ARCHITECTURE | PLANNING | INTERIOR | LANDSCAPE | ADVERTISING | CINEMA | FASHION | PAINTING 2022/01

LEADERSHIP

ARCHITECT LEADERS
TENCE, SU, RACHO, MENJARES, ZAFRA

ART LEADERS
PEPITO, NAVARRO, ENGLIS

TOP DESIGNS
THIRD BRIDGE, ONE MONTAGE,
ONE TECTONA, NAGA CAFE

TOPNOTCHERS
GO, FLORDELIS,
BORBON, ARRIOLA
Lantawan Magazine
lantawanmagazine
lantawanmag.wordpress.com
www.usc.edu.ph
ISSN-2012-435X
1
FINE ARTS
YNA HECHANOVA
BFA - ADV 1
Digital Art

GALLERY

JIANNA LIM
BFA - ADV 1
Pen and Ink

JASCHA CERO
BFA - ADV 3
Digital Art

ELLA SIGUE
BFA - CNM 1
Charcoal

KYLA LECHOCO ZENITH GARCES

BFA - ADV 1 BFA - ADV 1
Pen and Ink Digital Art
 11
INTRODUCTION
TABLE OF
6 Leadership in USC
Jesuraj Anthoniappen, SVD, VPAA
8 Leadership
Margret D. Rosario, FUAP, SAFAD Dean
CONTENTS
THE ARCHITECT LEADER 28
16 10 Architect Leaders
LEADING DESIGNS
49 Unique, Pioneering,
11 Leadership in Design Professions Innovative — Cebuano!
Cecilia Herras Torres, FPALA (Interview with Engr. Allan G. Alfon, CEO, CCLEC)
16 Beyond Drawings Interviewer: Br. Bela Lanyi SVD
Jensen Racho, FUAP 52 Cebu’s Diamond:
18 5 Seasons and Lessons -The Montage Building
of Leadership Writer: Architecture Critic
Ralph Richard Su, UAP Designer: Arkinamix
6SKHUHRI,QΌXHQFH
Neil Andrew Menjares, UAP
64 Mid Rise in Woodlands
-One Tectona Condominium 30
18 22 Managing a Small
Architectural Studio
Carlos Pio Zafra, UAP
Writer: Iverson Andrein B. Descartin
Designer: Zafra Architects
70 Leading Through Renewal
and Respect
THE ARTIST LEADER -Beverly Hills Residence
Writer: Bela Lanyi, SVD & Jason Chua, UAP
24 Artist Leaders Designer: Visionary Studio Architects, Cebu
78 A Generative Design in
25 Passion Dictates
Bamboo: Naga Cafe
Celso Duazo Pepito

49
Writer: Janfour Cuales, UAP & Niño Auman, UAP
28 Creative Leadership Designer: Bradlab
Ryan Navarro

20
82 Tactical Urbanism
30 In True Fashion: Design Leadership Roy Vincent Trani, UAP
and Creative Innovation
Araceli Jane C. Culibra, MM

USC-SAFAD
THE STUDENT LEADER
87 Our Topnotchers of June 2021
32 Training Students for Leadership: Jezreel Nugas and Louie Ann Valeriano
The SAFAD Experience 91 † Troy Elizaga, UAP
Cheryl Lao, RGC Juan Ramon Jimenez Verdejo, PhD
34 The Path of Leadership 92 † Efren Cinco Muaña, Jr., UAP
Christel Ann F. Uy Marie Suzette Masa Loyola, UAP
52
22
36 Then Anyone Can Lead
Marielle Ababon & Kyle Borromeo
SAFAD GALLERIES
THE LEADERSHIP 93 Art with a Splash of Devotion
Juliana Mae Flores, Althea Lebios, Chanel Catao
37 An Accessible and Equal Landscape Edited by Clariza Sevilla
Sherwin O. Ramosa, MArch
96 Fine Arts Gallery
40 Challenging Status Quo through
Innovative Design Leadership
99 Architecture Gallery
Adrian Perez Del Monte, PIID

64
43 The Future of Built Heritage:
A Rebranding of Conservation and

25
Heritage Research Institute for Society
and its History (CHERISH)
Carla Marie Adlawan
46 Grassroots Women Leadership in Rural Cebu
Ubo Pakes

4 1
68
 CAD OPERATORS
CAD Operator’s Job Captain
JUSTINN CESAR
AR. LAUDALE DAVE ALOJADO
DUMAGUING

CONTRIBUTORS
@justinn.alojado
Laudale Dave Declan
Dumaguing justinnalojado.0205@gmail.com
LOUIE ANN
VALERIANO
ARNIE MANUELLE MARIA PHYLLIS
Louie Ann Valeriano
VILLARUEL THERESE BARRIGA
@lavlaval
ArnieMAV phyllistherese.barriga

JEZREEL NUGAS

WRITERS Jezreel Rendon Nugas

jezreelnugas
LANCE GAVINI CHERYL GETONGO

Lance Gavini getongocheryl

LEANNE MARIE
Assistant Editor-in-Chief
SAFAD Dean MONTEMAYOR PAUL ANTHONY VENESSE LEAN
MARGRET D.
Lantawan Editor-in-Chief ROY VINCENT TRANI,
BELA LANYI, SVD MUP, MPD, UAP @leannetm LIBRES MERCADO
ROSARIO, FUAP
@librespaul VLC.Mercado
margaret.rosario bela.lanyi.7 Roy Vincent Trani

ARACELI JAYNE KYLE ANGELO RYAN NAVARRO FACEBOOK EDITORS

CULIBRA, MM
aracelijayne
BORROMEO
kyleangelo.b
rynavarro LAYOUT ARTISTS
@aracelijayne @kyleangelo.b
@ry_navarro MERIAM JOYCE TRUZ
ryannavarroWWWW
Layout Director Layout Job Captain
truzworthy
CARLA MARIE MARIELLE FRITZ UBO PAKES ANTON ELIJAH LIN PATRICIA RAFANAN
@truzworthy
ADLAWAN ABABON ubopakesimages.files.
Anton Lin
wordpress.com @desenfico @patchlaff
mariellefritz.ababon @desenfico
@ubopakes
@copycarla.travels @fritz_ababern
@ubo_pakes
RAPHAEL XANDRO
MILAN
raxmilan
JOSE PREBEN AMABELLE
JENSEN M. ADRIAN DEL MONTE, @raxmilan WILLIAM LAYOLA LORRAINE PIÑON
CHRISTEL ANN UY RACHO, FUAP PH.D Joe Layola Amabelle Lorraine Piñon
adrianperezdelmonte @_hoooboy @awesomeamlorr
chriwashere Racho Architects and Engineers
@ adrianperezdelmonte @hoooboy
christelann.uy@gmail.com Jensen M. Racho @adrianpdelmonte EDD ANGELOU
DAMPIOS
@duhdesigns
ALEYA OLIVERON
RALPH SU, UAP RICCA PALMER
duhdesigns
IVERSON ANDREIN CHERYL M. LAO, RGC
DESCARTIN @rrsa_studio @al_starling @shanshooked
The Outside Talks Podcast
iDescartin cheryl.usccdc YANI GALE COPAG
VALENDEZ
CARLOS PIO JOCELLE VINKY NGO ANNIKKA FELICITTY
CECILIA HERRAS- Yani Valendez
BALAGA
SHERWIN RAMOSA, TENCE, FPALA ZAFRA, UAP @yanivalendez
MARCH @yanivalendez ika.balaga
sherwinramosa csht.prcprbola@gmail.com @prollyjoe @felicitteh

pio.zafra JEREMY JEDD

PABOTOY
Jeremy E. Pabotoy
ALEONA MAXINE BRENTH XYLE
JANFOUR CUALES, NEIL ANDREW CELSO DUAZO @jerrymejed DONOSO PABALETE
UAP MENJARES, UAP PEPITO Aleona Maxine Donoso Brenth Pabalete
@clsphotography.ph @M_XD.art @brenth_p
neil.andro
janfourcuales@gmail.com
@andro.neil celso.pepito CELINE GERMAN
LAGUNDI

JUAN RAMON JIMENEZ MARIE SUZETTE

MASA LOYOLA, UAP
Celine German Lagundi
@celinelle_ LANGUAGE EDITOR
VERDEJO, PH.D
juamra.jrjv suzette.loyola
@juamra @chetteloyola HANNAH KAREN ISOLDE AMANTE
LLENOS
linkedin.com/in/isoldeamante/
@han.guin @isoldeamante
EDITORIAL BOARD
Margret Rosario, FUAP Br. Bela Lanyi, SVD
Publisher Editor-in-Chief

Roy Vincent Trani, UAP

Assistant Editor

Carla Marie Adlawan Araceli Culibra, MM

Karl A. E. F. Cabilao, FUAP Anne Nacorda, UAP, PALA
Ivy Miriam Castro, MA

COPY EDITORS
Isolde Amante

PRODUCTION
Anton Elijah Lin Patricia Denise Rafanan
Layout Director Layout Job Captain

Laudale Dave Dumaguing, UAP Optima Printing Press

CAD Job Captain

PUBLISHER
The Dean of the School of Architecture, Fine Arts and Design
LANTAWAN Office, School of Architecture, Fine Arts and Design
Talamban Campus, University of San Carlos, 6000 Cebu City, Philippines
safaddean@usc.edu.ph
blanyi@usc.edu.ph
ISSN 2012 – 435X
EDITORIAL MESSAGE
Lantawan Magazine lantawanmag.wordpress.com
For many of us, to be a leader seems to be equipped
www.usc.edu.ph
lantawan@usc.edu.ph with high-sounding titles, huge residences, maybe even
private armies. However, apart from rewards for efficient
(Tel) +63 (032) 230 0100 (Local 207) USC-SAFAD Dean’s Office leadership, leading others should rather be a service.
(Local 232) Lantawan Publications Leaders who animate others to success should first
LANTAWAN is a biannual art and architecture magazine published by undergo a process as the example of five (landscape)
the School of Architecture, Fine Arts and Design of University of San architects and three artists demonstrate in this issue.
Carlos (USC-SAFAD). Subscriptions, contributions, comments and address This time, the emphasis is not on their works but on the
changes should be sent to the address above. This is Lantawan’s 2022/1 metamorphosis of their characters and on the way USC
(March) issue. The next issue is due in September 2022.
prepares new leaders.

Your Creative Journey Begins Here

Beyond people leaders, this Lantawan demonstrates
ARCHITECTURE | PLANNING | INTERIOR | LANDSCAPE | ADVERTISING | CINEMA | FASHION | PAINTING 2022/01
those leading designs determined by strong goals,
Be part of a Community of Carolinian Architects, Artists, and Designers

LEADERSHIP BS ARCHITECTURE
BACHELOR of LANDSCAPE ARCHITECTURE
BS INTERIOR DESIGN
MASTER OF ARCHITECTURE
Architectural Science
Landscape Architecture
ACC
CHERISH
Architecture Computer Center
Conservation Heritage
Research Institure and

courage to challenge, and excellence to rebrand existing

BS ENVIRONMENTAL PLANNING Urban Design Workshop
BACHELOR OF FINE ARTS Interior Architecture IPD Institute for Planning
Advertising Arts MASTER IN URBAN PLANNING and Design
Painting MASTER OF ARTS AND DESIGN
LANTAWAN Publications on Arts and
Fashion Design MASTER IN FINE ARTS
Architectural Theory,
Cinema Cinema Studies
Communication
Marketing Communication

practices. And yes, we experience such design leadership

(Off-shore)

incorporated in glass, metal, concrete and other

contemporary materials. Cebu’s famous Third Bridge,
ARCHITECT LEADERS:
TENCE, SU, RACHO, MENJARES, ZAFRA
its glamorous Montage Building, its near-natural high
ART LEADERS:
PEPITO, NAVARRO, ENGLIS
rise One Tectona, its redesigned architectural classic
TOP DESIGNS:
THIRD BRIDGE, ONE MONTAGE,
ONE TECTONA, NAGA CAFE
residence, its creative bamboo café, and its dream about
lantawanmag@wordpress.com
Lantawan Magazine
lantawanmagazine
www.usc.edu.ph
You may contact us at the
Office of the Dean (032) 230-0100 local 207
or apply at ww.ismis.usc.edu.ph/apply-SAFAD stamp
Address:
School of Architecture, Fine Arts and Design
SAFAD Building, Talamban Campus, University of San Carlos
Cebu City, 6000 Philippines
a pedestrianization of Cebu’s Downtown—these parts
of our built environment inspire us to take the lead.
ISSN-2012-435X

Interviews with USC’s four topnotchers of 2021, creative

ABOUT THE COVER works from our university’s departments close the chain
of thoughts on the ambition of leading through design
Going through the world of arts and design, all of us
and harmony.
shall strive to reach higher goals. Through leadership,
we can help lead those who wish to reach their
dreams. Do not worry about feeling that you will be left
behind because leaders always stay by their members’
side. They will help guide you step by step so that all of
you can reach the top together. Br. Bela Lanyi, SVD
Editor-in-Chief
Cover design by Ricca Palmer

2022/1 Issue (March)

© Copyright 2022 University of San Carlos. All rights reserved.

4 5
LEADERSHIP
IN USC
FR. JESURAJ ANTHONIAPPEN, SVD
Vice-President for Academic Affairs
University of San Carlos
6 7
The COVID-19 pandemic has changed the way we live. No one
person is spared from the change. Our ideals and values have
been affected consequently by these sudden changes in lifestyle.
The pandemic is a kind of disruption that leaves no community,
organization, business or government untouched, and thus
creates a leadership crisis globally. An upheaval like the pandemic
creates fear, and in the midst of it, people crave for security,
which can incline leaders toward the usual tropes of strength,
confidence, and constancy. This does not always work. Leadership
requires a new perspective. During these uncertain times,
leadership in the University San Carlos adapts the following three
aspects in its journey.
Firstly, the most important thing that a leader needs to have
during a crisis is humility. Humility to listen, to communicate, and
to be transparent. Amidst the uncertainty, we share what we know
and admit what we do not know. This kind of honesty creates
psychological safety and hope for the people.
Secondly, leaders should hold on to values even as the situation
changes. Values are the guiding stars when everything is in
disarray. One needs to be very transparent about what one’s
values are so that people trust in the guidance of a leader.
We hold on to Carolinian core values and the grand vision of
becoming a truly teaching, researching, and entrepreneurial
university to infuse confidence and commitment in our purpose as
a Catholic university.
Thirdly, leaders must share their power and responsibility
during a crisis. Leaders must learn to give up the instinct to
hold on to control or else it might backfire. Shared leadership is
the university’s key for navigating this educational crossroads.
One needs to have the confidence and trust to share power
with those around in any organization or community. Shared
leadership indicates that one cannot do it alone and asking for
help from others can give people a sense of meaning and provoke
innovation. Robin Sharma, in his book The Leader Who Had No
Title, says that “leadership is innate to every person and every one
of us alive with life can passionately drive positive change in the
face of negative conditions. And you need no title to do that.”
At this challenging time, the university leadership is able to
navigate the educational crossroads by being grounded on the
core values with a sense of humility and shared responsibility that
infuse a sense of safety and hope in every Carolinian.
 LEADERSHIP AR. MARGRET D. ROSARIO, FUAP

Leadership, a topic which so many authors have
written about is the theme of Lantawan, March
2022 issue. With approximately more than two
thousand books launched about leadership in
the world everyday, what more can we offer?
“Leadership” as the theme for Lantawan is
probably unexpected with the perception that
it offers the expression of Arts, Architecture
and Planning only. How else can we shape the
city’s skyline, and create that cozy ambience of
your dream abode, or draw you towards the
refreshing and calming nature park without
experiencing team work. Does teamwork not
equate with leadership? Can environmental
concerns be addressed without political will
involving the appropriate professional to lead
the project? Everything we do identifies with
leadership, from film production to trending
fashion designs and administration of
advertising ideas.
It is in this context that LANTAWAN
ventures into highlighting various marks of
leadership. The challenges brought about
by the pandemic pushed all to look into
themselves and their desire to thrive with
faith. The diversified approach to managing
projects, pursuing education, and creating
opportunities amidst a crisis evokes a
relentless leadership.
It is our hope that the articles serve as
encouragement and inspiration to the
readers during this life threatening period
of our history.

8 9

“
SETTING ACHIEVABLE GOALS WILL
MAKE YOUR LIFE EASIER.”
“
JENSEN RACHO, FUAP
LEADERSHIP IS NOT ABOUT TITLE. IT IS
ABOUT INSPIRING OTHERS.”
CECILIA HERRAS-TENCE, FPALA
“
STEP IN AND SET THE BAR HIGH AND
BE VOCAL.”
“
RALPH RICHARD SU, UAP
IT WAS IMPORTANT TO HAVE EVERY-
ONE ON BOARD, OR THE SHIP COULD
NOT SAIL.”
NEIL ANDREW MENJARES, UAP
ARCHITECT
“
THINGS TAKE TIME TO DEVELOP, AS
LEADERS
WELL AS CONTINUITY.”
CARLOS PIO ZAFRA, UAP
LEADERSHIP
IN DESIGN
PROFESSIONS
CECILIA HERRAS-TENCE, FPALA
MEMBER, PROFESSIONAL REGULATORY BOARD OF
LANDSCAPE ARCHITECTURE
WHAT IT MEANS TO BE A DESIGNER TODAY Challenging as it was, the virtual mode of work and learning is
an eventuality in the 4IR. The pandemic was just like a push,
I am certain we have encountered the many kinds of designers a hard one at that, but a necessary one if we are to be truly
there are. But let me concentrate on designers of the built “glocally” competitive. I would like to think that events since 2020
environment. These are the individuals who belong to the fields
of architecture, landscape architecture, interior design, and
were a wake-up call to what we should have been exploring and
developing — phronetic and futurist leaders.
environmental planning. These are the individuals who help
design habitable and sustainable environments. Those are two Workplace and classroom education should not only concentrate
big words—habitable and sustainable—that every designer on honing skills, adding knowledge but, more importantly,
should always keep in mind for the simple reason that our natural building character. In doing so, we are nurturing leaders and not
just a workforce to fill up jobs.
resources are dwindling and our human populations growing.
Designers today are not just artists in their own right but also
stewards of the land. Designers of today must be able to rise to
CAN DESIGNERS BE LEADERS?
the challenges of the uncertain world we live in, including the
challenges of fast evolving technology.
When I first joined the firm of Ildefonso P. Santos & Associates,
I was shy and unassuming. But with the help of my seniors, I
DESIGNERS IN A WORLD OF UNCERTAINTY learned the ropes of the practice. I remember vividly when Dolly
Guevarra asked me how long I saw myself staying with the firm, to
In the last few years before the pandemic, the terms “Glocal” and which I replied, “Two years at the most.” At that time, I could not
“Globally Competitive” were buzz words among professionals. see myself really deep into the practice of landscape architecture.
With the pandemic, we are once again introduced to the terms
VUCA, RUPT, TUNA, and many other acronyms, all of which have I worked for the late Ildefonso P. Santos, Jr. for 11 years and a
the common element of UNCERTAINTY. The pandemic disrupted few more until he passed away in 2014. His was a different kind
of mentoring. It was more like a father teaching his daughter the
our ordinary lives with a jolt. It made us rethink how we lived our
lives, what we prioritized, how we could better improve ourselves. ropes of survival in the real world. He did not hold my hand but
Everything and everyone were challenged, with no exception. rather, threw me into the fire.
Work modes went virtual, save for those professions where
it was not permissible. Classrooms turned virtual, too, and
homeschooling was no longer a choice but the only way.
11
 After a year, I took the licensure exams
and passed. Not long after, his most
Senior Associate, Zeny Galingan, decided
to change career paths and decided to do
another kind of mentoring, this time in
the academe.
When he learned that I had passed the
licensure exams, with his trademark
boyish smile, he approached me and
told me he would like me to be his next
Associate. I would like to think his decision
was based on my professional work and
his trust and confidence that I could help
further build the good reputation of his
firm. I would also like to think that he saw
that I could be relied on to uphold the high
ethical standards he inculcated in all of
his employees.
The responsibility of being an Associate of
his firm was far from easy. I had to step
up to the challenge of handling almost
everything and I had to step out of my
IP and Zeny inculcated in me the need to look beyond working
in an office and doing projects. They made me realize that it was
equally important to give back to the community, to society, for
a common good. The common good that all professionals of the
built and natural environment seek: to conserve and protect the
natural environment in creating habitable environments. As I
worked in IP’s office, he also rallied that I be actively involved in
PALA and the International Federation of Landscape Architects
(IFLA) since he was then the vice president for the Eastern Region.
Project discussions would often divert to discussions on the
current situation of the profession both locally and abroad. Each
time we started talking about the profession, his eyes would light
up and he would tell me his vision for the practice here in the
Philippines. He would recount how PALA was established, how
and why the Bachelor’s Degree in Landscape Architecture was
established and where he hoped it would lead to.
Perhaps it was his way of influencing the way I would look at the
profession and how I could be more participative in helping the
profession progress.
I served as PALA president for two terms. Again, it was a challenge
to lead the pioneers of the industry as I was only a few years into
the practice of the profession. I had to learn the ropes fast but as
THE FILIPINO AS A DESIGNER AND A LEADER.
My practice in landscape architecture goes beyond design.
My active involvement in the professional organization and
currently as a member of the Professional Regulatory Board
of Landscape Architecture made me see the bigger picture of
what the profession is about and the important role it plays in
building habitable environments, while protecting and conserving
the natural environment. Can designers be leaders? By the very
nature of our work where we collaborate and work with teams, we
learn to be leaders until it becomes second nature to us.
When the pandemic hit us last 2020, we were all caught off guard.
It challenged all of us to adapt and be resilient amidst the strict
lockdowns and still remain productive. Almost everything we once
did face to face turned virtual. In the recently concluded 10th
Philippine Professional Summit, Atty. Teresita Manzala, former
chairperson of the Professional Regulatory Commission (PRC),
pointed out that professionals today must be agile, resilient,
and adaptable as we navigate these uncertain times and the
challenges of the fast-changing technology. I would like to believe
that these qualities are not foreign to our culture.
The pandemic gave way to creative strategic thinking and working

“
shell (yes, I was very shy then!) and ask
questions when I did not have the answers
or know what to do. It helped very much
LEADERSHIP IS ABOUT INFLUENCING that my predecessors were kind enough to
answer my frequent calls! I would suppose
AND EMPOWERING PEOPLE TO MAKE that his most senior associate then, Zeny
THEMSELVES REACH THEIR Galingan, saw what IP also saw in me. She
also saw the same potential he saw, that
in the past, I was lucky to have IP and Zeny as my mentors who
were always ready to give me much needed advice! Once again,
I had to come out of my shell to be able to stir the organization
towards its main goals and objectives. Particularly challenging
during those times was the organization’s thrust to push for the
enactment of what is now Republic Act 9053 or The Landscape
Architecture Act of 2000. The support that IP and Zeny gave me
empowered me to do more than what was expected of me. In
in an agile setting. Translating this to the practice, designers are
not strangers to technology. We have long been using computer
aided drafting and, more recently, Geographic Information
Systems (GIS) in doing site analysis, using drones to get aerial
views of a site and many more. But what was really challenging
was being able to effectively mentor our staff, our juniors and
keeping them motivated.

