In
the same year the Stiftung
Preussischer Kulturbesitz’s trustees
decided on a master plan for the
buildings’ renovation and for the
modern development of the museum
complex as a whole. This master plan
was a crucial part of the island’s
application to be officially recognized
as a World Cultural Heritage Site. The
plan views the ensemble of five
historical buildings as forming a
thematic whole, while at the same time
respecting the architectural autonomy
of each separate museum.
Responsibility for the actual
implementation of the master plan lies
with the Museumsinsel planning group
formed in 1998, which is composed of
the architectural firms responsible for
the renovation of the individual
museums, under the general
coordination of David Chipperfield
Architects. 3*
A.3. INCLUSIVE MANDATES AND
REGULATIONS
1. Regulations from the National
Commission for Culture and the
Arts (NCCA)
PRECUP (The Philippine Registry of
Cultural Property)
The Philippine Registry of Cultural
Property (PRECUP) is the repository
of all information pertaining to cultural
properties in the Philippines deemed
significant to our cultural heritage. It
was established through Article V
Section 4 of the National Heritage Act
of 2009 Republic Act 10066.
It plays a crucial role in identifying and
providing information on all available
cultural resources in the country which
can be used by the public, land use
planners, property owners,
developers, the tourism industry, and
educators; increasing awareness and
the understanding of cultural heritage
especially in local communities; and
facilitating the protection, preservation,
and conservation of cultural property.
CONTENTS OF THE PRECUP
1. National Cultural Treasures or
unique cultural property found locally
which has outstanding historical,
cultural, artistic, and/or scientific value.
It is highly significant and important to
the country and is officially declared by
a cultural agency like the National
Museum (NM).
2. Important Cultural Property or
cultural property having exceptional
cultural, artistic, and historical
significance to the Philippines
determined by the NM, the National
Historical Commission of the
Philippines (NHCP), the National
Library of the Philippines (NLP), and/or
the National Archives of the Philippines
(NAP).
3. National Historical Shrines or
cultural property which are hallowed
and revered for their history or
association as declared by the NHCP
and/or other previous iterations of that
cultural agency.
4. National Historical
Landmarks or sites or structures that
are associated with events or
achievements significant to Philippine
history as declared by the NHCP
and/or other previous iterations of that
cultural agency.
5. National Historical
Monuments or structures that honor
illustrious persons or commemorate
events of historical value as declared
by the NHCP and/or other previous
iterations of that cultural agency.
MUSEUM OF THE PHILIPPINES,
REPEALING FOR THE PURPOSE
REP. ACT NO. 8492N OTHERWISE
KNOWN AS THE “NATIONAL
MUSEUM ACT OF 1998”)

6. UNESCO World Heritage

Sites or places listed by the United
Nations Educational, Scientific, and
Cultural Organization (UNESCO) as
having outstanding universal value.

7. Presumed Important Cultural

Property or cultural property
which are not declared as National
Cultural Treasure, UNESCO World
Heritage Site, National Historical
Shrine, National Historical Landmark,
National Historical Monument, or
Important Cultural Property but still
possesses the characteristic of an
Important Cultural Property. This may
be:
- Works of Manlilikha ng Bayan
- Works of National Artists (unless
declared by the Commission)
- Archeological and traditional
ethnographic materials (unless
declared by the National Museum)
- Works of national heroes This mandate had been the foothold of
- Marked structures (unless the proposal to establish greater extent
declared by the NHCP) regarding the purpose and nature, duly
signed by current Philippine President,
- Structures dating at least 50 years
His Excellency Rodrigo R. Duterte,
old
approved: April 26, 2019
- Archival materials or old
documents dating at least 50 years old
(unless declared by the National Sec. 3. Renaming of the
Archives). National Museum. – The National
Museum is hereby
8. Local Important Cultural renamed as the “National Museum of
the Philippines”, or, alternatively in
Properties declared by the
Filipino, “Pambansang Museo ng
Sanggunian as such. These are
Pilipinas”. The shortened name
cultural properties which are significant “National Museum” or “Pambansang
to local culture and history. 4* Museo” shall be understood as
exclusively referring to the same, and
its use in any manner or part of any
name with respect to any institution
within the Philippines shall be reserved
2. Regulations from Republic Act exclusively to the Agency.
11333 (RA 11333 – AN ACT
STRENGTHENING THE NATIONAL
Hereinafter in this Act, the National
Museum of the Philippines shall be
referred to as the “National Museum”.
Sec. 4. Mandate, Duties and
Functions. – The National Museum
shall be the primary institution of the
State for the management and
development of museums and
collections of national scope or
significance in the areas of arts,
cultural heritage and natural history, for
purposes of protecting, preserving,
studying and promoting the national
patrimony for the benefit of current and
future generations, supporting
education and social progress, and
contributing to economic development
through tourism and educational,
scientific, cultural and leisure services
and industries. It shall be a permanent
institution in the service of the entire
national community and its
development, accessible to the public,
and not intended for profit.
The National Museum shall:
(a) Function as an educational,
cultural and scientific institution that,
through its operations, projects and
programs, documents, acquires,
preserves, exhibits, and fosters
scholarly study and public appreciation
of works of art, specimens, and cultural
and historical artifacts representative
of or unique to the artistic and cultural
heritage of the Filipino people and the
natural history of the Philippines, as
well as their significance to the nation:
Provided, That such mandate shall be
carried out in coordination with that of
the National Historical Commission of
the Philippines, the National Library of
the Philippines, and the National
Archives of the Philippines relative to
important historical documents,
collections, memorabilia and other
objects that have significant historical
value;
(b) Establish, manage and develop
the National Museum Complex at the
Rizal Park, Manila, as well as central
museums, regional museums and
other facilities, and promote the
principles of universal access;
Provided, that such mandate shall be
carried out in coordination with that of
the National Historical Commission of
the Philippines to operate historical
museums and shrines in various parts
of the country;
(d) Carry out permanent research
programs combining integrated
laboratory and field work in
biodiversity, geological history, human
origins, pre-historical and historical
archaeology, maritime and underwater
cultural heritage, ethnology, art history,
immovable, movable and intangible
cultural properties, and similar or
associated fields;’
Sec. 10. Central Museums. – The
central museums of the National
Museum shall
include the existing National Museum
of Fine Arts, National Museum of
Anthropology, National Museum of
Natural History and the National
Planetarium. The National Museum
shall also take steps towards the
establishment of central museums
dedicated to archaeology, maritime
and underwater cultural heritage,
architectural arts and built heritage,
and political and social history, which
may be established within its National
Museum Complex or elsewhere within
the National Capital Region as
appropriate, together with an institute
for professional education, training and
development in museology and allied
fields, and a conservation center for
movable cultural properties of national
significance. 5*
3. Regulations from the
International Council of Museums
(ICOM)
2.a. The ICOM