HIGHEST POTENTIAL.” given the opportunity, I would grow and fit

into the role very well! IP and Zeny saw my
turn, I gave the same support to all those who came to me for
help. My mentors taught me to be selfless when paying it forward.
JOHN MAXWELL potential and allowed me to grow into the
person I am today.

I guess Santos saw my potential and more
importantly, he trusted me well enough.
After each meeting I attended, I would meet
with him and give him an account of what
had transpired during the meetings and we
would discuss the project. Every discussion
gave me a clear insight on his thinking
process. These conversations motivated
me to do better and carry myself with
confidence. He saw my potential and he
pushed me to reach its full expression.
His influence on me was not just evident
in my work but also in the way I would
mentor the staff then and now. I was never
one who would hold your hand, but rather
help you think on your own two feet. Much
like my mentor, I pushed my staff to their
potential and motivated to think on their
own. Because of this I earned the moniker
of “Dragon Lady.” IP was never selfish
to share what he knew and, most of all,
he loved to share his experiences in the
practice of the profession.
In my 11 years and a few more working for
Zeny played a significant role in my
and with IP, I showed him that he could
involvement in the Philippine Association
rely on me and trust me to get the job
of Landscape Architects (PALA) even
done right and uphold the high ethical
before I became a member. It was very
standards of his firm. The trust was mutual
timely that the Philippines would host the
—I trusted his decisions and choices as
International Federation of Landscape
much as he trusted mine even if we would
Architects’ Eastern Regional Congress.
have a difference in opinion at times.
Since PALA only had a handful of members
Leadership is also about trust. I would not
then, it was all hands on deck plus a few
have understood his decisions and choices
more. She brought me along to help in
if I did not trust him enough. He had a
whatever way. Zeny gave me a firsthand
reputation to uphold. Would he ever make
experience of working with the pioneers
a decision that would ruin him or his firm?
of the industry and for such a prestigious
And because he trusted me, I was very keen
event!
on upholding the firm’s good reputation
as well!
Just like IP, Zeny made me realize early
on that the practice was not just about
When I joined the firm of IP Santos &
creating landmark projects but also about
Associates, his office had been reduced to
professional growth through international
a handful of staff. It had been only a few
cooperation and camaraderie. Little did
years after the first EDSA People Power
I know that there was more than just
uprising in 1986 and the economy was
pride in being a part of a select group of
starting to pick up again.
professionals called landscape architects,
it was to be later on a much-coveted
privilege!

LEAP 2 Participants IFLA APR side meeting

12 13
“ OUR ABILITIES AS LEADERS WILL NOT BE MEASURED BY THE BUILDINGS
WE BUILT, THE INSTITUTIONS WE ESTABLISHED, OR WHAT OUR TEAM
ACCOMPLISHED DURING OUR TENURE. YOU AND I WILL BE JUDGED BY
HOW WELL THE PEOPLE WE INVESTED IN CARRIED ON AFTER WE ARE
GONE.”
JOHN MAXWELL IN “THE 21 IRREFUTABLE LAWS OF LEADERSHIP”

Millennials and Gen Z-ers are so adept at using technology that
it was not difficult to use the same tools to mentor them. It may
have been difficult for Baby Boomers but we had to adapt or be
left behind! Because of technology, doors to virtual collaborations
with our colleagues and other professions opened and ignited
new paths to productive outputs. The environment of professional
practice was re-imagined and re-invented as physical isolation
pushed us to explore other means to move forward and remain
productive. Being agile meant getting used to work-from-
home settings. While this may have incurred some savings on
transportation, it also wreaked havoc on our mental health. It was
a concern that could not be brushed aside and had to be dealt
with; this too was part of mentoring — genuinely looking after the
welfare of the people you work with. And as creative as we are,
we found a way to have “e-inumans” (online cocktail hours) and
virtual parties with food deliveries to complete the scenario.
The learning resources found on the internet proved to be
very helpful during the lockdowns. It gave us the opportunity
to virtually travel to other places, learn about new materials,
technology, methods of construction and design, and how to
better care for the environment. When you are mentoring your
staff, you realize that some will have the initiative to search for
information on their own, while some need a bit of a push. As the
mentor, you need to recognize these individuals and motivate
them to reach their potential accordingly. The goal of a mentor is
to see the mentee develop into a better person and achieve more
than the mentor!
continue to pursue continuing professional development not for
the credit units but for their own professional development.
PRBOLA was scheduled to hold its first international conference,
Leadership in Education and Practice (LEAP), in December 2020
to pursue the mutual recognition of professional qualifications
for landscape architects. The outcome of this conference
would largely benefit the profession not just locally but also
internationally. It could open doors of cooperation between our
country and other countries. But what was meant to be a face-to-
face conference suddenly had to shift to a virtual one. We had to
adapt to the restrictions brought about by the pandemic as we
continued to hold the conference. I would say, the conference was
still a success albeit the difficult circumstances, and we are holding
a second part this year. The theme of the conference could not
have been more apt as we stir our professionals and future
landscape architects not only to be outstanding designers but also
outstanding leaders.
Leadership is not about a title. It is not about prestige. Rather
it is about inspiring and influencing others to become the best
they can be. Leadership is the unselfish sharing of knowledge
for the greater good. The greatest reward is to see those you
helped become better than you! It has not been an easy task but
I continue to do so because in my heart, I believe that no one
should be left behind.

Despite the challenges brought about the pandemic, I did not stop
pursuing my goals to help improve my profession. In my mind, it
was only physical movement that was greatly restricted but not
the alternative means that the internet presented. When I took
my oath as a member of the Professional Regulatory Board of
Landscape Architecture (PRBOLA), I took every word to heart. I
have made the extra effort to help my colleagues understand the
Philippine Qualification Framework (PQF) and encourage them to

14 15
vv
BEYOND
DRAWINGS
What Else Is An
Architect Doing?
JENSEN RACHO, FUAP, PMD
INTERVIEWER: BELA LANYI, SVD
“I have a fully booked schedule. In the
Rotary Club, I’m taking the lead in the
vaccination drive in the province to get
herd immunity before December. I’m
busy now coordinating with the doctors
and medical frontliners as well as with
local governments in Northern Cebu.
Aside from this, I have other activities
this month such as World Polio Day,
Pink October/Cancer Awareness and
Polio Awareness Ride. In the United
Architects of the Philippines (UAP), I’m
taking the lead in the International
Affairs Committee. One of our major
programs is the establishment of
Global Filipino Architects, UAP Jobs.
Another program is the launching of
the Beacon Excellence Award 2021,”
says Ar. Racho in the beginning of
our conversation in October 2021.
Thus, the focus of our meeting is a
harmonization of professional work
and community extension service
of architects.”
Every Tuesday and
Thursday, from early
morning to late evening,
you are in class. What
motivates you in teaching?
Knowing that you make a difference
is a powerful motivator! Teaching can
be fun. Positivity and trying new things
16
What major design commissions
are you working on now?
On my drawing board, I have a private resort
development, a commercial building, and
an office building.
How can you keep together your
interdisciplinary (architects,
engineers, etc.) office?
We keep together through interdependent
collaboration, open communication, and
shared decision-making. This, in turn generates
value-added clients, organizational and
staff outcomes.
Does your social commitment
serve Racho Architects Inc. or is
it your personal, private activity?
My social commitment is a personal activity.
I am in a loop with passionate people with
diverse perspectives to exchange ideas,
forge lifelong friendships, and, above all, take
action to help others. Together, we apply
are a must to find the fun. To teach a our professional experience and personal
concept, you can explore 10 different commitment to tackle our communities’
ways of explaining it, which helps most persistent problems, finding new,
enhance your own understanding. effective ways to enhance health, stability, and
Finally, students can ask wonderful prosperity across the community. Our mantra
questions at times, which can interest is: “Service above self”.
you and often force you to learn and
study even more. For every hour I
teach, I work at least 3 hours myself;
sometimes it takes days. Every year,
I set a personal goal that in every
class I will at least impact one out of a
class of 100 in a positive way. Setting
achievable goals will make your life
easier and feeling motivated. After all,
you often end up that you’re
doing more.
As a designer, what can you
learn from your teaching
activity?
Teachers are learners, too, and time
spent leading a classroom can be a
life-changing experience. Under The
Architecture Act of 2004, Republic Act
9266, teaching is considered a practice
of the profession. In teaching, you will
learn a new body of knowledge, time
management, and communication skills
that could possibly help in the business
as a designer.
17
5 SEASONS AND LESSONS
OF LEADERSHIP
RALPH RICHARD SU, UAP
“A leader is best when people barely know he
exists. When his work is done, his aim fulfilled,
they will say: we did it ourselves.”
—Lao Tzu
In the summer of 2002, I was sent to join
a summer leadership program in Ateneo
de Manila. Together with a classmate, we
represented our alma mater, then called
Sacred Heart School – Jesuits amongst
a host of different schools nationally.
Throughout two weeks, we joined seminars,
participated in different sports activities and
social experiments veiled under the guise
of team dinners and social interactions with
coaches and facilitators. Unknown to us at
that time, we were all graded according to a
diverse criteria — social, athletic, EQ, and IQ,
among others.
As it usually is with summer programs, an
awarding ceremony was held on the last
day, only this time, unusually and to my
surprise, I was awarded the Silent Leader
Award for displaying leadership and
empathy to peers. It was highly unexpected
but I appreciated it and started to believe
that I am a leader and that this was my
leadership style — leading without others
knowing it, operating silently and behind the
scenes. I believed in it but I did not know nor
anticipate the eventful years that awaited
me in Architecture school, the practice and
in life that would reshape me and those
around me. Regardless, this summer taught
me the first lesson of leadership and one
that I would try to embody always
– Lead with HUMILITY.
In 2018, I find myself as a full-fledged
Architect with seven years of experience and
a Master’s Degree from London from two
years prior and I am now armed with the
most talented group of young apprentices
I have ever had. This particular group, I felt,
needed from me something more emphatic
than a silent leader. This group needed me
to step in and set the bar high and to be
vocal. Whenever anybody from the team with my personal love for teaching being
needed to be picked up, I would have a ignited more. Combined with a thriving
conversation with them outside of our old young practice, the high standard I set
office – “Outside Talks” as we would call years before became much higher and
them, and we would converse as more than I likewise brought this forward-moving
just boss and employee. We would converse energy to my classes in school. Quite
as mentor and student and soon after that, comically and sometimes tragically, I
My classes would be filled with discussions and very colorful effort and dedication, the students and my team moved forward
that particular team would end up forming would be known as either a very good
discourses of ideas. I made sure to always do my best in displaying with resilient hope toward a better 2021. The year 2020 taught me
a bond like family and it catapulted us to teacher or a very “terror” one—both I can
to my students the energy and love that I have for architecture the fourth lesson of leadership – Lead with HOPE. When one is full
reach and maintain high standards within now say are true!
and for always doing our best at all times. The energy from the of hope, one radiates.
the practice of Architecture. Aside from that,
Summer Internship Program and from teaching in USC made one
I also began to teach in my alma mater,
thing very vivid for me – I was born to be a mentor and knowledge The year is now 2021, and my personal mantra of “Don’t aim to
USC, teaching design and theory classes.
is meant to be shared. The year 2019 taught me the third lesson survive, THRIVE!” is challenged constantly. I find myself at odds
At least twice every semester, my team
of leadership – Lead with PASSION. In everything that you do, do it with the realities of both teaching and the practice. My consistent
would co-teach with me during specific
with all of your heart. Always. drive and perfectionism at times lose its zeal in the midst of
consultation dates. Doing so helped lend to
mediocrity and apathy in a continuing world crisis. I cannot count
the students another voice aside from mine,
The year 2020 does not need any introduction. A year that started how many times I questioned myself and my value over the last
one that students can relate to better. Little
with a lot of hope quickly stumbled and fell as months went months. I can only imagine how many of my students, peers, and
did I know then that deciding to teach would
by and our fears began to become more and more real. The close friends and family also felt the same way. It was during those
drastically reshape my values and also that
COVID-19 pandemic is real, as we all realized together as one difficult times that I learned the fifth lesson of leadership – Lead
of my team and students as well. At that
human race. Nobody was prepared for this tragedy and so most in TRUTH.
time, I realized that a leader must be able
of us had to pivot to new businesses and roles, as others were
to wear different hats and shift quickly and
forced to make the difficult decisions of letting go of immediate I learned to accept things for what they are and to carve out value
smoothly, for leaders are called upon at any
plans and long-term dreams just to survive. My family and I from any situation. For as long as it is the truth, then it is always
given time. I realized as well that teaching
experienced no different than you and like yours, my experience worth a try. Shortcomings and failures are part of the formula
is one of the most honorable professions
was very difficult. However, having lost my father to illness in for success. I preach more now to my students that failure is
since so much is demanded and very little
2018, I persevered with the mindset that if I was able to survive necessary for as long as we learn from it and 2021 has provided a
is afforded. Teachers are leaders or at least,
the passing of my father, who was my most favorite person in lot of it for most of us. Weirdly enough, though, for the first time,
we try to be. In 2018, life taught me the
the world, then I can make it through 2020. During that year, my I can honestly say that “it’s alright” and I am more hopeful now for
second lesson of leadership
young team grew wiser and my old students in USC now became the coming months and years.
– Lead with INTENT.
my apprentices. In what could have been a much more testing
task, mentoring my talented team became easier and I was able to The last 18 years of being part of the fabric of Architecture
The following year, 2019, my team and
continue to teach Architecture in USC, only this time, the shift to have been very colorful and eventful, challenging and easy,
I decided to pursue a goal together – to
an online learning setup had to be made. Not everything proved unsuccessful and victorious. It has taught me many things and I
MENTOR. Our goal was to start a yearly
to be easy and so our fortunes turned and our faith was tested hope that for you it has and it will continue to. Leaders are not
Summer Internship Program, fondly called
when projects began to be postponed or worse, cancelled. Armed born. Leaders are not made. Instead, leaders are formed by
the SIP, which would be open to any student
with a very stubborn attitude, I would not admit to the difficulties the experiences one faces and the decisions one makes in both
and young apprentice to join. The SIP was
and I pivoted once more and leaned on one of the greatest adversity and triumph. We all have the capability to become
completely for free and required only one
strengths that I possess, my value as a mentor. I believed that if leaders so just try your best to be humble, intentional with your
thing – the participant’s enthusiasm to
we focused on improving ourselves and helping others overcome actions, passionate, hopeful and true, and then perhaps your
participate. Twenty students joined the
their challenges that things would sort themselves out. In 2020, we journey may be more colorful than mine.
first ever SIP and since our old office was
hosted the second SIP and to our delight, over 30 students joined
quite small, we had to schedule each batch
and over 100 participants were present in each of the virtual talks
to be present on specific dates. My team
that we hosted. The event became more known to other provinces
of apprentices were assigned to teach
as well and I would like to believe that we were able to share our
specific lessons whilst I provided the general
love for mentorship and knowledge to others. Hopefully they
overview and mentorship to the young
would also pay it forward to those who need it most. Indeed, with
students. It was a success and it coincided
18 19