The International Council of Museums
is an international organization of
museums and museum professionals
which is committed to the research,
conservation, continuation and
communication to society of the
world’s natural and cultural heritage,
present and future, tangible and
intangible.
2.b. The CIMCIM
CIMCIM is the acronym for Comité
international pour les musées et
collections d’instruments et de
musique (International Committee for
Museums and Collections of
Instruments and Music; Comité
internacional para museos y
colecciones de instrumentos y de
música).
CIMCIM is one of 32 international
committees of ICOM, the International
Council of Museums, and was
established in 1960.
CIMCIM aims to promote high
professional standards in the use
and conservation of musical
instruments in museums and collec
tions.
MISSION OF CIMCIM
As an international committee,
CIMCIM works within the framework of
ICOM in fostering connections
amongst, advocating for and advising
museums and collections of musical
instruments and music of all kinds.
As an organization that promotes high-
professional standards, CIMCIM
supports ICOM’s Code of Ethics in
providing a global platform to discuss
state-of-the-art, best-practice solutions
related to tangible and intangible
musical heritage, particularly in the
context of museums.
As a worldwide and inclusive
committee, CIMCIM aims at a mutual
understanding of different cultural
practices and viewpoints with respect
to musical instruments and music in
supporting active dialogue and
exchange between all stakeholders.
ARTICLE: VOICES FOR THE
SILENCED: Guidelines for
Interpreting Musical Instruments in
Museum Collections by Margaret
Birley, Heidrun Eichler, and Arnold
Myers, with the CIMCIM Working
Group for Education and Exhibitions
(Co-ordinator Jos Gansemans)
1. INTRODUCTION
Many museums house collections of
musical instruments, objects that have
been created in order to generate
sounds. These guidelines are intended
for museum educators and guides who
are not specialists in music or in
organology, the study of musical
instruments, and whose role it is to
interpret museum collections for
groups of children and adults of all
ages. Outlined below are suggestions
as to different ways in which the
interpretation of musical instrument
collections may be approached. A
diagram (Example 1) represents a
summary of the interconnected
themes. Museum educators and
guides are invited to select a number
or just a few of these different options,
depending on their area of expertise
and the requirements of the visiting
group. The aim of the guidelines is to
empower interpreters to formulate their
own approaches to the study of the
musical instrument collection in their
own museum.
Example 1, formatted electronically by
the Canadian Museum of Civilisation
2. PRE-TOUR TRAINING OF
"NON-SPECIALIST"
INTERPRETERS
It is recommended that the specialist
staff in the museum should provide the
interpreter with a written and/or oral
outline of the exhibition's concepts and
contents. Supplementary interpretative
material, such as catalogues, should
be made available. Reading material
and recordings can also be suggested.
3. THE NATURE, TIME AND
PLACE OF THE INTERPRETATIVE
SESSION
The "non-specialist" educator or guide
will be interpreting the musical
instrument collection to audiences of
both adults and children. In most
museums talks to such groups last
from forty-five minutes to one hour.
The talk should be informative,
entertaining and not over theoretical;
listeners should be participants as well
as observers. If the visiting group is
small enough most members should,
ideally, be given an opportunity to
make a verbal contribution. Where
possible the talk should begin at the
entrance to the museum, since this
creates a special rapport between the
guide and the visitors, who will feel that
they are guests at the museum. The
educator or guide should be informed
of any particular interest which the
non-specialist group may have, so that
s/he may have the opportunity to link
this to the talk.
4. GENERAL AIMS FOR THE
INTERPRETATIVE SESSION
The talk or tour can help to further the
understanding of the relationship
between abstracted facts and material
objects. It can also enhance the
audiences' investigative and
perceptive abilities, by offering not only
a variety of different theoretical
perspectives, but also different modes
of learning about musical instruments.
Examples of musical instruments in
showcases may be duplicated or
replicated by a handling collection of
instruments that can be played, an
important interpretative resource.
Handling, and even playing such
instruments will strengthen the
impression of the visit. Research in the
field of education has demonstrated
that the more senses are involved in
the learning experience, the greater
the retention for adults and children
alike (Davidson, Heald and Hein 1994,
p.193).
The interpretation of musical
instruments lends itself to
interdisciplinary studies bringing in the
sciences, design and technology, the
arts, history, geography, anthropology
and sociology. An extensive
exploration of these different subject
areas, from the specific to the general,
can be aided by the application of the
interrogatives how?, where?, for/by
whom? when? and why? (see example
1). For many people, a visit to a
musical instrument museum will
represent their first encounter with the
music of another temporal period or
cultural area. The interpretative
session can represent an opportunity
to teach science empirically, through
the instruments' world of sound, its
production and transmission.