SPHERE OF INFLUENCE
NEIL ANDREW MENJARES, UAP
The stereotypical image of leadership is having a charismatic
personality leading a team, organization, or political entity.
However, given my life experiences so far, and my admittedly
evasive personality, my view of leadership has taken a
different form.
Allow me to offer an alternative view of leadership: It is being
able to establish one’s sphere of influence, enough to direct a
discourse and, at least partially, influence decision-making despite
not being the final decision-maker. This influence should be
reciprocal as well: allowing oneself to be influenced by others,
especially those with more wisdom and experience. After all,
whenever one gains new insight, one should be allowed to
change their stand or decision. Allow me to share my professional
experiences and how these have built my view of leadership.
DESIGN COORDINATION
I used to work for a shopping mall operator, where one of my
major functions was design coordination. I collected, processed,
and cascaded feedback from users to the designers to influence
design development and implementation. I was not the architect
directly designing the building, nor was I the owner. However, I
was able to indirectly trigger design decisions using user feedback.
20
Despite not being the designer of the buildings, I have some
intimate knowledge about how a building is a result of a series
of decisions made. On the other side, I was able to gain insight
from the owner’s perspective on design decisions. Working as
a representative of the owner, I gained perspectives in retail
planning, design, and operations that I may not have realized on
my own.
TEACHING AND BEING TAUGHT
Teaching was a privileged position. I taught college students, and
I was able to influence young minds. The key here is influence,
not dictate. I had to constantly remind myself that I should
not dictate what they should do. I guided students on what
information to get, how and where to get their information,
and help them process and analyze their gathered content.
Hopefully, towards the end of that process, I was able to empower
students to make design decisions for themselves. To borrow the
words of Fr. Dionisio Miranda, teachers of today do not simply
impart knowledge, as students nowadays have easy access to
knowledge. Rather, teachers impart wisdom, as students have not
experienced yet what teachers have already experienced.
I found influencing students relatively easy.
Admittedly, influencing colleagues was a different
story. Many of my colleagues were more senior and
experienced, so navigating through that circumstance
at a time of tremendous educational reform, and
later the pandemic, was challenging.
The slow pace of change and reform was, at times,
frustrating. However, it was important to have
everyone on board, or the ship could not sail. On the
other hand, I had several opportunities to learn from
my colleagues, both the young and young at heart. I
was the student, receiving wisdom from them, and
I am grateful for that.
A BIGGER STAGE
I now work in a regional socio-economic planning
agency, specifically in development research. Seeing
something move from agenda to utilization has been
exciting. For example, we were able to include Dr.
Danilo Largo’s research work on a particular seaweed
in the agenda of a regional development research
council meeting and prepared the briefing materials
for it. Eventually, the council passed a resolution
requesting the Bureau of Fisheries and Aquatic
Resources to fast-track the verification of Dr. Largo’s
new seaweed farming technology and, consequently,
to revise an existing regulation to allow the harvesting
of that seaweed using the new technology. We
expect fisherfolk to benefit tremendously from these
developments because of the high commercial value
of that seaweed. I was happy to realize that there is
an existing avenue for research work to be used in
the real world.
Another major work that we do is provide secretariat
services to various regional councils and committees.
Although we are not the decision-makers, there are
opportunities to influence the discourse through the
technical services that we provide: preparing meeting
agenda, crafting briefs and drafting resolutions,
21
performing policy analysis, and operationalizing
new initiatives. I have only been six months into my
current work, and I am learning from all
my colleagues.
AN OPPORTUNITY FOR MORE
INFLUENCE
There is a development in local governance that
will profoundly change how development will move
forward: devolution. A Supreme Court decision
prompted the full enforcement of devolution as
laid out in the Local Government Code of 1991. This
means many programs, activities, and projects that
have been done by national government agencies
will be devolved to local government units (LGUs):
provinces, cities, and municipalities. LGUs will have an
even bigger role in development.
This is an opportunity for architects and architecture
students to establish their sphere of influence:
engage with LGUs. Students, especially those working
on public buildings for their theses, can connect with
local planning and development officers and local
economic development officers so that their design
is more responsive to local needs and aspirations.
Aside from the local building officials, architects can
influence development decisions in their locality by
engaging through the local development councils.
Professional organizations can plan to designate
private sector representatives in these councils.
These are just some of the many possibilities for
establishing our sphere of influence. One does not
have to wait to climb the corporate ladder to exercise
leadership. Anyone can exercise leadership in
any circumstance.
MANAGING A SMALL
ARCHITECTURAL STUDIO
CARLOS PIO ZAFRA, UAP
Starting an architectural studio may be an
inevitable direction for an architect who
has decided to practice the profession, but
it often is a decision undertaken sometime
along the way, as the practice grows and
demands carrying multiple design
projects simultaneously.
At first, we start as freelance professionals,
carrying out projects two at a time or as
many as one can manage individually. But
when more projects are commissioned
such that the simple tasks of meeting with
clients, visiting project sites, reviewing
tenders, and balancing finances become all
too overwhelming, the only way forward is
to seek help!
Collaborating with peers may be an option
but we architects more often put more
weight on our desire to have control over
our output, as we relate it to being able to
better deliver our services. While having
an office may be among every aspiring
architect’s dreams, there are a number
of factors one needs to be prepared for
when deciding to finally have one. Learning
about how the business of architecture
works may come from different sources
- education, books, apprenticeship or
employment experience, the list goes
on. Nothing, however, prepares one until
the bridge is right in front of you to be
crossed. I am writing this article based on
my struggles as a small practitioner in Cebu
since I made the commitment, under the
guidance of my former mentor Arnulfo
“Noly” Wong, to practice architecture.
ESTABLISH STANDARDS
During apprenticeship (and even in
employment) I learned how an architect’s
design service is carried out in the
real world.
This experience is crucially valuable since
this is how I absorbed and developed
standards specific to a practice I envisioned
in the future.
One needs to develop a system for
the entire project delivery - from the
preparation and modification of contracts,
design processes, drawing/drafting
standards, transmittals, project assignment
rotation and so on. System standards
will ensure the reduction of unnecessary
setbacks in the service because staff will
always have guides to work with. Imagine
going into a basketball game not knowing
its fundamentals.
In the case of an architectural studio,
even establishing layers and line weight
standards proves invaluable. When I
started the practice in 2003, I only had the
same computer I used in college and a pre-
owned A3 printer I bought from the board
exam expense money I had saved as
tangible assets.
But the most valuable asset I had then was
the dimensioning standards my friend,
Doming, also an architect, and I developed
as a digital version of the one we had been
trained and accustomed to use when we
were still apprentices.
DEFENSE
1+2=3??
22
We designed the dimension styles to make
sure that the texts in our dimensions (and
leaders) remain the same size regardless of
the scale I set up for the drawings. For me,
as a visual creative, this is very important
in communicating the plans to the builders
and workers of a project, notwithstanding
the owners. Through the years, I have
revised the styles to further improve the
output tenders of the office. Even until
now, I review the layers, lineweights and
dimension styles, etc. yearly and update
them if need be. Finally, consider these
standards as having intellectual property
value and would serve as capital, among
others. Treasure these.
DESIGN AS A PROCESS
Sure, with the convenience of the search
bar, one can easily get inspiration from
the multitude of images and countless
architectural articles on the internet.
But most of our inspiration comes from
experience, whether they be pleasing ones
or otherwise.
For specific projects, coming from an old
school background of immersive sketching,
design is really more of a process of artistry
rather than a template-based cookie-cutter
y=mx+b
6’0”
01.26.20
2a
approach. We form plans first out of constant movements of
the pencil, fountain pen or even crayons - whatever is available
at the design table we have in the office. We then create digital
3D models together with encoding basic line layouts in CAD as
springboards in exploring further a project’s design solution.
All these processes keep repeating in the stages of the
architectural service until the contract documents tender.
In fact, even during construction, we continue to provide
supplemental drawings on key areas that require further visual
explanation to the builders. Recently, also partly due to the
pandemic (lockdown anyone?), I have switched my sketching to
an iPad. This has not only greatly reduced our paper consumption
in the office but also added a convenience bonus with how we
develop design ideas for projects.
While the process remains the same, the tools we now use allow
us to review and comment remotely more often than before. I do
feel that digital creative tools and systems greatly improve our
delivery. However, design will still remain a process.
ENABLING CREATIVITY
Alas, we are in the topic best suited for architects — creativity.
Being creative is one thing, managing creativity another, but
enabling it is a challenge that requires a good deal of risk that a
studio principal must be willing to take. It is risky because enabling
requires time to materialize. It also requires trust and effort on the
part of the principal and that there may be a chance that a staff
may not share the same creative pursuit as the studio or, worse,
none at all. It may be that the same staff has excellent qualities in,
say, estimating and documentation. It would be a shame to ignore
such potential.
Nonetheless, as team principal, it is important to promote a
general atmosphere of creativity in the workplace and to pull this
off, we always allow open communication in the studio. It used to
be difficult on my end because most of my staff usually start as
apprentices and become design assistants the moment they get
their professional license. They are used to being taught most of
the time in the studio. I really had to constantly remind my staff
to not consider me as the only source of information or decision
just because I am the principal. Adding to that, like a father
reprimanding his child, I tell them to own their decisions and
output in our projects.
23
This allows the staff to develop a sense of responsibility in their
work and a sense of fulfillment that they are part of the whole
process, from design to implementation monitoring.
To enable staff creativity, we have established bi-monthly design
meetings where we discuss the design philosophies of not only
our projects but of other works as well…including our views on our
urban landscape. Here, we talk about the design concepts we will
be using for a project, discuss the failures we experienced in past
ones, design-wise, and strategize novel approaches in upcoming
projects. Sometimes, we also talk about human behavior,
religion, our duty to God and our fellowmen…even politics! I
also encourage every project member to speak out in technical
meetings and contribute solutions to the table.
These things take time to develop, as well as continuity. In my
experience, when I didn’t yet have a steady architect employee,
when the apprentices have completed their training program
and proceeded to take the licensure examinations, I had to labor
in training new batches of apprentices on the standards I have
adopted through the years. That is why I discussed previously
the importance of archiving the studio standards - to ensure
continuity in our workflow.
Considering that the architectural profession has always been
a valuable endeavor in societies and civilizations in general, the
output and tools architects employ may have changed through
centuries of development. Even architectural philosophies have
evolved simultaneously with societal development (or regression,
in some cases). But the architect remains the same — a person
endowed with the responsibility of exploring how shelters and
environments of human endeavors should be. The architect has
become a true servant of the collective dreams of a civilization.
It is only fitting that expected from one is not only the ability to
employ design as a tool of servitude but also the ability to manage
how the whole ecosystem of said servitude is delivered. Our
societies may change, philosophies evolve…we need to always be
prepared in adapting to such inevitability.
 “ PEOPLE WITH CRAB
MENTALITY WILL OFTEN
SHOW DISDAIN RATHER
THAN APPRECIATION.” PASSION
DICTATES
CELSO DUAZO PEPITO

“ BUILD A CULTURE CELSO DUAZO PEPITO

I consider it a great privilege to have seen how art in Cebu has

WHERE IDEAS ARE evolved for the last 40 years now. Active in the art industry, I have
had the opportunity to witness how difficult it was to practice art
in Cebu. In the absence of exhibition platforms and the lack of

ENCOURAGED AND
collectors, during that time, life as a painter was truly an uphill
battle. So, many gifted individuals have shifted to another pro-
fession instead of pursuing their art. However, there were those

NOURISHED.”
who stood up for the dictates of their passion and embraced the
value of sacrifice, if only to attain artistic advancement. In search
of a substantial artistic expression, they realized that passion, ded-
ication, and determination are important factors for an artist to

RYAN NAVARRO keep going with their art. In a total sense, their love of art inspired
them to nurture their creativity, way beyond the normal manner

“
of thinking how it is to live life as an artist. In my case, maybe, I
did not have another option then, or perhaps, I just let my passion
dictate me to follow the artistic trail I have envisioned. I care for
art, as art cares for me, as art is life, and life is art.

THE FASTEST WAY TO But before discovering my sense of purpose as an artist, l first cre-
ated a means to attain a wider exposure of my art. The absence of
exhibit venues in Cebu had me opting to learn how to organize art

GET TO SUCCESS IS exhibits. To start, l sought advice from friends, attended exhibits in
Cebu and Manila, and observed how curators organized their exhi-
bitions. With a meager idea, I started organizing art shows around

TO SLOW DOWN.”
1990, until the present. A few initial exhibits that I organized were
in Cebu, until I tried them in Manila and even put up exhibits in
foreign countries, as well. 

EMI ENGLIS In the absence of galleries in Cebu, l opted to organize exhibits in

malls, restaurants, hotels and even in resorts, in cooperation with
my fellow painters. Organizing art exhibitions needs a lot plan-

ARTIST LEADERS
ning. First and foremost, l have to identify the objectives of the
show; the second is to select the exhibiting artists. Then, I usu-
ally call them to seek their opinion on the possible theme of the
exhibit, ask them to paint the intended subject, and submit the
artworks on the deadline agreed upon. 

24 25
 For a one-man show, l have encouraged the artist to pre-
pare between 30 and 40 artworks. Should there be four
to eight artists in one exhibition, I usually require them
to submit between six and 10 artworks. If there are more
than 10 exhibitors, I have them painted between three
and five artworks. And to encourage them to learn how to
organize art exhibits, I often motivate them to help in the
curating and hanging of artworks at the exhibit venues.

Another important factor in an art exhibit is the writing of

Artists installing their artworks at Cabana 1, SM Seaside City, for the PADAYON
group exhibit.
a curatorial essay about the show. The purpose is to cre-
ate cohesiveness and suggest a story about the whole ex-
hibit. Media exposure is an added must-do for the exhibit
organizer that helps promote the show. Press releases
are usually prepared for the newspapers, TV, and radio.
The advent of social media has given the exhibitors extra
mileage for global viewership; thus, an organizer shall
take additional efforts for the exhibiting artists to gain
prominence online. Above all, to create patronage for the
exhibitors, some posters, invitations and videos are also
necessary. Inviting art collectors who can act as guests of
honor is also a part of the exhibit process.

Motivated to help promote the richness of our art and

culture as Cebuanos, organizing art exhibitions for many
years now has become a fulfilling task, if not very reward-
ing for me. Though it entails a lot of efforts, the opportu-
nity to see art awareness in the community prosper has
simply made the sacrifice worth it. An added factor that
uplifts my spirit is seeing the positive growth and develop-
ment of our local artists. Witnessing their transformation
is a source of joy and an added motivation to keep going.
And though, sometimes, people with crab mentality will
often show disdain rather than appreciation, the truth
remains that we are not here only for ourselves, but for
others, as well. And if the opportunity to make a differ-
ence knocks, may every one of us opt to be an instrument
of change, rather than the cause for divisiveness. Let us
keep our passion to help dictate our actions.

Atty. Lily Daniega with Artist Fe Pepito at the opening of MITHING OPONGANON
at Island City Mactan Mall, Lapulapu City.

26 27
CREATIVE
LEADERSHIP
RYAN NAVARRO
The creative industry continues to be a major driver of global
economic development, bringing huge economic benefits and job
opportunities. Startups in the creative industry bank on innovation
and originality. Creativity indeed has become an important driving
force for success.
In recent years, Cebu has become a global hub for multimedia arts
and IT outsourcing. We took the global spotlight as we were hailed
as a new UNESCO Creative City of Design. With such a distinction,
Cebuanos now have a responsibility to work for the development
of the creative sector. With this growth, new creative organiza-
tions will surface and potentially scale, and it is imperative for new
leaders to emerge.
There comes a point in the career of many designers where the
only logical progression is to take on a leadership role. I had
28
PROVIDE A CREATIVITY-ENHANCING ENVIRONMENT
Another important consideration I had to ensure was to build an environment
where creativity naturally flows. There was a need to provide a creativity-enhanc-
ing environment. And so, we did. We built a studio with an open floor-plan layout
with what seems to be an unfinished floor to ceiling design to give the studio a
work-in progress feel. Top of the line iMacs lined up on desks in the cubicle-free
space, and fixtures and mood lighting were carefully selected to achieve that
indie vibe. The dress code was easy to remember: no flip-flops. Apart from that,
you do you: tats, piercings, colored hair, earrings, shorts or ripped jeans; your
choice. We wanted them to come to work as themselves and be as comfortable
“
as they can get. The goal: to build an environment of creativity where people are
naturally motivated. Motivating people to perform at their peak is especially vital
in creative work.
MANAGERS DO THINGS
RIGHT. LEADERS DO THE
RIGHT THINGS.”
PETER DRUCKER
EMPOWER THE TEAM
Another important characteristic of leadership is being able to empower your
team. A leader should be able to attract team members who raise the stand-
ards and are capable of designing creative processes that enable learning and
growth. By empowering your team, you build a culture where ideas are encour-
aged and nourished. This is particularly vital for the first few years of
any organization.
More recently, I joined an e-commerce company in a work-from-home arrange-
ment. I continue to manage people, this time remotely. Although running a
distributed team has its own set of hurdles to overcome like communication,
tracking work, and building trust, among others, the same formula and priorities
as running a face-to-face office applies. Engage the right talent, provide a creativ-
ity-enhancing environment, and empower the team.
A quote that’s attributed to the leadership thinker Peter Drucker says it well:
“Managers do things right. Leaders do the right things.” As a leader, you are con-
the rare opportunity to embrace that role back in 2009 when I
tinually challenged to inspire the people around you to push themselves– and,
co-founded a design outsourcing agency in Cebu. As we were just
in turn, the organization – to accomplish great things. The reality is that even
starting out, and as how most startups would have it, I had to
though leaders may be leading the team, we are still a part of it, not apart
wear many hats – from setting up the office, building the IT infra-
from it.
structure, to getting talents on board.
ENGAGE THE RIGHT TALENT Company data/info:
• Year Founded: 2009
• No. of Employees: 300+
As a leader, the first priority and one of the most crucial roles I
• Industry: Software Development
had to take then was to engage the right people. As a creative and Design
business, our success relies mostly on the creative talent we bring • Services: Design + Illustration, Ani-
along. The first order of business then was to find the right people mation, 3D Modeling, Website + App
and match their skills to do the right degree of creative work. This Development,
Digital Marketing
was and continues to be a very critical process, as we are only as
• Clients: Disney, Li & Fung, Fisher-Price,
good as the talents we bring on board. Minted, Mattel, Warner Bros.
29

IN TRUE
FASHION
“Leaders know how to act as a catalyst for creativity.”
They deeply understand the process of creative problem solving
and knows how to act as a catalyst for creativity. Such is Emi
Englis, a Culture-Heritage-Identity advocate, an artisanal heritage
fashion designer, creative entrepreneur, and multidisciplinary
design educator. His career as a fashion designer started as a
MEGA Young Designer Ambassador of the Shape of the New
Future and as a representative of the Philippines to the Consours
Internationale des Jeunnes Createurs de Mode or the International
Competition of Young Fashion Designers in Paris, France.
That paved the way to establish and chair the Fashion Design
Program at the Philippines Women’s College of Davao, one of only
four higher education institutions granting a BFA Fashion Degree
with unique design ideation and business incubation curriculum.
He is currently the Head of PWC’s Center for Innovation and Social
Ventures. He is also a founding member of the Davao Fashion and
Design Council Foundation, Inc., the Mindanao core council of the
Philippine Fashion Coalition.
His most recent engagement is organizing the region’s six pilot
culture-based creative enterprise hubs for social impact, focusing
on indigenous textiles, arts and crafts, food and farming, as well
as emerging homegrown technology, systems, and processes. This
project is part and parcel of his re-entry from a 2-year exposure
30
Design Leadership
and Creative
Innovation
PORTRAIT OF EMI ENGLIS, FASHION DESIGNER
WRITER: ARACELI JAYNE C. CULIBRA, MM
and training in the United Kingdom and Southeast Asia by the
Creative Innovator’s Program Fellowship of the British Council and
cascading of best practices of CHED’s Institutional Development and
Innovation Grant for culture-based entrepreneurship.
The Creative Innovators Programme drives the synergy between
creativity, innovation, and entrepreneurship for social impact. It
aims to contribute to more sustainable and impact-led creative
hubs that can better support the Philippines’ creative industries,
creating more inclusive cities and communities.
The project was initiated by the British Council and Department of
Trade and Industry (DTI) through Design Center of the Philippines
(DCP), in partnership with Philippine Trade Training Center,
Apl.de.Ap Foundation and Thames International.
The Creative Innovators Programme built the next generation of
creative community leaders in the Philippines through a one-year
Fellowship for creative hub managers. It included mentorships,
management training, grants, and networking opportunities in the
Philippines, the Association of Southeast Asian Nations (ASEAN),
and the UK. The Fellows will serve as inspiration and mentors for
creatives and become global ambassadors for the Philippines’
creative and cultural industries.
The selected Fellows, through their creative hubs, supported
and helped grow hundreds of creative entrepreneurs, designers,
and artists from all over the Philippines and abroad. Creative
hubs provide space and support for product and professional
development, networking, business sustainability, and community
“
engagement within the creative and cultural sectors.
THE FASTEST WAY
TO GET TO SUCCESS
IS TO SLOW DOWN.
EMI ENGLIS
CREATIVE LEADERSHIP & PHILOSOPHY
We define ‘creative philosophy’ as a systematic understanding
and collection of beliefs around the nature of creativity, it goes
without saying that virtually every creative person ought to have
some form of structured creative philosophy tucked somewhere
ready to pull out anytime. The truth is most creative people has
no own-able creative philosophy. It’s more of an I-know-it-when-I-
see-it kind of thing. As a creative, Emi is a firm believer in creativity
emanating from the fringes and the off centers. Those niches have
a certain charm in their context. Theirs is a spontaneity from the
concrete and rigid mindsets and design constructs. The freedom
to cross over without hesitation is a breath of fresh air. He likes it
when the creative process goes outside the box. And it gets more
exciting when it is starting to get rid of the box.  the peripheries away from the city center at the height of the
He is interested in studying human design in organizations. As
a leader, he has a grasp of the differences and similarities of
individuals. His goal as a leader is to harmonize the dynamics in
this mix. But what never goes out of style is that he leads and live
by example. He walks the talk.  project’s public events.
He also thinks it’s crucial that he walk them through his vision with
a certain sense of clarity and transparency. The people working
with him should see and think through his vision. In that way, he
enables and empowers them to own it and be accountable for it. 
Emi provides encouragement and insight to achieve success. He
derives inspiration from a local IP leader that says - the fastest way
to get to success is to slow down.  It is about living the moment,
enjoying the ride, and harnessing your wind. He survived having
lived a slave to the pressure of keeping it or keeping up with it.
Ultimately, he finally decided to be its master—somebody who
can hold it loosely and throw it away unapologetically. To be
empowered to chart a new course away from mere success
to true significance.
In his years of experience as a leader, triumphs and
disappointments abound. Challenges and hurdles are expected.
He is aware that every decision is critical. It can either make or
break him, the people around him, the institution he is building,
or sheltering him. Decisions must be well thought of and
future proofed. 
Perhaps one of the challenges he recently encountered was
organizing creative hubs and their community partners in
pandemic in 2020. It was a bold move. They practically gathered
50 hub leaders who trained with 32 resource persons from here
and abroad.  They took part in 24 online learning sessions, 12
focus group sessions, and 18 boot camps. All done remotely
online. They have also reached out to 5,658 individuals for the
 