5. HOW MUSICAL INSTRUMENTS
WORK
A musical instrument acts as a
transformer, converting the energy
from an outside source into a series of
sound waves. It is the sound of a
musical instrument which we can hear
and appreciate. All sound is the result
of vibration. A drum skin, for example,
vibrates when it is hit. Its movement
causes the air around it to vibrate in a
series of push-and-pull vibrations
travelling outwards from the drum
head. The vibrations in the air, on
reaching the human ear, cause the
ear-drum to vibrate in sympathy.
These vibrations pass to the inner ear
and are there converted into nerve
impulses which are sent to the brain to
be interpreted as a note.
A pure musical note, such as that
produced by a tuning fork, consists of
a simple vibration of the air at equal
intervals. Normally, however, a
fundamental note is heard together
with other notes, called overtones.
With some instruments there is a
simple mathematical relation between
the frequencies of the overtones, in
which case they are said to be
harmonics. The length of the waves of
the harmonic overtones is half, a third,
a quarter, etc. of the wavelength of the
basic (fundamental) pure note. Any
note produced on any instrument is in
fact accompanied by a varying number
of attendant notes called overtones.
The study of sound is called acoustics,
and acousticians try to understand how
sounds are produced, modified,
transmitted, affected by buildings, and
heard. The acoustics of musical
instruments are extremely
complicated, but always relate the
sound-producing mechanisms of
instruments and the voice to the
hearing characteristics of our ears and
brains. Instruments can be divided into
two classes, those which produce
sounds in the air in a tube, or other
container partially open to the outside
air, and those which produce vibrations
in a solid such as a string, drum skin,
or the moving parts of a loudspeaker
which are subsequently transmitted to
the air. Instruments which produce
sounds in the air include those usually
called wind instruments (and the
human voice). Most wind instruments
use one or more tubes, such as those
of flutes, trumpets and pipe organs,
because tubes can be made to
produce patterns of sound which relate
closely to the recognition capabilities of
the human ear and brain.
Similarly, many instruments use
vibrating strings because the vibrations
of the strings also closely correspond
to the human capacity to recognise
sounds. Every object has natural
frequencies of vibration, but because
strings do not produce much sound
directly, there is usually some device,
such as the body of a violin or guitar,
which modifies the vibrations and
transmits them to the air as sound.
Resonance is the enormous increase
in the strength of the vibration that
occurs when the frequency generated
by the applied force, which is used to
make the instrument sound, happens
to equal the natural frequency of the
object. The resonance makes certain
overtones louder than others, and this
is a significant factor in the
characteristic tonal quality of different
instruments.
6. DEMONSTRATING THE
SCIENCE OF SOUNDS
The interpreter can introduce some
basic concepts relating to the physical
acoustics of instruments into the talk or
tour, using the museum's handling
collection of instruments:
Sounds are made when objects, e.g.
strings on musical instruments, vibrate.
Vibrations from sound sources can
travel through a variety of materials.
The sound source: the primary
vibrating agent can usually be
identified, as can the means by which
it is made to vibrate.
The pitch and loudness of sounds
produced by some vibrating objects
e.g. a drum skin or a plucked string can
be changed. Concepts relating to pitch
levels can be explored. The different
levels of pitches may be correlated
with aspects such as the length of a
string/column of air in a tube.
7. TECHNOLOGY
The technology involved in the
manufacture of musical instruments
involves a diverse range of subjects for
consideration. Among those directly
related to an instrument's structure are
the materials used (and there may be
environmental or other reasons for
selecting one material rather than
another), the specific techniques for
manufacturing both its internal its
external components, the pattern or
model adopted for the instrument, and
the specialist tools required. The
finishes used in an instrument's
manufacture should also be
considered. Instruments may have
some components which are purely
decorative, with distinct stylistic traits,
or other features which have some
function that is not directly related to
the instrument's sound.
Some museums are located in cities or
regions that have a long tradition of
musical instrument building, which
should be of interest to visiting groups.
8. MUSIC
While handling collections make
museum objects more accessible, an
audience can sometimes gain from
them a false impression as to how
instruments should be played, and how
they should sound. Some museums
will be able to employ musicians who
can demonstrate professional
performance practice in musical
instruments, and close observation of
such performances should be
encouraged. Video and audio
recordings are also important media
for interpretation. The following very
basic elements of musical cognition
are suggested as subjects for
discussion with children by the
museum educator or guide:
• Duration of notes - long/short
• Dynamics - loud/quiet/silence
• Tempo - fast/slow
• Timbre - quality of sound e.g.
tinkling, rattling, smooth, ringing
• Texture - several sounds played
or sung at the same time/one sound on
its own
• Pitch - high/low
In museums in areas where music is a
strong feature of general education the
"nonspecialist" guide/educator's
fundamental knowledge of music will
be quite extensive, and interpretative
sessions conducted by such
individuals can encompass related
subjects in some depth. These might
include:
• Groups of musical instruments
e.g. within the European orchestral
tradition (woodwind, brass wind,
strings, percussion)
• Families of instruments e.g. violin,
viola, violoncello ('cello), double bass,
and the correlation between the size of
an instrument and its sound
• The history of musical
instruments; their development and
diffusion
• The influence of materials on the
sound of instruments (e.g. the use of
plastics in woodwind instruments)
• The correlation between the
construction of musical instruments
and their sound (e.g. the difference
between instruments of the viol and
violin families) The scales obtainable
on different instruments (e.g.
chromatic/diatonic)
9. USES AND FUNCTIONS
The uses and functions of musical
instruments provide an inexhaustible
line of enquiry. The place of musical
instruments within the cycle of human
life, their significance within a culture,
or to particular individuals is infinitely
varied. Suggestions for aspects to be
considered are as follows:
• the cultural contexts in which
instruments are played
• the people for whom they are
made and/or played
• the place of instruments in the
cycle of human life; in daily life, social
life, political life, religious life
• the status conferred on individuals
through the ownership or performance
of different types of instruments
• the ways in which instruments are
suited to the locations where they are
played (e.g. indoors, out of doors etc.)
• the association of instruments with
religious or other types of ritual when
they are played or made
- the use of musical instruments as
media for communication
- the use of musical instruments for
imitating animals and birds
- the local names of the different
components of musical instruments
- the symbolism of instruments
- musical instruments as objets d'art
- the relationship between musical
instruments and other museum objects
• the history of the museum's
collections, and how instruments are
cared for within the museum.
10. CLASSIFICATION
Not all cultures have an inclusive term
for "music", as distinct from other
elements of secular or sacred
performance, and this is one of the
reasons why "sound-producing
objects" rather than "musical
instruments" is often the preferred term
in museums which present a diverse
range of traditions. A number of
everyday objects such as spoons or
glasses can have a musical function,
should the occasion demand it, but
they are not primarily musical
instruments.
There are many ways of classifying
musical instruments. Any classification
system should be considered in its
totality, since it is culture-specific, and
encodes many covert cultural values.
The Chinese classification system, the
bayin, in which eight different materials
were identified as different sources of
sound, is thought to have originated in
the 23rd century BC and it was used
for three millennia. In essence it
reflected ideas of cosmology, food
production, the dependence of the
human race on the forces of Nature,
which could be controlled, to some
extent, by sympathetic magic.
Instruments may be considered as
extensions of the human body; and
many classification systems
performance technique, the actions of
the body, constitutes one of the
principle factors relegating an
instrument to one category or another.
In the classification system developed
by the `Are `Are people in Malaita
(Solomon Islands) a distinction is
made between bamboo instruments
which are blown and those which are
struck (Zemp 1978).
In 1914, E.M. Hornbostel and Curt
Sachs devised a classification system
for musical instruments from all parts
of the world, in order to ensure a
consistent taxonomy for music
historians and museum curators. This
system was particularly suited to the
purposes of information storage and
retrieval, since it utilised a version of
the Dewey decimal system, a
hierarchical numerical system used for
organising information in libraries.
There are four primary divisions in the
Hornbostel Sachs system:
• idiophones: "the primary vibrating
agent is the substance of the
instrument itself, owing to its solidity
and elasticity ... without requiring
stretched membranes or strings"
(Hornbostel and Sachs, tr. Baines and
Wachsmann 1961: whole text, pp.3-
29). Examples include the gong, the
xylophone and the mbira
(lamellaphone)
• membranophones: the vibration of
stretched membranes generates the
sound. Most drums fall into this
category
• chordophones: instruments with
one or more stretched strings. Zithers,
which include pianos in the Hornbostel
and Sachs system, violins and harps
all belong in this group
• aerophones: "the air itself is the
vibrator in the primary sense"
(Hornbostel and Sachs, translated
Wachsmann and Baines, 1961, p.24).
Bullroarers, flutes and trumpets are
included in this group.
It has been demonstrated (Jairazbhoy
1990) that this scheme was almost
certainly based on the Indian
classification dating back to the
Natyasastra treatise, with chapters on
music written around the 4th to the 5th
centuries CE (Powers 1980, p.77),
which included the following categories
of instruments: tata vadya (stretched
instruments) - instruments whose
principle element of sound are
stretched strings; annaddha or
avanaddah vadya, (covered
instruments) - drums; susira vadya
("hollow" instruments) - such as flutes;
and ghana vadya ("solid" instruments).