Despite this gargantuan task amid challenging times, the leader
in Emi emerged naturally and receptively. He was able to cultivate
and harness the abilities of designers and community leaders
specially empathy and optimism.
Source: www.britishcouncil.ph
TRAINING STUDENTS
FOR LEADERSHIP:
The SAFAD Experience
CHERYL LAO, RGC
The terms “leadership” and “teambuilding” bring to mind many images
and meanings. In the academe, leadership and teambuilding are
promoted along with academic excellence. According to the great John
F. Kennedy, leadership and learning are indispensable to each other.
The idea of leadership was further elaborated by Warren Bennis when
he stated that leadership is a function of knowing yourself, having a
vision that is well communicated, building trust among colleagues, and
taking effective action to realize your own leadership potential.
The University of San Carlos supports the intellectual, personal,
social, and professional development of all students for their
leadership.
In the then College of Architecture, now the School of Architecture,
Fine Arts and Design, this received attention and emphasis
because the graduates were expected to get placed in situations
where they would have to lead a team of various professions,
personalities, and persuasions. It was imperative that the students
be trained as early as in the first year to learn to work well with
others and to take the lead in teams.
And so was born the Teambuilding and Leadership Program. This was
the brainchild of Architect Omar Maxwell Espina, who was then Dean
of the college. He requested the counselor assigned to the college
to design and implement this program for all the first-year students.
His vision was that very early on, the students would learn to get
along with others and learn essential skills such organizing, planning,
listening, decision-making, coordinating, and so on. After his term,
the succeeding deans of the college, namely Architect Joseph Michael
Espina and Architect Margret Rosario, ably and generously supported
the program. Thus began one of the longest-running programs in the
college, which lasted for more than 10 years. It was interrupted by the
K-12 curriculum’s implementation, when there were no freshmen for
two years. And then the COVID-19 pandemic began in 2020.
The intention was to provide an opportunity for the freshmen
to deepen self-understanding and be able to relate and work
well with others. The first few days and weeks are awkward and
anxiety-filled moments for freshmen, especially those who are
new to the university. This activity will help break the ice and also
welcome new students to SAFAD and help them meet their peers.
32
With the Leadership and Teambuilding (LTS) activity, it is anticipated
that the students learn very early the importance and value of
knowing oneself and the challenges of working with others in a team.
They also learn patience, humility, discipline, hard work, listening, and
trusting others. The overnight set-up with meager accommodations
in the building provides an opportunity to practice virtus and devotio.
The program was designed to be an overnight activity so that the
students will have more than enough time to get to know one
another and bond together in a free, natural, and unstructured
atmosphere. The first few times it was run, the venue was in the
retreat house in Talamban Campus. And when the freshmen
population increased, the SAFAD building became the venue.
The freshmen literally get to sleep overnight in the bare simple
accommodation of the classrooms.
When the program was first implemented, the main facilitators
were assisted by counselors from different colleges. Later, the
resident counselors were ably assisted by the student officers of
both departments. These student officers were the products of
the program and of course had full knowledge of its objectives and
how it usually ran. The program evolved into a close collaboration
with the counselors and student officers such that even in the
planning stage of the program, the officers were involved. The
student officers also helped with logistics and running the activities.
They acted as facilitators, guides and lookouts (especially in the
evening). It was beautiful to see the freshmen meeting, bonding,
and learning from the seniors.
Day one of the activity begins with a prayer followed by the welcome
remarks from the dean. The main facilitator explains the rationale
and house rules that are to be followed all throughout the activity.
The participants then go their preassigned groups and are given time
for the Getting to Know You (GTKY) activity. Aside from introducing
themselves to one another, they are asked to come up with a team
name and mantra and create their own team banner. Dinner follows.
In recent years, the dinner was arranged boodle-style. Each team
is assigned a long table and instructed to feed the person on their
right. The reaction is varied and quite interesting. Shock, laughter,
and shrieks ensue. The “feeding” lasts for only for a few minutes, after
which they are instructed to eat in the usual way.
After dinner, all the participants go back to their teams where a self-
awareness activity is conducted. The Coat of Arms activity is usually
given. Each participant creates their own coat of arms on paper and
they share with others what their coat of arms means. Counselors
facilitate the activity. The main facilitator processes the experience
of sharing by the participants and gives a short discussion using the
Johari window as the theoretical framework.
After the self-awareness activity, all the participants gather as one and
each team presents to the big group their team’s name, mantra, and
banners. And this where the fun and laughter begin as different teams
get to showcase their creativity and team spirit.
The day ends with a gratitude circle activity where each member
shares with their team what they are most grateful for, for that
day. It is also a chance for them to give and receive affirmations
from one another. An evening prayer wraps up the night, after
which participants go to their room assignments.
Day two (2) begins with morning prayer, an energizing song or
exercise and recap of the previous day’s activity. With the energy
level hyped up, the teams are asked to create a tower using old
newspapers and a roll of masking tape as materials within a limited
period of time. They are to do this using only non-verbal language.
The best tower is chosen based on height and stability. The towers
created by each team are displayed in the middle of the lobby for all
to see. One facilitator fans each tower a number of times to check on
its stability. This creates a lot of varied reactions from the teams. The
highest and most stable tower is awarded corresponding points.
This is then followed by the main highlight of the day, which is an
activity patterned after a popular TV show called “The Amazing
Race.” Each team is instructed to go from one station to another
and perform the tasks required at each station. The proper
execution of tasks earns points for the team. And this is where
teamwork, planning, coordination, and leadership come into play.
The stations are spread throughout the building so the physical
stamina and quickness of the team members are put to the test.
After the allotted time, all teams come to the main hall for the
processing of their experiences, feelings, and reactions. Insights and
realizations are solicited from the participants. A comprehensive
33
discussion on leadership is provided to synthesize the entire
overnight activity. The winners of The Amazing Race are declared
and given the proper recognition.
Counselors have seen how the program has helped many freshmen
who initially struggled in the first few weeks of entering college.
They made new friends across the different programs and blocks.
They became more comfortable in their new environment and were
warmly welcomed by the senior students who gave tips and words
of encouragement. Evaluations of the program have been generally
positive and encouraging. Most of the students appreciated joining
it and said that it was one of the highlights of their freshmen year.
Among their feedback were:
• If you open yourself more, it’d be easy to connect with others. Leading
others means understanding people and being their equal to be able to
engage unity in the group.
• I learned to adapt to different kinds of people and work really well
with them. I was able to have fun in the challenges and have made
great friends.
• I am able to overcome my shyness and know my worth and work with
a group of individuals with the same goal.
• Not only will it be applied to school group work, but I can also apply
it in day-to-day classroom encounters. I can be more friendly to the
people I will meet.
• I have learned that the more the team communicates with each other,
the more the team can help each other make the team more effective.
Becoming a leader is a lifelong process that compels us to hold fast
to our principles, yet stay open and humble to what new challenges
can teach us. The decision to welcome our new SAFAD students
with this positive and enriching experience has been a rewarding
one. Beyond this program once in the four or five years in a
student’s academic, numerous other initiatives develop effective
student leadership.
The University of San Carlos can continue to provide needed support
and opportunities to enhance the leadership potentials of its
students. The different initiatives in the university like the programs
with Cherish, IPD, and even outreach activities organized by CES are
wonderful opportunities for students to become better leaders. As
the saying goes, it takes a village to make a man and so it is in the
formation of the Carolinian brand of student leaders.
 prioritize development, whether in themselves or
others. Intuition has saved me from a deadline due
to conflicting schedules, when an unexpected idea
came through my mind that would help my group
and I pass just on time.

The last one is communication, a powerful tool

THE PATH OF
that can guide people because it allows leaders to
understand concepts as well as help empathize and
encourage one another. One time I had a group
activity where we had to make a video presentation,
and I realized that we haven’t talked much together
as a group. So, I decided to try to communicate with
my groupmates about how we would do our video,

LEADERSHIP
which turned out to be successful. I’m usually really
quiet and shy especially when it comes to working
with others; however, I was thankful that I managed
to get out of my own comfort zone to become better
in building a connection with others.

There are more to name but I think that these

traits are really viable. I noticed, though, that not
CHRISTEL ANN F. UY everyone talks about how important these qualities
are. We must keep in mind that leadership is not
always about striking fear and intimidation into
people but rather empathizing with others and
“What exactly does a leader go through?” I’ve often asked this figuring out what causes problems and what can

“
question. Back in high school during an English class, my teacher solve them. With empathy, a strong and positive
mentioned the struggles and responsibilities a leader has to mind, and time management, leaders can help
endure, and I still remember that to this day. We’ve all had those their group function well. I know that the role of a
moments in school when we picked a leader for our group leader is not just one direction or top to bottom.
It goes both ways, and leaders need to build a
A LEADER DOES NOT projects and whenever we did, that person would try to decline
the offer. It is understandable, since being a leader did sound connection with their people. Building trust is
certainly a push for us future leaders to set out
EXACTLY FOLLOW A
stressful and pressure-filled for a person to bear. Ralph Waldo
Emerson described a leader as one who “goes to an unknown towards what lies at the end of the path. Who
path and leaves a trail.” knows? We might find a new world at the end of
PATH THAT LEADS What is beyond that trail? Someone with a curious mind would
the trail.

TO SOMEWHERE; say that there could be something at the end of that trail, yet fear
and doubt can hold you back. Responsibilities would always weigh
HOWEVER, HE GOES TO heavily on leaders, especially when it comes to decision-making and
anticipating the consequences of one’s choices. I remember a quote
AN UNKNOWN PATH from a book that I’ve read which said, “I would rather be a king who
suffers while my people flourish, rather than a king who flourishes

AND LEAVES A TRIAL.” while my people suffer.” Those lines perfectly describe the inner
struggle of a leader.

RALPH WALDO EMERSON What exactly makes a good leader in the design field? I’ve researched
AMERICAN ESSAYIST for some answers and asked others who shared these experiences
and I have come to find three traits that makes up a good leader.

The first one is strong emotional intelligence; this one is very

important for a leader to have since it is what helps a person think
clearly and not act impulsively. There will be times where your
patience will run low toward a colleague or a superior. You will feel
thankful that you maintained your professionalism and did not do
anything out of impulse or in the grip of intense emotions.

The second one is intuition. A good leader is intuitive because they

think of things in a different light as well as know who their people
are. They are self-aware, observant of their surroundings and they

Shoes on a journey to find the way.

34 35

THEN ANYONE
CAN LEAD
MARIELLE FRITZ ABABON & KYLE ANGELO BORROMEO
After five years of architecture school, we will finally be out as
our vested selves exploring the real world. In it, our capabilities
and knowledge will be put to the test, bent, and countless times,
rejected. But while we are still in school, we often find ourselves
imagining our futures, idolizing famous architects, doing much to
ensure that we operate at our best and become who we dreamt
of being after university. But truth be told, the academe is not
a walk in the park; it involves instances of self-doubt and tough
challenges beyond compare. Until now, some of us still could not
grasp what we have been doing wrong and where we must invest
“
in making our academic years worthwhile. Which path should we
move towards?
I DON’T THINK YOU CAN TEACH
ARCHITECTURE. YOU CAN ONLY
INSPIRE PEOPLE.”
ZAHA HADID
The architect spoke about leadership as an integrant that brings
careers to greater heights. In whatever endeavor or profession,
there has to be passion within an operation through a human
medium. It is a familiar concept for leaders to have the skills,
talent, and knowledge that stand out among a group. They must
also possess the capability to manage an entire process typical
in group works or school organizations. But does this mean
leadership is practiced only in instances with more significant
responsibilities?
Leadership stems from the whys, the reasons, or the purpose of
doing things. For example, when choosing the firm we want to
work for, we do not select the best firm in the area, nor should
36
it be the most convenient training process because
eventually, we would be worn out following a quantified
path. We choose to submit ourselves and be mentored
by people we believe in, despite the numerous
downfalls they commit or we commit for them. In this
sense, leadership is a two-way process. To teach and be
taught or to guide and be guided. Admittedly, a group
does not just need one leader to work effectively. There
must be leaders within each member. It is not a selection
of the best but a collaboration of each member that
makes the best they can be. We follow people we idolize
because they give us hope and keep us inspired. If one
can embody what he believes in, become a role model,
and have the capacity to inspire, then anyone can lead.
Good leaders, those whom the majority idolizes, were
not made overnight. Like everyone, they started with
the ability to create an impact by doing what they do
best for causes they believe in. Leadership embeds
something more profound than just making things work
or concluding tasks. Instead, it’s making the work and the
efforts flourish. Leading means sharing the belief you put
in your work with people who would eventually believe
in you or, better still, believe in themselves. With all the
struggles we’ve been facing as students, leadership needs
not to be at a grand scale. It can be as simple as doing
your best or sharing your victories.
There has to be a change in how we perceive leadership,
especially in our profession. We are leaders not because
we have achieved or gained recognition from doing
desirable things, nor are we leaders because we have our
academic life all figured out, but because we do things
we feel strongly about. To lead is simply to inspire. To
someone, through anything inspiring that you do, you
are a leader.
AN INCLUSIVE AND
EQUITABLE BUILT
ENVIRONMENT A Call to Localize the 17 Sustainable
Development Goals in the Practice of
Architecture and Landscape Architecture
SHERWIN O. RAMOSA, MArch
At the height of the global pandemic, the international architecture and landscape architecture professions represented by the
International Union of Architects, and International Federation of Landscape Architects based in Europe, launched their contributions to
the 17 United Nations Sustainable Development Goals set in 2030. The Architect’s Guide was in its second installment, meanwhile the
Landscape Architect’s Guide was the first.
GUIDES CONTENT
Both guides contain a substantive, but not exhaustive, architectural and landscape case studies around the world which addresses the 17
SDGs (see example below). For the Architect’s Guide, “it outlines how [the Goal] interacts with the built environment and gives examples
of realized projects that illustrate architectural contributions”. In the case for Landscape Architect’s Guide, it also “illustrate the wide
range of planning, design and management projects where Landscape Architects have committed to sustainable practice.” Below is a
comparative list and snippet highlighting architecture and landscape architecture contribution to the Sustainable Development Goals:
SUSTAINABLE
DEVELOPMENT
ARCHITECTURE
(From the Architecture Guide
LANDSCAPE ARCHITECTURE
(From the Landscape Architecture Guide
GOALS (SDGs) to the 17 SDGs) to the 17 SDGs)
• Improving environmental comfort and reduced thermal stress through
Architecture cannot lift people out of poverty, landscape restoration and preserving or restoring ecological integrity.
but the built environment can affect the • Linking employment to environmental actions such as installing and
impact of poverty on people’s life through maintaining urban forests.
access to housing and institutions that •Training in “new” environmental sectors and building capacity locally.
are affordable. •Integrating low-cost community food production.
•Reducing damage and losses from rising sea levels, storms and flooding
through climate change adaptation.
•Economic development and job creation.
37

The built environment contributes to the
securing of food supplies through planning,
landscape design and building complexes that
protect existing ecosystems and prioritize the
preservation and expansion of areas for
food production.
Most people spend the majority of their life
indoors, making indoor climate an influential
factor of health.
Schools and educational spaces are a crucial
part of our investment in the future.
To support a movement towards gender
equality, the design of buildings, settlements
and urban areas must be inclusive to all
citizens regardless of gender.
To take advantage of rainfall where clean
water is scarce, buildings and urban areas
must be designed so that rainwater can be
collected, purified and used as
drinking water.
The built environment is a major source of
energy consumption and a potentially crucial
energy producer.
The built environment interacts with decent
work and economic growth on both a
planning level and on a building level.
The building industry is producing massive
amounts of waste and is consuming large
amounts of natural resources and energy.
The built environment can act as an amplifier
and enforcer of inequalities.
The built environment is crucial to the
development of sustainable cities
and communities.
• Awaken understanding and awareness of the bond between Agriculture
and Productive Landscapes so to address managing solutions to conflicts
and demands identified as priorities.
• Boost the advancement and completion of an inventory of agricultural
heritage systems in each region and nation in response to the safeguarding
of agricultural biodiversity and wildlife and the dissemination of indigenous
knowledge source and ancestral cultures.
• Explore and deepen mutual collaboration opportunities between
Agriculture, Urban Agriculture, Productive Landscapes, Public Space and
Cultural-natural Heritage.
The WHO has said that the Americas will be the Region most affected by
the coronavirus. The health and well-being of the Region is then in a crisis
like everywhere else, but in a deeper way. For this reason, in the Region
of the Americas, we have wanted to know how Landscape Architects have
been affected by this situation in their work and educational environments,
as well as from a human and citizen perspective.
Based on the interactions among the UN Sustainable Development Goals
and following the decision to align IFLA’s working groups to the SDGs, the
Education and Academic Affairs committee developed an inclusive strategy
involving LA practitioners, researchers, educators and students “leaving no
one behind”.
The IFLA EPA working group operates in a good willing and open mindset
allowing for all the voices to be heard and creating a mixed, multinational and
multidisciplinary community, that even if it has Landscape Architecture as its
core, it will always have room for other professionals and individuals with an
interest in our vision and mission. EPA supports emerging professionals and
aims to improve the transition from student to professional life, with equal
opportunities at all genders.
Water plays a vital role in all aspects of social, economic and environmental
development. Ensuring availability and sustainable management of water and
sanitation for all are major sustainability concerns in the twenty-first century.
There is in progress making affordable and clean energy. Much has been done
to secure energy in parts of the world where energy is scarce, and much is
done in making energy from renewable sources such as wind, sun and thermal
energy (Energy – United Nations Sustainable Development). But affordable
and clean energy is perhaps also one of the most difficult targets to reach.
The existing definition from 2008 does not match the actual and future
oriented understanding of the profession of Landscape Architects and it does
not show the ways in which Landscape Architects contribute to sustainability,
economic growth, full employment and decent work for all.
Landscape Architecture, by its very nature, gives perfect response to the
SDG Topic 9 through the industry which it represents. Increased demands
for services that this profession provides, based on current market trends,
indicate that new approaches influence the possibilities for employment by
investment in new, sustainable solutions, green technologies and materials.
To reduce inequalities, landscape must be accessible and available to
everyone. Landscape services need to be equally distributed and affordable
to the most deprived members of the community.
Counteracting climate changes as they manifest is impossible, but we can help
our cities to better adapt to current phenomena, improving everyone’s safety
and quality of life. There is knowledge, technology and experienced planning
(best practices). Now we need to act.
38
The building industry is a major
contributor to waste.
The CO2 footprint of the built environment
must be reduced, and buildings and
settlements must be adapted to the
changing climate.
Most of the built environment is situated on
land, but its activities affect the oceans.
The amount of buildings, settlements and
cities taking up land is rapidly growing.
Parliaments, courthouses and public libraries
are cornerstones in a just and peaceful
society, while local community centers, places
of worship and safehouses can represent
citizens’ commitment to an inclusive and
compassionate society.
Every city is built by many hands, and
similarly we need to work together to reach
the 17 sustainable development goals, as no
single stakeholder can reach them alone.
For a better and comprehensive understanding of the above table,
and to download the complete guides, please visit the following
links for the Architect’s Guide: https://uia2023cph.org/the-guides
and Landscape Architect’s Guide: https://iflaeurope.eu/index.
php/site/news-single/a-landscape-architecture-guide-to-the-17-
sustainable-development-goals
Landscape Architects have a perspective of how a system works as a whole.
The intent of each SDG goal is interrelated and we cannot understand the
achievement of one of them without the accomplishment of the others. We
talk about “nature based solutions”. That is not a novelty in our profession.
Understanding nature and how to correlate with it can generate an 180° turn
where local actions can have a global impact. We understand it is one of the
steps to follow in design that can permeate to other disciplines and will have
a direct impact improving the quality of people’s life, and the quality of
our landscapes.
IFLA agrees that climate change poses ‘an inevitable and urgent global
challenge with long term implications for the sustainable development
of all countries” (RIO+20 Outcome Document). We understand that the
complex problems posed by a changing society and by global pandemics
will only be solved through the collaborative efforts of expert and innovative
interdisciplinary teams working to address short term challenges and
long-term impacts.
• Preserve and restore ecosystems and limit ocean acidification
• Sustain fishing and conserve and restore coastal and marine areas
• Prohibit subsidies that contribute to overfishing
• Increase long-term benefits of the sustainable use of marine resources and
increase scientific knowledge, and develop research and technology for
ocean health
• Support and protect small-scale fisheries and implement and enforce the
International Law of the Sea
In particular ‘Life on Land’ is changing due to climate change and our
response to the changing circumstances of humanity as we adjust to these
changes. Changes to the land (and sea and sky) affects us humans but also
all the other organisms of the biosphere. As a result the idea of indigeneity is
not what it used to be.
IFLA will work to deliver SDG 16 by continuing to develop and build its
proposal for an international Landscape Convention (ILC). Calling for spatial,
environmental and social justice, this will help IFLA galvanise support and
encourage political and community action to recognise the capacity and
power of landscape to deal with the increasingly urgent global challenges
faced by society.
For IFLA one of the main objectives in our business plan is related to SDG 17;
that is, to strengthen liaison and partnership with the many stakeholders and
interested parties that are concerned with sustainable development, including
other non-government organizations, representative bodies and government
agencies so that we can find together the best ways to find and enhance a
sustainable future.
A CALL TO ACTION
The two documents proved that sustainable development can
be achieved whatever level of development one is experiencing
or whether you’re from the Global North or South. But most
importantly, this is a call to action for local architects and
landscape architects as well as the allied fields to adapt and
practice sustainable design and planning, and become the
leaders, the designed and built environment professions
envisioned you to be. Who knows Philippine planning and
design projects might be featured in the next editions!
39
CHALLENGING STATUS
QUO THROUGH
INNOVATIVE DESIGN
LEADERSHIP
ADRIAN PEREZ DEL MONTE, PHD, PIID

Our current design landscape is continuously changing for
the better, pushing technology, materials, and creativity by
leaps and bounds. As a result, new built environments are
created where design practitioners redefine innovative designs,
foster creative collaboration, and advances game-changing
technologies—as such, making a groundbreaking idea in an
industry that expects recursive process requires vision, action,
and commitment. Esteemed design luminaires like Rem Koolhaas,
Zaha Hadid, and Jean Nouvel broke the mold of a traditional
design practitioner by establishing unconventional architecture,
gravity-defying structures, and awe-inspiring design icons. While
globally integrated design firms like Gensler, Perkins + Will, and
HKS reimagined design ideas through continual research and
community dialogue. People-centric and aspirational approaches
are paths towards new heights of user experience and innovative
solutions that support or upend the built environment today.
Challenging the status quo sounds simple, but how is it
exactly done?
In architecture and design, the Shanghai Tower by Gensler
reinvented the notion of high-rise architecture in a country where
skyscraper is a common sight. The tower showcases cutting-edge
sustainable design strategies that set new standards for green
building and community. The second tallest building in the world
has an appearance of a rotating curvature and disconcertingly
bent for some angles, which was a civil and environmental
engineering feat. It allows the building to withstand severe
cyclonic winds common in Shanghai, and the translucent skin
that wraps around the building serves as a buffer and natural
ventilation. This simple design solution resulted in a lighter
structure and saved millions of dollars in costly materials.
Innovation such as these works around the incompatibilities
and limitations of the common design practice by challenging
age-old innovations through research and development and by
understanding how to upgrade the wheel but not necessarily
invent anew.