The Hornbostel Sachs system has
been adopted by many writers and
musical instrument museums. In their
Introduction to the classification the
authors foresaw that their system
would require updating in the future. In
1940 a fifth group, "Electrophones",
was added by Sachs. Research in the
field of acoustic physics has now
demonstrated that one or two musical
instruments belong in groups other
than those to which they were
assigned by Hornbostel and Sachs
(see for example Adkins, Williamson,
Flowers and Picken, 1981).
The classification has been extended
by some authors, notably Dräger
(1948), and Hood (1982) who
incorporated aspects such as
performance technique and
instruments' status among the
categories. It has been revised by
others, including the CIMCIM Study
Group for Classification which
published its work in the Committee's
Newsletters in the 1980s (No. XI,
1983-4; No. XII, 1985; No. XIII, 1987)
and more recently by Geneviève
Dournon, a member of the group, in
(1992, pp.260-286) and (1996). André
Schaeffner's logical classification
system (Davies 1984), (Wachsmann
1984), (Kartomi 1990), as are the other
comprehensive systems devised by
scholars since Hornbostel and Sachs.
The imperative for a Typology of folk
musical instruments, identified by
Oskár Elschek and Erich Stockmann
(1969, p.30), is one of the informing
themes of the series Studia
instrumentorum musicae (Stockmann
1969-85). Symbolic taxonomies in the
form of ideograms which could be used
to represent structural details, such as
the shape of duct flute mouthpieces,
were advocated by Elschek (1969,
p.25) as an aid to comparative analysis
and the establishment of types and
variants of instruments; such sketches
were also used by other authors in this
series (Stockmann 1969-85; i, 1969
and iii, 1974). The instruments under
consideration are closely related and
are from a specific area, e.g. bagpipes
from Slovakia (Macák 1969). In the
field of organology over the past
century there has been a general
movement away from the comparative
study of instruments from many parts
of the world to the investigation of
instruments from a specific area, and
of the work of individual makers. 6*
1. Regulations from Dolby
Laboratories, Inc. (Dolby) – Auditory
Regulations
https://professional.dolby.com/siteass
ets/cinema-products---
documents/dolby-atmos-
specifications.pdf?fbclid=IwAR0Nesvt
pqZx-hNBf-
hYrvXImfPTEODRt9sj0rGLAJ17ysL3I
ZUuP3ZskfQ
Above: File of Specifications for
attaining Dolby Atmos Sound
Engineering Technology for the
proposed National Museum of
Philippine Music History. The file
contains graphical and analytical
methodologies and anthropometrics in
the aspect of sound design. 7*
2. Regulations from United
Nations Educational, Scientific and
Cultural Organization (UNESCO)
UNESCO is the United Nations
Educational, Scientific and Cultural
Organization. It seeks to build peace
through international cooperation in
Education, the Sciences and Culture.
UNESCO's programmes contribute to
the achievement of the Sustainable
Development Goals defined in Agenda
2030, adopted by the UN General
Assembly in 2015.
In this spirit, UNESCO develops
educational tools to help people live as
global citizens free of hate and
intolerance. UNESCO works so that
each child and citizen has access to
quality education. By promoting
cultural heritage and the equal dignity
of all cultures, UNESCO strengthens
bonds among nations. UNESCO
fosters scientific programmes and
policies as platforms for development
and cooperation. UNESCO stands up
for freedom of expression, as a
fundamental right and a key condition
for democracy and development.
Serving as a laboratory of ideas,
UNESCO helps countries adopt
international standards and manages
programmes that foster the free flow of
ideas and knowledge sharing. 8*
Museums foster an integrated
approach to cultural heritage as well
as the links of continuity between
creation and heritage. They also
enable various publics, notably
local communities and
disadvantaged groups, to
rediscover their roots and approach
other cultures.
Nevertheless, many museum staff
lack—often severely—the technical
knowledge that meets international
professional standards. Moreover,
movable cultural objects are
particularly threatened, due to their
value both as commercial goods and
as components of cultural identity, by
illicit trafficking.
Therefore, UNESCO’s strategy
focuses on: Least Developed
Countries (LDC) and countries in
emergency situations (post-conflict or
post-natural disaster), particularly in
Africa; and the museums and
collections that best contribute to an
integrated understanding of heritage
and their potential contribution to the
economic, social and human
development of local communities and
disadvantaged groups.
This strategy is implemented through:
training activities involving simple and
efficient techniques for safeguarding
objects, with a special emphasis on the
creation of pedagogical tools; museum
development by strengthening
professional networks and
partnerships; improving educational
content and access to knowledge
through awareness-raising and
educational activities; promoting the
return, restitution and improved access
to cultural objects by means of
awareness-raising and advisory
activities and innovative partnerships;
and finally, through the joint
implementation of normative and
operational activities, particularly in
regard to the fight against illicit
trafficking and the protection of
underwater heritage. 9*
 3. Regulations on Implementing
Rules and Regulations (IRR) – Rule
VII and VIII of PD 1096 (National
Building Code of the Philippines)

B. DESIGN CONCEPTS
C. SPECIALIZED ALLIED SERVICES
In line with the proposal, the essential
attributes brought by its nearby facilities
/ spaces are being considered by the
designers as part of the Specialized
Allied Services (Reference from the
SPP Document 203, otherwise known
as the SPP on specialized Architectural
Services et al), and these are:
1. Acoustic Design.
1.1 SPP 203 Definition: Acoustic
Design services involves the detailed
planning and design to control sound
transmission for compatibility with the
architectural design concept.
Attached Images: Top: A particular
auditorium with plain appearance before
applied with acoustic design; Bottom:
The same auditorium after applying
acoustic design, and has remarkable
aesthetics.
Room acoustic design involves the
development of aural environments in
order to meet the needs and functions
of a space. Methods include achieving
suitable reverberation time, enhancing
desirable sound reflections and
maintaining or controlling loudness
levels throughout spaces. Design
aspects range from room volume and
geometry to the selection and
placement of finish materials for walls,
floors and ceilings.
Whether it is a performing arts center,
museum, commercial space, house of
worship, or academic learning
environment, our firm’s work typically
begins with the preparation of an
acoustic design concept that evolves
with input from the design team and our
client. Our expertise continues through
construction to the opening of the
project, and often beyond, to ensure
that the acoustic quality best fits the
needs of the facility. 10*
2. Architectural Lighting Layout
and Design.
2.1 SPP 203 Definition: Architectural
Lighting Layout and Design Services
involves the detailed planning and
design of light transmission, timing and
control for compatibility with the
architectural concept.
Lighting design is based in
both science and the visual arts. The
basic aim of lighting within the built
environment is to enable occupants to see
clearly and without discomfort. The
objective of architectural lighting design is
to balance the art and the science of
lighting to create mood, visual interest and
enhance the experience of a space or
place whilst still meeting the technical and
safety requirements.
 Image, below: an interior applied
with Architectural Lighting.
The technical requirements include the
amount of light needed to perform a task,
the energy consumed by the lighting
within the space and the relative
distribution and direction of travel for the
light so as not to cause unnecessary glare
and discomfort. The visual aspects of the
light are those that are concerned with the
aesthetics and the narrative of the space
(e.g. the mood of a restaurant, the
experience of an exhibition within a
museum, the promotion of goods within
a retail space, the reinforcement of
corporate brand) and the non-visual
aspects are those concerned with human
health and well-being.
3. Structural Conceptualization.
3.1 SPP 203 Definition: The Architect
in this area of practice conceives,
chooses and develops the type,
disposition, arrangement and
proportioning of the structural elements
of an architectural work, giving due
considerations to safety, cost-
effectiveness, functionality and
aesthetics.
Conceptual Structural Design explores
the platform between structural
engineering and architectural design.
Conceptual structural design is about
structural design aiming for more than
solely carrying loads; it is about carrying
loads in ways that, in addition to being
structurally sound, appear meaningful,
beautiful or otherwise interesting.
Applied on work across the professions
of architecture and structural
engineering, the term conceptual
structural design is about developing
structures that unite structural
functionality and visual form into a
meaningful and interesting whole.
Image: roofing applied with Structural
Conceptualization (resembling possibly,
a geodesic dome or a frame roof for a
pavilion.)
Functionality, form and visual
expression are, in addition to traditional
structural design, important factors
when developing new constructions in a
society under constant change. Among
architects, engineers as well as the
construction industry, there are huge
potential for knowledge development
and innovation related to conceptual
structural design bridging the
professions. 11*
REFERENCE