REINVENT THE WHEEL

The key to innovative design is to challenge the status quo. By

challenging the status quo, one has to go beyond the existing
design practices. The fact of the matter is that many innovative
design leaders always find ways to improve the built environment.
Reinventing the wheel does not always mean being a design
pioneer. Rather, find ways to reinterpret existing design,
solutions, and practices in a new way. Often, the basis of design
transformation and evolution is human activity. Thus, it is essential
to understand behaviors, beliefs, and values when innovating the
wheel. Among the notable innovation of our generation
includes Tesla for the automotive industry, iPhone for mobile
phones, and McDonald’s for the fast-food industry.

40 41
Shanghai Tower by Gensler
 THE FUTURE OF
Toshiko’s Mori’s inverted pitched school roof

BUILT HERITAGE:
A Rebranding of the Conservation and Heritage
31 Research
CHERISH Institute
Branding for Society and its History
Guidelines
(CHERISH)
CARLA MARIE ADLAWAN

Children proceeding to their classrooms
PROMOTE INNOVATION
Challenging the status quo could be a journey to innovation.
An innovative built environment that challenges the status quo
is not always about technological advancements—others were
inspired by the vernacular precedents of the locale. Take Toshiko
Mori’s circular school in Senegal, where its architecture utilized
local materials, traditional construction skills, and community
involvement throughout every design phase to make the building
relatable and distinctive. In addition, the economic, cultural, and
climatic conditions were vital in designing the school buildings
through the site’s context. For example, the inversion of a pitched
roof, perforations on mud-brick walls, and maximizing rainwater
runoff promote vernacular building practices. At the same time,
the project expands innovative structural possibilities through
parametric and local knowledge.
The classroom interior
Moving forward, design leaders acknowledge that fostering
innovation winnowed typical design solutions and generates
opportunities to explore unconventional ideas. Rem Koolhaas
once said, “the acceptance of certain realities doesn’t preclude
idealism. It can lead to certain breakthroughs.” Indeed, innovation
is a driving force. It challenges the status quo and is an essential
source of groundbreaking design advancement. Through
introspection, elements that facilitate and impede innovation
should be identified, whether culture, resources, short-term
thinking, fear of failure, or even creativity.
“A Cebuano Community that values its built heritage and
is equipped with resources to manage and conserve this
legacy for future generations.”
This is the vision of CHERISH, or the Conservation and
Heritage Research Institute for Society and its History.
CHERISH was established in 2004 by Ar. Melva Rodriguez-
Java, the first Dean of the College of Architecture and Fine
Arts (CAFA), now School of Architecture, Fine Arts and
Design (SAFAD) in the University of San Carlos.
As the conservation arm of SAFAD, it provides training
for students and professionals on how to take care
of heritage sites and structures, specifically in the
Visayas regions. According to current SAFAD Dean, Ar.
Margret Rosario, “As a university-based heritage studio,
it exemplifies the value of community engagement
embedded in the curriculum of the built
environment programs.”
CHERISH has also collaborated with local and international experts
and organizations, allowing the section to assist stakeholders,
such as the Archdiocese of Cebu and Bohol and many more. It
has received grants from the National Commission on Culture
and Arts (NCCA) to produce Conservation Management Plans of
Boljoon Church in Cebu, and Dauis and Loboc Churches in 2014.
In July 2021, CHERISH turned over the Basílica Menor del Santo
Niño de Cebú Conservation Management Plan.
Over the years, major milestones have been reached, including:
documenting and monitoring of heritage churches in Cebu and
Bohol, organizing heritage seminars and workshops, conducting
assessment and conservation works for damaged heritage
structures, and producing and publishing manuals and tourist
guidebooks such as the “Illustrated Manual for the Repair and
Maintenance of Spanish Period Structures in the Philippines”
in 2018.

42 43
 Moving forward, CHERISH aims to promote heritage conservation is and what it stands for. The logomark is iconic and modern, ACKNOWLEDGMENTS
through research and publication, setting up a laboratory for offering a fresh take on its vision and mission, communicating
historic material analysis and offering short certificate courses for growth while still anchoring itself in the past. The visuals were Fr. Narciso A. Cellan Jr., SVD
conservation training. crafted to express a strong and memorable identify for CHERISH President, University of San Carlos
towards its stakeholders and clients, to reinforce the significance
Fr. Jesuraj Anthoniappen, SVD
and importance of valuing and protecting our heritage. Vice President of Academic Affairs, University of San Carlos
THE CHERISH CONSERVATION
MANAGEMENT PLAN The CHERISH Branding Project is a collaboration between Ar. Margret D. Rosario, MTE, FUAP
Architecture and Advertising Arts faculty and students from Dean, School of Architecture, Fine Arts and Design
After being a valuable partner for heritage conservation works SAFAD - a showcase of talent and skill, and a celebration of
Ar. Anne G. Nacorda
in the Visayas regions for 17 years, CHERISH ushers in a new era collaboration among creative minds. Chair, Department of Architecture
of managing, protecting, and conserving built heritage for future
generations with its new brand. Today, under the leadership of Administrator Ar. Vangie Cheryl Ms. Ivy Miriam A. Castro, MA
Ulila, CHERISH continues the mission of heritage conservation Chair, Department of Fine Arts and Design
The CHERISH Branding Team, led by Assistant Administrator with a new brand that embodies its core values of service and
Ar. Vangie Cheryl C. Ulila, MSHP
Ms. Araceli Jayne Culibra, shared during the launch that the new commitment. Ar. Ulila adds, “Like a watchtower, we stand on Administrator, CHERISH
branding and logo “reflects the growth, the drive for innovation guard to protect our heritage and stand our ground to guide
PRINT COMMUNICATION
and competence, and denotes the group’s vision as a catalyst of the development of our towns and cities towards a sustainable Ms. Araceli Jayne C. Culibra, MM
built heritage conservation in the Cebuano Community.” The new future. Together, let’s CHERISH our heritage!” Assistant Administrator, CHERISH Project Manager -
CHERISH Branding
brand identity sets the tone of voice and visuals for who CHERISH
Angelica May Romero
CHERISH Branding
LOGO IDENTITY - LOGO BREAKDOWN
LOGO IDENTITY - LOGO BREAKDOWN Marian Jesryl Dacalos
CHERISH Branding

Charles McJones Arquion

MASTERBRAND CHERISH Branding

The logomark and the wordmark Anton Elijah Lin

Illustrator, CHERISH Brand book
must always come together. The
word “CHERISH” is a wordmark Patricia Denise Rafanan
and not a typeface; it cannot be Layout Artist, CHERISH Brand book
replaced with a different typeface.
Amabelle Lorraine Piñon
The logo is a strategic combi- Layout Artist, CHERISH Brand book
nation of the letters from the
organization’s name, CHERISH. It STATIONERY
is also assembled to mimic a win- Lisha Kilat Marcel Lacbain
LIGHTHOUSE BASEFORM dow implying that the audience Kyle Patalinghug Shyra Saliladia
LIGHTHOUSE
Bagacay Lighthouse in Liloan Cebu
LIGHTHOUSE
BASEFORM
Combination of the negative spaces
BASEFORM is looking at Cebu’s heritage sites
formed using the CHERISH letters to

Bagacay Lighthouse in Liloan Cebu

form a window.
Combination of the negative spaces
through the organization’s care DIGITAL COMMUNICATION
Bagacay Lighthouse in Combination of CHERISH
formed using the the negative
letters to and protection. Hanna Cadiz Elaine Mondero

“
11 CHERISH Branding Guidelines
Liloan Cebu spaces formed form a window.
using the CHERISH Michael Hernandez Jasmin Reyes CHERISH
31 CHERISH Branding Guidelines
11 CHERISH Branding Guidelines
letters to form a window Tanya Qu Benedict Villarante

PRINT COMMUNICATION

OLD IDEAS CAN

Apphia Peralta Kliann Yee
Pamela Hoo Louie Jaminal
Eliah Zamoras Thea Manlangit

SOMETIMES USE Aljean Uyan Kyla Conlu

NEW BUILDINGS. SITE VISIT

Noreen Narsico Alonzo Santos

NEW IDEAS MUST

Czarina Telen Nicole Villamor

USE OLD BUILDINGS.”

DOCUMENTS & FORMS
Kobe Abellanosa Valjohn Buñao
Dane David Gin Lumapas
AMERICAN URBAN THEORIST Justin Muring Francis Ofilanda

JANE JACOBS MERCHANDISE

Trinna Casal Vanessa Leuterio
Alliah Sabal Jean Sentorias

44 45
 When we think of leaders, a specific image or two usually
come to mind. The first are men and sadly enough, still in a
lesser extent, women in a modern urban business setting
showing all signs of success. Beautiful features and clothes,
bright white smiles and healthy bodies that radiate
success and money. Often a glimpse of a perfect family
in an urban resort living setting is thrown in to complete
the picture. The other one is often the stereotype of the
eminence grise, the old established force behind the
scenes (often the pater or mater familias) who pulls the
strings at the family business.

Insert caption here.

GRASSROOTS
Discussing inputs during a Focus Group Discussion.

There is, however, also another type of leader. Ordinary people that

LEADERSHIP
have risen to the occasion because their existence or their livelihood
is gravely threatened. People who show under pressure what they are
made of and often are able to organize communities and seek support
for their cause, the defense of their livelihood and families. In many
cases, it is the women shattering the myth of subservience and silence,
who step up and take the lead.

IN RURAL CEBU
The San Roque Farmers’ Organization in Bonbon, Aloguinsan is an
organization of small farmers who also partly depend on fishing for their
livelihoods. The organization faced a sudden issue when the ownership of
the land that they had been tilling for as long as they could remember was
suddenly disputed, claimed by someone they hardly knew. Suddenly the
land was fenced, guarded and they were faced with violence, court cases, and
evictions. There was hardly any support coming from the local government
WRITERS: UBO PAKES AND LENY OCASIONES unit or from the government agency mandated to support farmers.
PHOTOS: UBO PAKES

46 47
Support came from only one non-government organization that was
based in Cebu City, the Central Visayas Farmers’ Development Center.
They have learned the important lesson that they have to depend on
themselves in order to defend their land.

Women leaders play an important role in the struggle for their

rights. According to some male farmer leaders, they are even more
important than men. They organized a women’s organization
to support their families and took the lead in organizing the
community. They were key in networking, mobilizing people,
and making sure that the community could not be divided by
bribes. They were literally at the forefront when fencing of their
properties loomed, facing the combined forces of private guards
and police. Women leaders formed the first line of defense
against the security guards and police, and they formed a
protective layer around their husbands and families. The legal
struggle for landownership in Bonbon is still ongoing, and
women leaders remain at the forefront.

UNIQUE,
3.40 m
0.801.00 0.80

PIONEERING
PYLON

4.65 m

The Department of Anthropology, Sociology

STEEL PLATES
(ORNAMENTAL
CROSS)
INNOVATIVE—
CEBUANO!
and History (DASH) of USC through some
faculty members have been interacting with
this community for research and student
exposure since 2015. During numerous visits, the 41.00 m
organizers were able to narrate their stories and
experiences to the faculty and students. Not only
that these brave leaders showed readiness to share
their stories but even offered to teach “the kids from
the city” how to plow using a water buffalo.

These grassroots leaders are proof that more than THE CEBU-CORDOVA LINK
EXPRESSWAY WITH THE
money, fame, and educational attainment, it’s the
pure, unadulterated commitment and the capacity to
stand up for one’s and other’s rights that make a leader.

THIRD MACTAN BRIDGE

INTERVIEW WITH ENGR. ALLAN G. ALFON, CEO, CCLEC
TRANSVERSE ELEVATION INTERVIEWER: BR. BELA LANYI SVD

0m 2.50m 5m 10m

48 49
 653.00 m
64.40 60.60 390.00 60.60 64.40

260.00 m

GENERAL ELEVATION

Who built the Expressway? consider this. When on a flight approaching the airport, one will see
that how our causeway is avoiding the mangrove area.
This is a Cebuano project. Majority of the movers, the engineers who
CEBU CHANNEL
oversee the project are Cebuanos. What about reclamation?

NORTH
653.00 m
SITE DEVELOPMENT PLAN LEGEND:
SAND MAIN CHANNEL
ROAD SHALLOW WATERS
(<4.00m)
It’s an iconic structure, designed as the most advanced example
of engineering. The CCLEX will be a symbol of Cebu’s centuries-old
history, with 40-meter-high and 6-meter-wide stainless-steel crosses
on the 145-meter-high pylons, with the road deck rising 51 meters
above the Channel.
We are very thankful to Engr. Allan Alfon, president and general
manager of the Cebu Cordova Link Expressway Corporation
(CCLEC), the operator/concessionaire of CCLEX. As an alumnus of
our university, he supports our wish to include the project in this
Lantawan issue as one of Cebu’s leadership initiatives.
What is the most important technical top
innovation feature of the Expressway?
I would mention the Road Weather Information System (RWIS)
which detects the weather pattern high above deck and presents
information on the weather along the bridge deck through Variable
Message Signs (VMS) and update to protect our users from fast and
strong winds. Bicycle and motorcycle drivers can also be the main
beneficiary to this.
However, there are foreign consultants. How We do not do reclamation. There are artificial islands where we had
have you selected them? It is impressive to to build embankments or staging areas for construction. We have
see how many different nations contribute. an Environmental Compliance Certificate (ECC) for this to permit us to
put up staging areas or embankments for construction purposes
The engineering design is done by the Spanish firms Carlos Fernandez only. All of these will be taken out finish the construction. We also
Casado (CFC) and SENER Ingeniería y Sistemas (SENER-CFC Design JV), partnered with the Municipality of Cordova to put up a mangrove
0m 10m 20m 40m
while the local firm DCCD Engineering Corp. and the Danish firm COWI propagation and information center. There is also a group that we call
will be the Owner’s Engineer. The bridge is being built by a joint the Mangrove Police. If tourists want to learn more about mangroves,
venture between Spanish firm ACCIONA, and Philippine firms First then they can visit the information center. This team can also serves
Balfour and DMCI. The Danish firm COWI is manned by multinationals: as guide for tourists who may want to tour the place or get briefings
British, Italian to name a few. on mangroves.
Did you calculate the bridge also for such
risks as earthquakes or typhoons?
Why do you need foreign consultants? My final questions focus on the urban impact
We conducted specific surveys. The bridge is designed to withstand an
of this expressway with bridge. What is the
earthquake of eight intensity on the Modified Mercalli Intensity Scale.
The magnitude and complicities of CCLEX sees the need for impact of the bridge on downtown’s historical
For wind velocity, it can resist of 250 kilometers per hour. We did wind
consultants, the transitioning and transfer of technologies to us. district? How will these areas improve?
tunnel tests in Spain.
How did you find the Spanish group? Based on the original plan, there was supposed to be a Guadalupe
ramp towards downtown but it was decided to postpone its
This project demonstrates leadership. Was
We reached out to the best construction companies of the world, by implementation until the Cebu City government would request us to
there a real need that could be solved
resorting to an Early Contractors Involvement (ECI) where we budgeted revive this.
only by such a unique, special and very
funds for the invited firms to get involved even during the preliminary
nice structure?
design phase, by shouldering their expenses. How will the Expressway change Cebu’s life?
In fact, this project shows that the Philippines is able to build such a
magnificent bridge. In our study this alignment was found to be the
Why Spanish? Are they the best? This will be the longest, the tallest, and the most beautiful bridge in
the Philippines. This should further enhance the infrastructure in
most feasible to build CCLEX to link Mactan via Cordova as a third
We invited Japanese, Chinese, and Korean companies and of course Cebu. The expanded airport and CCLEX should complement each
bridge. Here, it is necessary to apply such a unique, pioneering, and
our own Philippine companies. The Spanish? Yes, they presented the other. Probably in a few years, 2023 or 2024, you will really see
innovative structure. Our company decided to put in the necessary
best technical proposals for us to work on and to negotiate. a different landscape by then. More investors to the South Road
funding when we saw the need: the number of commuters between
Properties (SRP) and to the whole city. Robinson’s group is coming.
the islands of Cebu and Mactan. Before the pandemic, the traffic on
the two existing bridges was quite heavy. We had to ensure a high
Are you paying attention to the environment? There will be a joint venture partnership of Ayala and SM to build

navigational clearance so that large vessels will have unhampered

How did you preserve the mangroves in the mixed-use structures. The biggest convention center of the country

access to the Cebu International Port. This bridge will be a major

area around the bridge? will be built here. I heard that it will be much bigger than any
convention center in Manila. Cebu is indeed developing very, very
contributor not just to the economy of Cebu but also in this part of the
Protecting the environment specifically the mangroves around fast. Cebu continues to be the number one province in the
country thereby providing for more opportunities for investors, both
Cordova was clearly mandated that the alignment’s design should country!
local and foreign.

50 51
 CEBU’S
DIAMOND
The Montage Building
Written by: ARCHITECTURE CRITIC
Design by: ARKINAMIX
Location: Cebu City, Philippines
52
Every great contemporary city has a skyline defined
by its towers. New York is known for the Empire State
Building, Dubai for the Burj Khalifa. Visible to much
of the population and typically situated in the city’s
most urbanized business district, perhaps no other
typology but the high-rise tower has the capacity to
impact the image of a city at such a profound level.
With a recent surge of infrastructure development and
urbanization, Cebu is undergoing a transformation into
a contemporary metropolis. The recent addition of the
Montage Building to the city’s skyline is testament to this
transformation.
At the end of the site visit of the editorial team, Alex
Medalla, the principal architect, shared an intimate piece
of information. “The Montage is special to me because I
grew up in a house just a few blocks down the road.”
One can only imagine how, as a child in the Seventies
when the Cebu Business Park didn’t even exist, Alex
would have probably never imagined office towers rising
above his backyard, let alone one that his future office
would have designed.
Towering 29 stories above street level, the Montage
is truly a colossal figure. The building’s mass is
clearly seen from different vantage points in the city.
Having realized the iconic potential of the project,
Innoland Development Corporation commissioned the
progressive architecture studio Arkinamix to design
a high-rise, mixed-use tower on a lot situated in the
Ayala Business Park along Cardinal Rosales Avenue. The
client’s brief emphasized a strong connection to street
pedestrians, presence of greenery, and importance
of the user’s experience of the building. The required
program was a podium consisting of 3,000 square
meters of commercial space at street level, parking, and
a tower dedicated to 45,000 square meters of office
space. The main podium and tower were completed
this year while the second phase containing additional
commercial spaces is currently under construction.
The project’s visionary output was brought about by a
collaborative synergy between client and designer.
53

PHASE 2
( 29 - STOREY BUILDING )
PHASE 1-B
( 4 - STOREY BUILDING )
PHASE 1-A
( 28 - STOREY
BUILDING )
HOTEL ELIZABETH
SITE DEVELOPMENT PLAN
LEGEND
PHASE 1-A PHASE 1-C
PHASE 1-B PHASE 2
Arkinamix is Cebu-based architecture office founded by
Ar. Alex and Ar. Janet Medalla, who run the office together
with their principal partner Ar. Ryan Rasines. For more
than two decades, Arkinamix has distinguished itself,
producing architecture characterized by sophisticated
forms and dynamic spatial experiences.
At approximately 120 meters and offering approximately
48,000 square meters of leasable area, The Montage is
the office’s largest single building by height and volume
completed to date. During an interview, Alex Medalla
described the intention to create a homogeneous
form that minimizes the separation between the
podium and the tower, in an attempt to deviate away
from the standard office-slab-on-podium typology typical
of this genre.
“We wanted to dematerialize the building so that the
[podium and tower] would appear indistinguishable.”
He goes on to explain how the form of the building is
composed of a climbing spiral of stacked masses that
begin at the podium, ascending to form the tower.
PHASE 3
ST. MORITZ HOTEL
PHASE 1-C
( 2 - STOREY BUILDING )
NORTH
0m 10m 20m 40m 80m
PHASE 3 GRASS MAIN ENTRY
ROAD VEHICULAR ENTRY
Because of the tower’s dynamic form, each floor
plate’s shape is slightly unique from the floor plates
directly above and below. The elegant composition is
a dynamic solution to the setback regulations and the
stringent requirements of 80-20 ratio given by the clients
for leasable floor area and non-leasable floor area,
respectively. The base of the spiral sprawls into a 3-storey
commercial area at street level. The parking is situated
directly above the commercial floors, and above the
parking levels are 20 floors of offices.
The building’s spiroid mass is covered in a specially
designed façade that is a rhythmic composition
of transparent glass and aluminum panels of four
different color shades. At the portion of the facade
wrapping around the commercial and parking areas, the
composition is brought to life by the addition of green-
wall panels, which provide greenery for the neighborhood
surrounding the Montage and ventilation for the parking
areas as well.
, Ci
54
One Montage, Cebu City
TECHNICAL DATA
Area:
Entire Property : approx. 12,652 sqm
Building Footprint: approx. 4,745 sqm
Landscape and Driveways: approx. 3,460 sqm
Total Developed Area: approx. 8,205 sqm
Total Leasable Area—Retail: 3,000 sqm
Total Leasable Area—Offices: 45,454.53 sqm
Approximate Greenwall Area without the retail extension:
820 sqm
Height: approx. 120.90 m (without considering antennas
or lighting arrester yet)
Levels: 29 stories with roof deck and utility deck, LGF, B1
& B2
1 Efficiency Data
Average Office Efficiency: 80% Leasable Area – 29% Non-
Leasable Area
Over-all Office Tower Wall to Window Ratio: 70% Wall –
30% Insulated Glass Windows
Windows feature Insulated Glass Panels (Double Glazing)
to reduce heat gain and glare from the inside and help
reflect heat from the sun.
15 meters high, at its peak, open lobby.
Developer: Innoland Development Corporation
Contractor: Innobuild—General Contractor (Innoland’s
construction arm)
2 Architectural Design Team
Alexius Medalla—Principal Architect
Janet Medalla—Principal Architect
Ryan Rasines—Principal Architect
Riel Gutierrez—Lead Project Architect
Kristine Palao—Project Architect (Retail Podium
Extension)
Godfrey Gallego—Assistant Project Architect
Russel Ala—Architectural Apprentice
Manny Soncados—Architectural Assistant
Jeth Ree Andrade—Architectural Apprentice
Contributions of the entire ARKinamix Team.
3 Design Consultants
Architectural: ARKinamix Architecture
Landscape: SGS Landscape Architects
Structural: Sy^2
Mechanical: Ecosolutions
Electrical: R.A. Mojica and Partners
Plumbing: JSR Engineers
Fire Protection: JSR Engineers
4 Specialist Consultants
Project Management: E.R. Hitosis and Associates
Façade: Lumicon
Lighting: GOLD
LEED: Ecosolutions
5 Site and Construction Team (Owner’s Side)
General Manager: Red Glenn Realiza
Project Site Manager: Eli Bacolod, Lowilyn Suson
Head Site Engineer: Jefferson Zamora
Architectural Coordinator: Aimee Pacaña
Design Technical Team: Rey Benitez, Thea,
Quantity Survey: Margaret Escabas-Benitez
55
 4
4
LEGEND: LEGEND:
+15.40 m 3 4
1 - HALLWAY 3 1 - DROP OFF AREA
2 - UTILITIES 4 3 2 - MAIN LOBBY
3 3 - LEASABLE SPACE
+15.30 m 4 4 - UTILITIES
HALLWAY, LOBBY -1.80 m
COMMON ROOMS -1.60 m
UTILITIES HALLWAY, LOBBY
3 2
2 2 STAIR, ESCALATOR 4 1
-1.90 m COMMON ROOMS
1 4
ELEVATOR 3 PRIVATE ROOMS
3
PARKING UTILITIES
ROAD 3 STAIR, ESCALATOR
3 3
3 3 ELEVATOR
GRASS 3
3 PARKING
OPEN TO BELOW -3.60 m 4 3
3 ROAD
3 3
4 GRASS
FOURTH FLOOR PLAN 4
OPEN TO BELOW

LOWER GROUND FLOOR PLAN

4
4
4 LEGEND:
2
2 2 1 - HALLWAY
2 2 2 - LEASABLE SPACE
4 4 4 2 LEGEND:
2 1 3 - TELCO 4
+11.30 m 4 1 - HALLWAY
4 - UTILITIES -7.20 m
4 2 - SUPERMARKET
1
1 3 - TELCO
-7.30 m
3 33 3 HALLWAY, LOBBY 4 - UTILITIES
2
COMMON ROOMS
4 UTILITIES HALLWAY, LOBBY
2
STAIR, ESCALATOR 4 SUPERMARKET
1 ELEVATOR UTILITIES
2 PARKING 4
STAIR, ESCALATOR
4 ROAD ELEVATOR
GRASS PARKING
4 2 OPEN TO BELOW ROAD
+11.40 m
4 4
4
BASEMENT LEVEL 1 FLOOR PLAN

6
6
3 6 LEGEND:
3 1 - MAIN LOBBY LEGEND:
6 3 1 - STORAGE
2 - LOBBY
6 3 - LEASABLE SPACE 2 - PUMP ROOM
5 6 4 - RETAIL SPACE -11.00 m 3 - DOMESTIC WATER
+2.40 m 5 - ADMIN SPACES TANK
+2.40 m -11.00 m
4 6 - UTILITIES 4 - FIRE WATER TANK
3
6 6 5 - UTILITY ROOM
6 1
HALLWAY, LOBBY
COMMON ROOMS 1 HALLWAY, LOBBY
2
PRIVATE ROOMS COMMON ROOMS
3 3 3
3 UTILITIES 1 PRIVATE ROOMS
1 3
3 STAIR, ESCALATOR UTILITIES
4 3
3 ELEVATOR STAIR, ESCALATOR
3
ROAD ELEVATOR
GRASS 2 3 4 5 PARKING
+0.20 m OPEN TO BELOW ROAD

UPPER GROUND FLOOR PLAN BASEMENT LEVEL 2 FLOOR PLAN

0m 10m 20m 40m 80m 0m 10m 20m 40m 80m

56 57
 +2.40 m

LEGEND:
1 - STAIRS
-1.80 m 2 - ELEVATORS
+2.40 m
3 - COMFORT ROOM

HALLWAY, LOBBY
-1.90 m 3 NORMAL FLOOR PLATE
ADDED FLOOR PLATE
3
STAIR, ESCALATOR
+2.40 m
2 ELEVATOR
-2.00 m UTILITIES
MAIN ENTRY OPEN TO BELOW
5
VEHICULAR ENTRY
1
4 HALLWAY, LOBBY
COMMON ROOMS
LEGEND: PRIVATE ROOMS
1 - VEHICULAR ENTRANCE UTILITIES 0m 5m 10m 20m 40m
2 - UPPER GROUND STAIR, ESCALATOR TYPICAL TOWER PLAN
DROP OFF
ELEVATOR
3 - LOWER GROUND
DROP OFF ROAD
+0.20 m 4 - MAIN LOBBY GRASS
5 - LOBBY OPEN TO BELOW
1 2

0m 5m 10m 20m 40m

GROUND FLOOR DETAILS

2
A 5 6 7
1

CLADDING INSTALLATION DIAGRAM CLADDING DETAIL DIAGRAM

LEGEND: MATERIAL:
1 - INSULATED GLASS 5 - ELEVATION PLAIN FRAMING FOR ACP INSULATED GLASS
2 - ALUMINUM COMPOSITE 6 - SECTION A PLAIN FRAMING FOR ALUMINUM PANELS
PANELS 7 - SECTION B
58 3 - ALUMINUM FRAMING 59 GLASS WINDOW
PLAIN FRAMING BRACING
CHB/DRY WALL

4 - BUILDING STRUCTURE
SOIL
 ARCHBISHOP
REYES AVENUE
+0.00m

0m 20m 40m 80m

APEX FRONT ELEVATION REAR ELEVATION RIGHT ELEVATION

+124.25m
ROOF DECK
+115.90m

7TH FLOOR
LEVEL
+26.50m

8TH FLOOR
LEVEL
+30.20m

ARCHBISHOP 2 3
REYES AVENUE
+0.00m 1 4
ARCHBISHOP
REYES AVENUE
+0.00m

LEGEND
0m 5m 10m 20m 40m
0m 20m 40m 80m 1- DROP OFF AREA INSULATED GLASS
PHASE 1-B PODIUM ELEVATION 2- RETAIL SPACE ALUMINUM PANELS
FRONT ELEVATION REAR ELEVATION RIGHT ELEVATION 3- PEDESTRIAN BRIDGE GREEN-WALL PANELS
4- GARDEN / ACTIVITY AREA

7TH FLOOR
LEVEL
Entrance Elevations
+26.50m

ARCHBISHOP 2 3
REYES AVENUE
+0.00m 1 4

LEGEND
0m 5m 10m 20m 40m
1- DROP OFF AREA INSULATED GLASS
PHASE 1-B PODIUM ELEVATION 2- RETAIL SPACE ALUMINUM PANELS
3- PEDESTRIAN BRIDGE GREEN-WALL PANELS
4- GARDEN / ACTIVITY AREA

60 61
 LEGEND:
1 - STAIRS
2 - ELEVATORS
3 - COMFORT ROOM
4 Ar. Riel Gutierrez was Arkinamix’s lead project architect
HALLWAY, LOBBY
for The Montage at the time and directed the team
3 NORMAL FLOOR PLATE
3 behind the project. He explains the collaborative
ADDED FLOOR PLATE
STAIR, ESCALATOR nature of the design process. Arkinamix approached
2 ELEVATOR 2 the concept development for the Montage Building
UTILITIES A 5 6 different from7 its usual procedure. Typically,
in a way
1
OPEN TO BELOW the designs of Arkinamix are conceptualized by the
1
principal designers and handed down to a team for
CLADDING INSTALLATION DIAGRAM CLADDING DETAIL DIAGRAM
design development. In the case of the Montage, the
LEGEND:
0m 5m 10m 20m 40m
office decided to attempt an experimental conceptual
MATERIAL:
1 - INSULATED
TYPICAL TOWERGLASS
PLAN 5 - ELEVATION PLAIN FRAMING FORexercise,
ACP splitting the office
INSULATED GLASSinto three teams. The
2 - ALUMINUM COMPOSITE 6 - SECTION A PLAIN FRAMING FORprincipal designers established
ALUMINUM PANELS the values and direction,
PANELS 7 - SECTION B GLASS WINDOW
3 - ALUMINUM FRAMING then each teamCHB/DRY WALL to generate a different
proceeded
PLAIN FRAMING BRACING
4 - BUILDING STRUCTURE concept. The ideas in the schemes were subsequently
SOIL
refined by the principal designers.

The green wall, façade texture, and architectural Green Walling

massing of the final scheme was a result of a synthesis
of the highlights from the schemes of all three teams.
The documentation procedure for such a dynamic
building was done without the aid of advanced
parametric software like Rhino and Grasshopper or BIM
(Building Information Management). The processes of
designing and documenting each of the unique floor
and façade levels, as well as the generation of the
building’s complex geometry, were painstakingly done
using traditional CAD and 3D software and the good,
old-fashioned pencil.

4
When asked about the Montage’s impact on the city, Ar.
Cladding Gutierrez remarks that the project is a testament to the
3 fact that progressive architecture in a large urban scale
is, indeed, achievable in the context of Cebu despite
2 the lack of industry infrastructure. He hopes that the
Instead of an all-glass façade, the Montage’s porous façade, A 5 6 7
Montage will encourage the Cebu’s building industry
which covers the building in a 70 percent1wall to 30 percent glass to take risks, to raise the standard, and to strive for
ratio, minimizes the penetration of heat and is also much more excellence. “Progressive design like this validates the
CLADDING
economical to construct. Additionally, INSTALLATION
insulated glassDIAGRAM
panels also CLADDING DETAIL DIAGRAM
status of Cebu as a regional creative hub. Cebu is not
known as “double-glazed” panels were LEGEND:used to further reduce the MATERIAL: far behind. We can pull it off locally.”
overall heat gain. Seemingly random, the staggered
1 - INSULATED GLASS pattern is,5in- ELEVATION PLAIN FRAMING FOR ACP INSULATED GLASS
fact, based on the alternations of a2piano’s
- ALUMINUM COMPOSITE
black and white keys, 6 - SECTION A PLAIN FRAMING FOR ALUMINUM PANELS
PANELS 7 - SECTION B GLASS WINDOW CHB/DRY WALL
resulting in a facade of controlled and harmonious
3 - ALUMINUM FRAMING “randomness.”
PLAIN FRAMING BRACING
The façade can be directly experienced from STRUCTURE
4 - BUILDING the interior. City
SOIL
views and sunlight filtering in from the alternating openings
create a unique atmosphere in the office areas. This sets the
working environment of The Montage apart from the typical glass
aquariums of generic office towers. Along with the floor plates, the
façade elevations are also uniquely laid out per floor, resulting in
no two elevations being exactly the same.
Green Walling

62 63
 MID RISE IN
WOODLANDS
One Tectona Condominium
DESIGNER: CARLOS PIO ZAFRA, UAP
WRITER: IVERSON ANDREIN B. DESCARTIN
LOCATION: LILOAN, CEBU
As cities and towns in Cebu continue to
develop, architectural feats will rise. A
building that succeeds may yet create a
trend.

In the municipality of Liloan in northern Cebu

Province, a newly built condominium and
hotel design surrounded by a vast landscape
rises high on the mountainous terrain. This is
One Tectona Condominium, conceived from
the minds of the people within CPOZAFRA
Architects. The building has been in the
works since the early 2010s, is now nearing
completion, and will soon be available for the
public to use. It is a mixed-use building that
was also built with the goal of serving as a
retirement home: the ultimate home, work,
and getaway experience.

THE IDEA

In an online interview, the head architect of

the firm, Ar. Carlos Pio Zafra, UAP, recalled
that a friend had informally approached him
to do the condominium project. Inspired by
the owner’s wish to steer away from the usual
norms of construction, Ar. Zafra, an idealist
and innovator, accepted the project. It’s one
of his best works to date. It’s almost as if the
project was meant to be for him.

The owner’s idea was to build only on a small

portion of the land and leave a lot of space for
the natural environment and open space. This
matched with an earlier idea of Zafra’s, who
had asked why designers had to stick to the
70-30 ratio of developing land when one can
just build higher. In the urban areas of Cebu,
this would not be as ideal as it sounds, as this
could block the sunlight and wind paths. But in
the case of One Tectona, being situated in a

64 65
 ONE TECTONA
14 - STOREY RESIDENTIAL CONDOMINIUM LEGEND
DN
1- MINI-BUS DROP OFF 14- RESTROOM
DN AND PICK UP 15- PANTRY
2- PRIV. VEH. DROP-OFF 16- KITCHEN
AND PICK-UP 17- ELEC’L AND ECE ROOM
3- LANDSCAPE 18- ADMIN OFFICE
4- ENTRANCE 19- GARBAGE REFUSE
5- LOBBY 20- MECH. AND PL. ROOM
6- ELEVATOR LOBBY 21- TELCO
26 7- PUBLIC ELEVATOR 22- VERANDA
25
8- SERVICE ELEVATOR 23- PLANTER
9- MAILBOX 24-
DN

-1.65m POOLSIDE PAVILION

DN

24 10- CLINIC 25- POOL

DN
11- LOUNGE 26- POND
12- FUNCTION ROOM
13- GYM
UP

DN
DN

22 23
UP
DN

12 11 12 13 HALLWAYS, LOBBY
14
UP
COMMON ROOMS
+0.45m
15 PRIVATE ROOMS
16 17 7 UTILITIES
10
6 5 STAIRS, ESCALATOR
8 7 9 ELEVATOR
18 5
19 +0.45m POOL
21 20 3 4
OPEN TO BELOW
+0.10m
UP

UP

PEDESTRIAN ENTRY
4
5 VEHICULAR ENTRY
UP

UP

1
+0.00m
2

Lounge, Artist’s Rendering

NORTH

0m 5m 10m 20m
SITE DEVELOPMENT PLAN

woodland, the idea worked to a tee. This
gave the architect more freedom to work
with the open space, and the rest of the
area may yet become a golf course for
future residents and guests to use. Both
the owner and architect agreed to devote
60 percent of the property to open space,
develop 40 percent, and then stack it up
for it to be optimized.
What inspired the design? Zafra
mentioned the major influence: the site
itself, with its orientation to the sun and
wind. One Tectona was designed to
harmonize with its site, instead of catering
to a certain aesthetic or creating an
interesting form for mere publicity.
It has taken Sullivan’s saying
(“form follows function”) and
turned it into “form follows site.”
ORGANIC DESIGN
This condominium is intended for those
who love nature and enjoy the outdoors.
Despite its tall appearance, One Tectona
looks like an organic fit for its location,
called the Woodlands. It avoids heavy
impositions in an area full of trees. love for the site is the factor that reduces
It does not look intimidating nor blocky as outside interventions. One Tectona
condominium buildings that aim to use encourages the use of natural ventilation.
every bit of space for profit. Instead, its Zafra is proud of the way that the building
concept recalls a building composed of was oriented to gain the most from
suburban houses stacked on top of one passive cooling.
other. Zafra also shared that from a bird’s
eye view, the building looks like a lantern. Zafra also explains that the building was
some sort of experiment for him to orient
In the choice of materials, the designers the common residential spaces according
wanted to underline their drive to stay to the sun and wind paths. This reduced
away from very urbanized design by the need for artificial ventilation as well.
limiting the use of glass and by trying to Despite this, Zafra and the owner both
work with concrete as the basic material. understood that there will be times when
This allows it to have a minimal toll on the the windows must be closed. For this, the
natural environment, an intention that is condominium still has a backup set up.
also emphasized by the color scheme.
The user experience created by the It was Zafra’s first mid-rise project. How
presence of these natural characteristics does he imagine the building’s future?
adds to the building’s sense of “A building’s success is always at
placemaking. This simple yet elegant the mercy of the users,” he said. “As
design showcases a deep reverence and architects, we are only able to predict the
honor for nature. way that the structure can and will be
used. We may promote the users’ behavior
through architectural tools like planning
SUSTAINABILITY and research.” Zafra emphasizes and
repeats the phrase “mercy of the users”. If
Since all sustainability is inspired by the users use a building according to how
nature, this condominium project team’s it was made, they will be very happy.
With its unique site and the fitting organic solutions, this
condominium has created a standard for the ultimate
combination of a home, business space, and getaway.
WHAT STUDENTS MAY LEARN
I asked if Ar. Zafra would give some tips and advice for
architecture students. Everything that was taught in architecture
school must be correctly applied when the former student starts
working in always-changing conditions, he said. “Master the
basics and once you’ve done that, you bend them.” Rather
than focusing first on the face value, deeper reflection is the
key to success.
There is always a creative process behind designing. For this,
architects need to use their artistic talents. Design consists
of a lot of revisions, experiments, and planning based on a
story that the architect has directed and realized. This design
story is crucial since the architect’s success depends on how
conscious the designer is of the design’s story and how it is being
communicated. One Tectona is a good incarnation of a design
story of nature lovers who play golf and enjoy the amenities of
this condominium that exists in harmony with its surroundings.