- https://www.nationalmuseum.gov.ph/about
-us/mandate-and-objectives/

https://www.nationalmuseum.gov.ph/about-
us/history/

*: https://www.dti.gov.ph/regions/ncr/profile/
(The National Capital Region – from the
Department of Trade and
Industry or DTI Official Website)

**: https://www.philatlas.com/luzon/ncr.html
(National Capital Region; Definition -
PhilAtlas.com website)

***:
https://www.pasay.gov.ph/Genera
lInfo/CityProfile (Pasay City Profile - City
Government of Pasay Official Website)

****:
https://www.culturalcenter.gov.ph/
pages/Complex-development (The CCP
Complex Development – Official
Website, Cultural Center of the Philippines)

*****: https://en-ph.topographic-
map.com/maps/94yj/Barangay-76/ (Slope
Map of Barangay 76, Pasay City)

******:
https://www.namria.gov.ph/Downl
oads/topoMap50/7172-IIManila.jpg
(Topographic Map of Manila – SHEET 7172
II; National Mapping and Resource
Information Authority website)

1* : https://whc.unesco.org/en/list/1496 (The
Solomon R. Guggenheim Museum –
UNESCO Heritage List, UNESCO
Official Website)

2* :
http://www.unesco.org/new/en/cul
ture/themes/museums/world-heritage-site-
museums/heritage-museums-and-
education/national-museum-of-cambodia/
(The National Museum of Cambodia -
UNESCO Heritage List, UNESCO Official
Website)
3* : https://www.smb.museum/en/museums-
institutions/museumsinsel-berlin/about-
us/masterplan-museumsinsel/ (The
Museumsinsel Berlin – Master Plan; Official
Website)

4* : https://ncca.gov.ph/philippine-registry-
cultural-property-precup/ (The Philippine
Registry of Cultural Property – NCCA
Official Website)

5* :
https://www.officialgazette.gov.ph
/downloads/2019/04apr/20190426-RA-
11333-RRD.pdf (The Republic Act 11333 –
The Official Gazette)
6* : https://cimcim.mini.icom.museum/wp-
content/uploads/sites/7/2019/01/Voices_fo
r_the_Silenced.pdf (The CIMCIM Article -
Voice for the Silenced)
7* :
https://professional.dolby.com/siteassets/ci
nema-products---documents/dolby-atmos-
specifications.pdf?fbclid=IwAR0NesvtpqZx
-hNBf-
hYrvXImfPTEODRt9sj0rGLAJ17ysL3IZUu
P3ZskfQ (Dolby Laboratories, Inc. – Dolby
Atmos Technology Guidelines)

8* : https://en.unesco.org/themes/museums
(UNESCO - Museums; Article)

9* :
http://www.unesco.org/new/en/culture/the
mes/museums/world-heritage-site-
museums/heritagemuseums-and-
education/ (Museums, Definition – Article;
UNESCO Official Website)

10* : https://www.jaffeholden.com/what-we-
do/room-acoustic-design/ (Acoustic Design
– Jaffe Holden Design Website)

11* : https://www.ntnu.edu/kt/research/csdg
(The Conceptual Structural Design –
Article; NTNU Department of Structural
Engineering Official Website)