66 67
 11-12-
LOUNGE
FUNCTION ROOM 26- POND A’
B’B’
DN

UP

12-13-
FUNCTION
GYM ROOM
13- GYM
DN
DN

23 LOWER GROUND FLOOR 1 PLAN

UP

22 DN
DN

GROUND 22REFLECTED
GROUNDFLOOR
FLOOR REFLECTEDCEILING 23
CEILINGPLAN
PLAN DN
UP

12 11 12 13 HALLWAYS, LOBBY
UP
DN

12
14 HALLWAYS, LOBBY A B
12
AA 11 BB 13 14 COMMON ROOMS
AA BB
UP

+0.45m COMMON ROOMS

PRIVATE ROOMS
UP

15 +0.45m
15 16 PRIVATE ROOMS LEGEND
17 7 UTILITIES HALLWAYS, LOBBY
16 17 7 6 10 10 5 UTILITIES
STAIRS, ESCALATOR 1- COMMERCIAL UNIT
8 76 5 STAIRS, ESCALATOR 2- LOBBY COMMON ROOMS
833 7 33 393 33 33 33 33 33 33 ELEVATOR 33 33 33 33 33 10 9 10 11 12
18 5 9 ELEVATOR 3- PRIVATE UNITS PRIVATE ROOMS
4- ELEVATOR LOBBY
UPUPDNDN UPUPDNDN
18 19
5 +0.45m 13
13
POOL
13
13
-2.40m
3213 1920 3 4 33 POOL 16 UTILITIES
21 20
+0.45m
+5.20m
+5.20m 3 4 +0.10m OPEN TO BELOW
17
5- PUBLIC ELEVATOR
C C’ 6- SERVICE ELEVATOR
UP

OPEN TO BELOW 15 5 8 STAIRS, ESCALATOR

C’ CC
UP

CC 15
15 55 +0.10m C’ 15 55 PEDESTRIAN ENTRY
15 C’
C’ 4
UP

4 1 7- MAILBOX
UP

5 44
UP
PEDESTRIAN
4VEHICULAR
4 ENTRY
ENTRY 6 5 ELEVATOR
335 66 55 33 33 33 1 33 33 33 33 66 55VEHICULAR 33 ENTRY
33 33 33 33 33 7 8- CLINIC
UP
UP

UP

1 +0.00m 18 9- LOUNGE PIPE CHASE

2
13
13
UPUPDNDN
2
+0.00m
13
UPUPDNDN

13
33
19 13 2 10- FUNCTION ROOM
19 14 11- GYM
14
14 14
14
44
12- RESTROOM
33 33 1 13- GARBAGE REFUSE
14- MECH. AND PL. ROOM
15- ELEC’L AND ECE ROOM
NORTH 16- STORAGE
NORTH 17- KITCHEN
A’ 18- ADMIN OFFICE
0m A’
A’5m 10m 20m A’
A’ B’B’ 19- TELCO
0m 5m 10m 20m
SITE DEVELOPMENT PLAN
SITE DEVELOPMENT PLAN B’
B’B’

GROUND FLOOR REFLECTED CEILING PLAN

0m
0m 5m
5m 10m
10m 20m
20m

SECOND
SECONDFLOOR
FLOORPLAN
PLAN TYPICAL
TYPICALFLOOR
FLOORPLAN
PLAN A B
A B
A B
A B

LEGEND 3 3 3 3 3 3 3 3 3 3 3 3 3 3
2 LEGEND
2 4
1- CAR ENTRY UTILITIES
UP DN UP DN

4
1- 2-
CARCARENTRY
PARKING UTILITIES 3 13 3 13
2- CAR STAIRS, ESCALATOR +5.20m
-7.00m 3- MOTORCYCLE
PARKING PARKING
UP

1 STAIRS, ESCALATOR
-7.00m 3- 4-
MOTORCYCLE PARKING C
UP

1 UTILITY ROOM ELEVATOR C 15 5 C’ 15 5 C’

4- UTILITY ROOM
5- PUBLIC ELEVATOR ELEVATOR
VEHICULAR ENTRY 4 4
C 8 5 2 3 C’ 5- PUBLIC ELEVATOR VEHICULAR ENTRY 3 6 5 3 3 3 3 3 3 3 6 5 3 3 3 3 3 3
C 8 5 7 2 3 C’ 6- SERVICE ELEVATOR
6 57 6- SERVICE ELEVATOR
7- ELEVATOR LOBBY UP DN UP DN

6 5 7- ELEVATOR
8- ELEC. ANDLOBBY
ECE ROOM 13 13
3
UP
8- 9-
ELEC. AND ECE
GARBAGE ROOM
REFUSE 14 14
4
9 UP
9-10-
GARBAGE REFUSE
2 9 10 MECH. ROOM
2 10- MECH. ROOM 3 3
10

B’
B’
A’ A’ B’

B’
A’
A’
LOWER GROUND FLOOR 2 PLAN 0m 5m 10m 20m
0m 5m 10m 20m
0m 5m 10m 20m SECOND FLOOR PLAN TYPICAL FLOOR PLAN
A GROUND FLOOR
LOWER B 2 PLAN
LOWER GROUND FLOOR 2 PLAN
LEGEND
2 1- CAR ENTRY UTILITIES
4 2- CAR PARKING STAIRS, ESCALATOR
-3.50m
UP DN 3- MOTORCYCLE PARKING ELEVATOR
4- UTILITY ROOM
5- PUBLIC ELEVATOR VEHICULAR ENTRY
C 8 5 2 C’ 6- SERVICE ELEVATOR
6 5
7 7- ELEVATOR LOBBY
2 13 8- ELEC. AND ECE ROOM
11 12 UP 9- GARBAGE REFUSE
9 10- MECH. ROOM
10 11- GENSET
12- LVSG ROOM
1 13- HOUSEKEEPING

B’

A’

LOWER GROUND FLOOR 1 PLAN

A B

68 LEGEND
HALLWAYS, LOBBY
69
1- COMMERCIAL UNIT
12
2- LOBBY COMMON ROOMS
10 9 10 11 3- PRIVATE UNITS
 LEADING THROUGH
RENEWAL AND
RESPECT
Reconstruction of a Design Icon
WRITERS: BELA LANYI, SVD
JASON CHUA, UAP
DESIGNER: VISIONARY STUDIO ARCHITECTS (VSA) DESIGN TEAM
Many of us think that a design leader’s
works cannot be changed at all. However,
similar to all built heritage, buildings
have to function—otherwise they might
be in danger of being demolished. The
reconstruction of this residence (Beverly
Hills, Cebu City) shows that true respect
for a genius designer consists not in
freezing his works but in updating it so as
to grant it a second life.
Architect Jason Chua, proudly shares
three magnificent residential buildings
of the noble green district of Cebu City.
In the 1980s, these were designed by
Architect Richeto Alcordo, a former
National President of the United Architects
of the Philippines (UAP). “All three are
great examples of innovative tropical
architecture. Alcordo was commissioned
to build these three houses at the same
time as his client had several lots in the
subdivision that they intended to rent out.
Each house imbued a different character
and aesthetic which was a testament to
Alcordo’s creativity and versatility. But in
my view, this is the best,” Chua said of the
residence which he was commissioned to
adapt to the new owners’ needs.
70
Initially, out of reverence, he did not know
how to touch the work of a true design leader,
the famous Alcordo, but upon talking to the
clients, he realized that updating the design
will in no way break Alcordo’s intentions. It
may even fulfill them.
“The spaces in the residence were
interconnected, as Alcordo loved this design
feature, but they appeared small and
separated. What my clients wanted were big
and expansive spaces. That’s what you’ll see
when we go in.”
The architect posits that this may have been
Alcordo’s original intention. “This is what
his other residential buildings show. He
was even famous for the openness of his
designs.”
WHY WAS HE LIMITED HERE?
“Beverly Hills adhered to strict height
restrictions at that time.” Therefore, he
was forced to create multiple floors with
low clearances so as to fit the program
requested by the client. Limitations on the
spaces’ interconnectivity might have been
caused by the desire to create three distinct
experiences for each house,” explains Chua.
71
Initially, the residence appeared to be
only one-storey high from the street level.
Something which Chua’s clients wanted
to change as they wanted a more visible
facade. Chua’s clients also requested that
the ceilings be raised as the existing ceiling
was only 2.4m at the highest point, which
the new owners found too low.
To realize the client’s dream, and to display
the full potential of Alcordo’s original
idea, Chua elevated the upper two floors
while the lower two floors remained
untouched. With that, the architect was
able to combine the dining and living
room and create a much more open
and expansive space. In the living area,
instead of the previous low ceiling, Chua
raised the ceiling up to the roof eaves
to create a double volume. This offers a
delightful experience as users enter the
house through an intentionally low ceiling
approach and are greeted with this double
volume surprise upon crossing the foyer.
The space now enclosed in double-height
windows allow the client to fully enjoy the
amazing panoramic views of Cebu City.
NEW FLOOR SLABS
Did the ceiling’s elevation mean that that
the old floor slabs had to be demolished
and new ones created? “Precisely,” the
architect said. “We had to build a new
loadbearing structure above the existing
one. To speed up construction, we used
prefabricated steel sections which were
then connected to the original reinforced
concrete structure.” (There are columns
but smartly hidden within the walls to
achieve the look of a column-free walled
structure that we usually encounter in
northern countries.) The new steel beams
and columns had to be installed before
demolishing the old concrete structure
because the structural engineer was
concerned about the stability of the house.
This meant that both architect and contractor
had to work in lockstep in order to piece
together this intricate puzzle.
Moving through the “piano nobile”, the
noble ground floor (which is sandwiched
between two lower floors and one upper
floor), we encounter the principal rooms:
living room, dining room with the “white
kitchen”. Going up, there is a spacious
master bedroom with equally spacious
auxiliary spaces. Going down, the next
floor below contains bedrooms and a
“black kitchen”, while the lowest level
houses a guest room and office while also
serving as the connection to the garden
and swimming pool.
WAS THE ELEVATION
UPDATED?
“Yes, we had to redo the proportions.
The original elevation had good
proportions but was subjected to various
additions and minor renovations over
time which hid the original design.
Alcordo’s hanging planters, again typical
of his design, were retained. We felt that
it added symmetry and softened the
design as a whole. The client, however,
decided not to push through with
placing plants as he felt it was too much
maintenance. We also extended the
shear walls of the stairwell and capped
it with a glass skylight to allow natural
light to filter in to the lower floors. The
balconies, which were rectified and
realigned, continue to serve as the main
accent of the building and the frame
The original elevation (1980s) The renewed elevation (2020) through which to view the outdoors
when inside the house. The overall shape
of the structure remains intact.”
Alcordo was famous for the ambitious
+ 8.35 TOP OF ROOF LINE
execution quality of his residential
designs since he personally checked
+ 6.00 TOP OF ROOF BEAM with the contractors which left the new
designers with a sturdy canvas on which
to build upon. In this project, we see
a very sensitive, respectful updating
of a design that, through overcoming
limitations during construction, have
0.0 NATURAL GROUND LINE now allowed a structure to reach its
original potential.

RENEWED FEATURES

As we make our way through the house -5.70 BASEMENT FLOOR LINE
Chua points out more of the original
house’s features. “There was a recessed
REAR ELEVATION SECTION A LEGEND:
wall here with cascading windows, a 1- WALK-IN CLOSET 11- DRIVER’S TOILET & BATH
signature mark of Alcordo’s style. Behind 2- STAIRS 12- STORAGE
3- PETROOM 13- GENSET
it, an outdoor bar served the residents. A + 8.35 TOP OF ROOF LINE
4- AQUARIUM 14- HALLWAY
ventilation channel or air chimney was a 5- FOYER 15- MASTER BEDROOM
typical feature of Alcordo’s architecture, 6- POWDER ROOM 16- DINING AREA
+ 6.00 TOP OF ROOF BEAM 7- MAID’S ROOM 1 17- MAID’S DINING ROOM
but we had to remove it to create a wider 8- MAID’S ROOM 2 18- BEDROOM 1 TOILET & BATH
stairway since the existing one was just 9- LAUNDRY/DRYING AREA 19- LANAI
10- DRIVER’S ROOM 20- PATIO
less than a meter wide. We did maintain
the original intent and created an open
riser staircase which would retain its
purpose to provide a ventilation channel 0.0 NATURAL GROUND LINE
HALLWAYS, LOBBY
for the house.”
COMMON ROOM
PRIVATE ROOMS
LEGEND
UTILITIES
DOOR SOLID WEATHER WOOD
STAIRS
SIDING
LOUVRE -5.70 BASEMENT FLOOR LINE WINDOW
LIQUID TILE MIDSHEEN
WINDOW PAINT FINISH SPANISH CEMENT TILE COLOR ROOFING
SPANISH CEMENT TILE DARK GREY SHEEN PAINT
COLOR ROOFING FINISH RIGHT SIDE ELEVATION SECTION B
AIRSLATE FOREST STONE
CLADDING FINISH 0m 1m 2m 4m 0m 1m 2m 4m

72 73
 VALLEY VALLEY

Old master bedroom (1980s) Renovated master bedroom (2020)

BASEMENT FLOOR PLAN

STREET (HILLSIDE)

NORTH
0m 1m 2m 4m

LOWER GROUND FLOOR PLAN

STREET (HILLSIDE)

GROUND FLOOR PLAN SECOND FLOOR PLAN

LEGEND: DESIGN TEAM:
1- PUMP ROOM 12- BALCONY Jason Chua
UTILITIES
2- SWIMMING POOL 13- BEDROOM 1
3- PATIO 14- BEDROOM 2 STAIR
Sarah Albura
4- LANAI 15- KITCHEN Chloe Huang LEGEND
5- STORAGE 2 16- TOILET & BATH COLUMN
Jake Inao 1- PATHWALK 7- HALLWAYS, LOBBY UTILITIES
6- GENSET 17- MAID’S ROOM 1
HALLWAYS, LOBBY
POWDER ROOM 13- TOILET & BATH
7- GUEST ROOM 18- MAID’S ROOM 2 2- GARDEN 8- LIVING ROOM 14- BEDROOM COMMON ROOMS STAIRS
8- GUEST TOILET & BATH 19- LAUNDRY COMMON ROOMS CONTRACTOR: 3- GARAGE 9- DINING ROOM 15- MASTER BEDROOM PRIVATE ROOMS COLUMN
9- DRIVER’S ROOM 20- MAID’S DINING
PRIVATE ROOMS Fortune Builders Inc.
4- PORCH 10- KITCHEN 16- MASTER TOILET & BATH
10- DRIVER’S TOILET & BATH 21- MAID’S LIVING AREA 5- STORAGE 11- PETROOM 17- WALK-IN CLOSET
6- FOYER 12- BALCONY

74 75
 + 8.35 TOP OF ROOF LINE

+ 6.00 TOP OF ROOF BEAM

0.0 NATURAL GROUND

LINE

FRONT ELEVATION

-5.70 BASEMENT FLOOR LINE

0m 1m 2m 4m

LEGEND
DOOR SOLID WEATHER WOOD LEFT SIDE ELEVATION
LOUVRE SIDING
LIQUID TILE MIDSHEEN
WINDOW
PAINT FINISH
SPANISH CEMENT TILE DARK GREY SHEEN PAINT
COLOR ROOFING FINISH
AIRSLATE FOREST STONE
CLADDING FINISH

Entrance from the street (1980s)

Dining Room Living Room (Higher Ceiling - New) Entrance from the street (2020)

76 77
NAGA CAFÈ
A Generative Design in Bamboo
DESIGNER:
BAMBOO RESEARCH, ARCHITECURE
AND DESIGN LABORATORY (BRADLAB)
- JANFOUR CUALES, UAP
- NIÑO BRYAN AUMAN, UAP
LOCATION: NAGA CITY, CEBU

78 79
 Naga Cafè Naga Cafè
NagaAND
BAMBOO RESEARCH AND DESIGN LAB BAMBOO RESEARCH CafèDESIGN LAB
BAMBOO RESEARCH AND DESIGN LAB

2 2
2 Naga Cafè
BAMBOO RESEARCH AND DESIGN LAB

3
Naga Cafè
3
BAMBOO RESEARCH AND 3DESIGN LAB 2
1 1
1
2
3
7 7 7 1

81 4
3
8 8
4
4
7
6 7 8
6 6 4

8
Roof Optimization Process

4 In this project, a code was made to determine the most
ideal form of a roof in a specific site:
Due to the limited amount of time for construction, structural
6
steel was used while natural materials were integrated in other
areas. Treated bamboo poles were brought from Kawayan

6
1. It should have the least solar radiation onsite (Cebu, Collective in Negros Oriental while the cogon used in roofing was
Naga Cafè
BAMBOO RESEARCH AND DESIGN LAB Philippines). purchased locally. Local materials such as abaca ropes and baníg
5 NORTH
5 NORTH 2. It should use the least amount of material and have the (handwoven mat) were also used in the joints and the ceiling. At
5 NORTH least surface area. this stage of the project, it has been proven that, since the natural
This project is an outdoor cafe located within the park of Naga 0m 2m 4m
0m 5m 10m 15m
City in Cebu, Philippines adjacent to the “Pasilong sa Naga” park
0m 5m 10m 15m 0m 2m 4m
2 0m 2m
3. Access,
4m
head rooms, and proper heights should be environment was considered as a major factor of the design,
SITE DEVELOPMENT
0m
PLAN
5m 10m
GROUND
15m
FLOOR PLAN GROUND FLOOR PLAN maintained in working areas. levels of efficiency have greatly increased. In today’s climate crisis,
SITEongoing
project. The cafe is one of many DEVELOPMENT PLAN
projects in the area. SITE DEVELOPMENT PLAN GROUND FLOOR PLAN
5 material conservation will play a huge role in minimizing the
Naga Cafè At least 30 variants were explored and a top performing
NORTH
project’s impact on environment and habitat loss.
ThisBAMBOO
was a counter-proposal
RESEARCH ANDfor a smallLAB
DESIGN bamboo hut that had
LEGEND LEGEND LEGEND 3 solution was chosen toward further developments.
Naga planned.
been originally Cafè LEGEND
6- WAITING AREALEGEND 0m 5m 10m 15m 0m 2m 4m

1- CAFE
BAMBOO RESEARCH AND DESIGN LAB 1- CAFE LEGEND 6- WAITING AREA 5
PORCELAIN TILES 1 NORTH Optimizations of up to 30 percent from the original design were This small design raises GROUND
new questions.
FLOOR How does nature
PLAN
PORCELAIN TILES
2- PARKING 1- CAFE 7- WORK AREA 7- WORK AREA 6- WAITING AREA SITE DEVELOPMENT PLAN
2- PARKING
We used the opportunity to2explore generative design in bamboo
PORCELAIN TILES obtained
8- GUEST AREA 7- WORK AREA
to be translated into significant savings in material design? How do we use and protect our natural environment?
3- MUSEUM 3- MUSEUM
COGON 2- PARKING 0m
GRASS ROOF 8- GUEST COGON GRASS ROOF
AREA 0m 2m cost and time,
quantities, 4m both in design and construction. Is architectural design invaluable? A new chance for building
and steel architecture. These are4- some of the questions the 4- ACCESS ROAD 3- MUSEUM
5m 10m 15m
ACRYLIC COVERINGCOGON GRASS ROOF 8- GUEST AREA
ACCESS ROAD ACRYLIC COVERING GROUND FLOOR PLAN science.
25- NAGA NATIONAL HIGHWAY 5- NAGA NATIONAL4- ACCESS
7
project sought to explore: HIGHWAY SITE DEVELOPMENT PLAN
ROAD ACRYLIC COVERING LEGEND
LEGEND
5- NAGA NATIONAL HIGHWAY After the design stage was finalized, the revision stage 6- WAITING AREA
1- CAFE PORCELAIN TILES
3 came, sparked by a request 2- to rotate the whole cafe to 7- WORK AREA

8
•How can a project use the least material and have the least exposure PARKING
LEGEND face anotherLEGEND 3-
direction. Thankfully
MUSEUM and through some COGON GRASS ROOF 8- GUEST AREA
to solar radiation? 1 3 1- CAFE 6- WAITING
sort of miracle, AREA4- ACCESS
the optimization values
ROADwere still high (28 ACRYLIC COVERING
•How does nature shape a building? PORCELAIN TILES 4
2- PARKING percent of7-solar
WORK AREA 5-compared
radiation) NAGA NATIONAL HIGHWAY
to the initial design.
1 COGON GRASS ROOF 8- GUEST AREA
3- MUSEUM
In a professional practice, architects may produce two or

7
4- ACCESS ROAD ACRYLIC COVERING
three design schemes depending on the ideal functions and 5- NAGA NATIONAL HIGHWAY
performance of a building. We can provide shades on the side
exposed to the afternoon sun, or open up the northern facade of
8 7 6
8
a building. We can also go further to develop other schemes that
4
would conserve material use or have high efficiency. However,
the design decisions and paths that we can take are endless and
4
would take an inconceivable amount of time if pursued further.
With the developments in technology in recent years, it is now
possible to quickly explore numerous pathways of a project with 6 0m 2m 4m

6
0m 2m 4m 0m 2m 4m
0m 2m 4m 0m 2m 4m
the help of various tools and systems such as generative design. WEST ELEVATION 0m 2m 4m ELEVATION
SOUTH SOUTH ELEVATION
5
WEST ELEVATION NORTH
We can test numerous variations of a project and select which WEST ELEVATION SOUTH ELEVATION
ones will perform best. Each successful model could then be 0m 5m 10m 15m 0m 2m 4m
developed further if needed. WEST ELEVATION SOUTH ELEVATION
SITE DEVELOPMENT PLAN GROUND FLOOR PLAN 0m 2m 4m
0m 2m 4m
WEST ELEVATION SOUTH ELEVATION

0m 2m 4m
5 0m 2m 4m LEGEND LEGEND
NORTH
WEST ELEVATION 1- CAFE SOUTH ELEVATION 6- WAITING AREA
PORCELAIN
PORCELAIN TILES
TILES
7- WORK AREA
5 NORTH 0m 2m 4m 2- PARKING
0m 5m 10m 15m
3- MUSEUM COGONGRASS
COGON GRASS ROOF
ROOF 8- GUEST AREA
SITE DEVELOPMENT PLAN GROUND FLOOR PLAN
0m 2m 4m 4- ACCESS ROAD ACRYLICCOVERING
ACRYLIC COVERING
0m 5m 10m 15m
5- NAGA NATIONAL HIGHWAY
SITE DEVELOPMENT PLAN GROUND FLOOR PLAN

LEGEND LEGEND
1- CAFE 6- WAITING AREA
2- PARKING
LEGEND 80
PORCELAIN TILES
7- WORK AREA
LEGEND 81
3- MUSEUM COGON GRASS ROOF 8- GUEST AREA AREA
6- WAITING
1- CAFE PORCELAIN TILES
4- ACCESS
2- PARKING
ROAD ACRYLIC COVERING 7- WORK AREA
 Road sharing is the idea of a street having multiple uses. The
street in front of Basilica del Santo Niño is closed to vehicle
traffic every Friday and Sunday for religious activities. This
means there is an opportunity to provide new pedestrian
gathering spaces for the Basilica. A proposal was created
based on this temporary pedestrianization and data from
a 2019 study by the Planning and Development Research
Foundation Inc. (PLANADES).
URBAN DECAY AND TACTICAL URBANISM
Cebu City, a major part of Metro Cebu, has been experiencing
significant growth since the 1990s with a population of
964,169 inhabitants (2020) and with projections up to 1 million
inhabitants by 2030. Ideally, this growth should be accompanied
by better housing, job opportunities, improved infrastructure.
However, while Cebu City as a whole has been experiencing
significant growth since the 1990s, Cebu’s downtown has been
suffering from Urban Decay.
Urban Decay occurs when a previously healthy or functioning
part of a city falls into a state of disrepair or decrepitude. This
has been due to various factors but mostly can be attributed
TACTICAL URBANISM
Goal: To Make a Low-Cost Temporary
Gathering Space for Church-Goers
ROY VINCENT TRANI UAP Site perspective along Osemña Boulevard
82
to the migration of quality housing and jobs further inland of
Cebu City and Lapu-Lapu City e.g. the gated residences and
commercial districts, respectively. The population migration
then results in abandoned barangays having fewer resources
to maintain their infrastructure and buildings. The poor
infrastructure then encourages even more people to leave
these barangays, triggering a vicious cycle of population
reduction and declining infrastructure quality.
On the other hand, Tactical Urbanism is can be one step
toward a solution. It can be defined by several characteristics,
including a phased approach, local ideas, short-term
commitment, low-risk (with potential for high reward), and the
development of social capital and collaborative partnerships.
At their core, acts of tactical urbanism allow for creative,
flexible experimentation with public space. Through low-cost,
temporary installments it has a positive impact on an urban
area’s growth. Our proposed tactical urbanism project aspires
to explore the impact of a temporarily pedestrianized street
on the number of pedestrians and cyclists. Its results will
be useful for further studies on full pedestrianization and a
revitalization of Cebu City’s downtown area.
83
 P. ZAMORA STREET
5.20 4.00 4.30

1 2 1
KAKING IMPERIAL
COMMERCIAL CITY SAVINGS BANK
SHOPPING APPLIANCE
LONGITUDINAL SECTION LEGENDCHOWKING ASIAN HOME BG DIONISIO
0m 5m 10m 20m 40m
CENTER BUILDING 1- TENTS PLAZA
2- OUTDOOR UMBRELLAS
0m 2.5m 5m 10M

CROSS SECTION
KAKING STORE COMMERCIAL BUILDING CHOWKING CITY SAVINGS BANK
IMPERIAL APPLIANCE BG DIONISIO ASIAN HOME
RETAIL USE RESTAURANTS, OFFICES RESTAURANT COMMERCIAL USE
RETAIL USE RETAIL USE RETAIL USE
12m HEIGHT RETAIL USE RETAIL USE 12m HEIGHT
9m HEIGHT 9m HEIGHT 9m HEIGHT
(ARCADED) 12m HEIGHT 9m HEIGHT (NON-ARCADED)
(ARCADED) (ARCADED) (ARCADED)
3-4m SIDEWALK (ARCADED) (ARCADED) 3-4m SIDEWALK
3-4m SIDEWALK 3-4m SIDEWALK 3-4m SIDEWALK
3-4m SIDEWALK 3-4m SIDEWALK

P. BURGOS STREET
STREET

P. ZAMORA STREET

KAKING IMPERIAL

1 1
COMMERCIAL CITY SAVINGS BANK
SHOPPING APPLIANCE

2
CHOWKING ASIAN HOME BG DIONISIO
CENTER BUILDING PLAZA
M
D. JAKOSALE

KAKING STORE COMMERCIAL BUILDING CHOWKING CITY SAVINGS BANK

IMPERIAL APPLIANCE BG DIONISIO ASIAN HOME
RETAIL USE RESTAURANTS, OFFICES RESTAURANT COMMERCIAL USE
RETAIL USE RETAIL USE RETAIL USE
12m HEIGHT RETAIL USE RETAIL USE 12m HEIGHT
9m HEIGHT 9m HEIGHT 9m HEIGHT
(ARCADED) 12m HEIGHT 9m HEIGHT (NON-ARCADED)
(ARCADED) (ARCADED) (ARCADED)
3-4m SIDEWALK (ARCADED) (ARCADED) 3-4m SIDEWALK
3-4m SIDEWALK 3-4m SIDEWALK 3-4m SIDEWALK
3-4m SIDEWALK 3-4m SIDEWALK

P. BURGOS STREET
M STREET

BASILICA MINORE DEL SANTO NIÑO

INSTITUTIONAL USE
1 2 9m HEIGHT, 18m 1BELL TOWER
NO SIDEWALK SANTO NIÑO PILGRIMAGE CENTER
D. JAKOSALE

INSTITUTIONAL USE
BASILICA MINORE DEL SANTO NIÑO
INSTITUTIONAL USE 9m HEIGHT
9m HEIGHT, 18m BELL TOWER
NO SIDEWALK SANTO NIÑO PILGRIMAGE CENTER NO SIDEWALK
INSTITUTIONAL USE
9m HEIGHT
NO SIDEWALK

BASILICA MINORE DEL SANTO

NINO CHURCH
0m 10m 20m 40m BASILICA MINORE DEL SANTO
PILGRIM CENTER LEGEND
1- TENTS
SITE DEVELOPMENT PLAN NINO CHURCH 2- OUTDOOR UMBRELLAS
LEGEND
NORTH

0m 10m 20m 40m
LOCATION: BARANGAY CENTRAL, CEBU CITY
SITE DEVELOPMENT PLAN Our team has identified that Barangay Central a.k.a. Santo Niño
has the most potential for improvement because of its cultural
and historical sites. Basilica del Santo Niño is located in the heart
of Cebu City’s heritage district. It is bounded by B.Pari-an and is
Pari-an Estero (Estuary) built over to the North. To the east, it is
bounded by B. San Roque. To the south, it is bounded by B.Ermita.
And finally, to the west, it is bounded by B.Kalubihan. Buildings
like the Cebu City Hall, Sugbu Chinese Museum, Basilica del Santo
Niño, and the Cebu Metropolitan Cathedral make the area an
inherently attractive destination. The topography is fairly flat
which means it will be easy to traverse by walking or cycling. The
total land area being 0.2952 km2 with a perimeter length of about
2.4 km. This means that walking the length of the barangay might
take about 20 minutes (120 m/ 1 minute of walking). However, a
2.4km length will comfortably take about 5 minutes by cycling (500
m/ 1 minute of cycling).
PILGRIM CENTER
BUILDINGS, SIDEWALKS, AND LAND-USE—OBSTACLES AND OPPORTUNITIES
1- TENTS
NORTH The Basilica del Santo Niño complex forms the southern edge of2- OUTDOOR
does not have a sidewalk on the Basilica’s side. The arcaded
the site. The bell tower is the most striking feature visible from
the street. It is therefore important to preserve this feature when
designing the final layout of the public space. Walking down
this section of Osmeña Boulevard, we see, on the north side,
mostly 9-meter tall (3-storey) buildings with some 12-meters
tall (4-storey) buildings at the northeast corner. Visually, the
buildings appear to be in better condition than other parts of
the barangay. These buildings also provide an arcaded path for
pedestrians except for the City Savings Bank building which is
located on the eastern portion of the site.
The majority of sidewalks in the west and northwest sections
of the barangay are arcaded on both sides. Towards the
eastern section of the barangay following P. Burgos Street, the
sidewalks are not arcaded. It is noteworthy that the project site
UMBRELLAS
streets have the widest sidewalks measured at 5m, while
non-arcaded streets have sidewalk widths of 1-2m. There is
an opportunity for P. Zamora Street to connect the Basilica
del Santo Niño with the Cebu Metropolitan Cathedral because
of its serviceable 1-2m sidewalk. The project on the Basilica’s
side, as well as the majority of streets in the barangay, has no
obstructions—unlike the arcaded street opposite the basilica.
The majority of the barangay is dominated by commercial land
use with small residential areas peppered to the north and
south of the site. This type of land use causes limited “eyes-on-
the-street”, passive surveillance, which makes streets unsafe.

84 85

Tents for attendees walking to the Basilica Entrance from D. Jakosalem Street
Umbrellas for attendees outside the Pilgrimage Center
THE PROJECT
This proposal focuses on a section of Osmeña Boulevard in
front of Santo Niño church. This area is driven mainly by the
tourism potential of the church with moderate pedestrian
demand around it.
The goal of the project is the installation of a temporary
gathering space for visitors of Basilica del Santo Niño. It is
the hope of the design team to see if the new installation will
increase pedestrian traffic in the area. If pedestrian traffic
86
does not increase, this means that this area is not suitable
for future permanent pedestrian infrastructure. However, if
the pedestrian traffic does increase, this means that the local
government can pursue further studies and design concepts
that will be permanent.
OUR
TOPNOTCHERS
OF JUNE 2021
WRITERS: JEZREEL NUGAS AND LOUIE ANN VALERIANO
We are so glad that the intensive educational and formational
efforts of University of San Carlos, as well as the individual
striving of many students, usually lead to outstanding
performances. This year, four of our students achieved a position
among the top 10 Architectural Board Examination takers. Here
are our conversations with them.
AR. BENSON HEINRICK GO
Benson Heinrick Go ranked first in the Architecture Licensure
Exam 2021, a feat that resulted from an unbreakable ambition,
coupled with his strong faith in God. He scored 83.50%, and to
him, it seemed unbelievable. His dream to become an architect,
a dream he has held since the fourth grade, has finally come
to fruition. With awe, he and his family virtually celebrated and
prayed together.
In his college years, Go described himself as an average student
who was diligent in his work and time management. With this
work ethic, he stayed a Dean’s Lister until his second year, then
ranked second for best thesis. Aside from his studies, he always
found time for himself. Often it was as simple as having some
alone time, or playing board games, or serving as the volleyball
coach for the Philippine Christian Gospel School (PCGS). He
believes everyone needs to “find a way to destress and enjoy what
you’re doing.”
After he graduated in 2018, he proceeded to his apprenticeship
in RRS+A, an architectural design firm, and Hesreal Development
Corporation, a construction firm. Both were vital in his eventual
success in the board exam. Soon after his apprenticeship, he went
on to register for the June 2021 licensure exam with the goal of
ranking top. He studied every day. He used active recall through
multiple tests and flashcards since late January 2021. Although not
being able to see nor interact with people and the fatigue from
studying eventually took a toll, taking breaks helped him cope
with the stress. For him, the “preparation for the heart and mind is
more important than studying.”
87
As days went on, his goal to become a topnotcher shifted as he
realized that his intention was a somewhat selfish act. He then
prayed to God and asked for His guidance to just simply fulfill the
last step to becoming an architect, and taking it as “an opportunity
to learn.”
Aspiring architects, Benson Go sets an example for all of us. His
success allows us to comprehend that with hard work, passion,
and unrelenting faith in God, we can accomplish the goals we set
for ourselves. Amid our day-to-day efforts, we must also remem-
ber to give time to ourselves. Benson Go, now a licensed Architect,
currently plans to help in the family business while working free-
lance on the side. He plans to pursue further studies abroad, with
AR. MARK ANTHONY FLORDELIS
a high interest in urban planning, sustainability, and the opportu-
Mark Anthony Flordelis decided to take up architecture because of
nity to become an LEEDs or EDGE professional.
a passion for drawing. Later on, he found architecture so difficult
that he almost shifted to another course. But with the encourage-
To the undergraduate students and incoming licensure exam-
ment of his family and self-reflection, he kept going. After he took
inees, he advised, “Do your best, pray and trust God that
the 2021 Architecture Licensure Examination (ALE), he had doubts
everything will fall into place in His perfect time.”
on whether he actually passed. He had found it difficult. So, it
came as a shock when he learned that he ranked second in the
exam. Even weeks after the results, he still could not believe how
he achieved such a feat, passing the exam with a rating of 83.40%.
Mark graduated from University of San Carlos last 2018. He de-
scribed himself as a student who was diligent and hardworking.
His thesis was ranked seventh best in the entire batch. Truth be
told, Architecture is not an easy course to study nor handle. Mark
had his fair share of struggles in college. In order to cope with this,
he reached out and asked for help from fellow classmates, later
realizing that only he could help himself by taking the initiative to
learn, be taught, overcome, and succeed. So to his fellow under-
graduate students, his advice is: “Don’t give up.”
After his graduation from the University of San Carlos, he took
his apprenticeship under Tektonic Design. For about a year, he
prepared tirelessly for the licensure exam. He had set a high bar
for himself in wanting to become a topnotcher, and it was no easy
task. He studied day to day, read, made flashcards, posted mul-
tiple notes all over his bedroom walls, and exercised to sharpen
his mind for the day. When obstacles arrived, his motivation was
driven by the will to succeed and the passion to repay his family.
For those studying to pass the board exam, he advised, “Know
what works for you.”
Mark Flordelis is an ideal inspiration in the academe. He reminds
everyone that with hard work, dedication, and commitment,
anyone can accomplish their goals. That people shouldn’t limit
themselves, and aim for the best in everything. Now that he is an
architect, he has no definite plans as of the moment, but he does
intend to go abroad, study for a master’s degree, and establish his
own firm.
His encouragement for those studying architecture? “Laban lang
gyud (Keep on fighting)!”
88
AR. GERALD LUAGUE BORBON
Gerard “Gerry” Luague Borbon landed in the 6th place in the
Architecture Licensure Exam 2021 with a rating of 81.60%,
together with other two examinees. Right after he saw the
announcement, he went to church as he was very grateful for
the unexpected news.
Yet architecture was never his first choice. He first took the
examination for the Norwegian Shipowners’ Association (NSA)
Cadet Program, hoping to become a seafarer. Unfortunately, he
did not make it due to his vision. But that failure led him to open
the door towards architecture, as he was also known as a creative
student back when he was in high school.
Gerry spent 5-plus years in architecture at the University of San
Carlos. He started studying in the year 2013 and graduated a bit
late because he experienced some difficulties in his thesis. When
he was in college, he was a hardworking student and part of the
Dean’s List until his third year. He became a nominee for a design
plate and even won the pasta structure contest in his section. But
just like many other students, Gerry struggled a lot especially in
minor subjects. The thought that everyone around him was going
through the same experience helped him manage those struggles.
After he finished college, he took his apprenticeship at Amarga
Architects, which is a studio specialized in residential and
commercial structures. His experience in that firm taught him
various things, especially about being mindful of every task, as one
mistake might cause a lot of problems. He then prepared for the
board exam during the second year of his apprenticeship. Despite
some struggles during the pandemic, Gerry continued to study
while listening to classical music. He tried to take breaks once in
a while to refresh his mind and to prepare for the exam. Studying
vigorously, he set a goal to pass the exam on his first attempt,
to make his family proud and give back to the firm that he was
working with.
Through his experience, Gerry shows that with hard work and
commitment, anything is possible. As he now holds the title of
an architect, he plans to go abroad, specialize in Architectural
Sciences, join the academe and, as soon as he is stable, start his
own firm.
89
 AR. MAGDALENA BEATRIZ LEPITEN ARRIOLA

Introverted, chill, and an average student. That is how the sixth

placer in the Architecture Licensure Examination 2021 described
herself as a college student. Architect Magdalena Beatriz “Bea”
Lepiten Arriola scored 81.60% and shared sixth place with other
two topnotchers. It was an unexpected achievement, said Bea,
who chose to enroll in architecture because she was simply fasci-
nated with how the SAFAD building was designed.

† TROY ELIZAGA, UAP

During her college days, she often sat at the back of the class. She
spent most of her free time outside the school with her friends.
Bea started college in 2012 and graduated in 2018. Her 6 years in
college was not an easy ride for her. She took a few subjects again,
struggled with home-school travel, and endured the hassles of be-
ing an irregular student. Regardless of the challenges, Bea never
thought of giving up, because for her, she should finish whatever
she started despite the circumstances that come
her way.

Without hesitation, she took the course more seriously when she
reached her senior year, with a goal to graduate. Bea also encoun-
tered difficulties during her thesis, but she managed to finish it by
herself. Her college life may not have been the best chapter of her
life but it was one of the unforgettable ones, as it was where she
learned to become mature and independent.
JUAN RAMON JIMENEZ VERDEJO, PhD
DOCTORAL ADVISER OF AR. ELIZAGA
THE UNIVERSITY OF SHIGA PREFECTURE, JAPAN
ENVIRONMENTAL SCHOOL, DEPARTMENT OF ARCHITECTURE AND DESIGN

Bea then applied with the firm Christine Go Interiors, in which
she pursued her passion for interior design and at the same time,
working on the architecture side of the firm. This contributed a lot
to her knowledge for the board exam. During her exam prepara-
tion, she studied hard and was so focused that she deactivated all
of her social media accounts. She used the active recall learning
framework, using Excel spreadsheets and flashcards, and watched
a lot of study tips on YouTube. Then to balance her routine, she
worked out a lot and spent her free time doing the things that she
likes.
As Bea is now an architect, she plans to go abroad three to four
years from now to further her experience in architecture. She
also plans to establish her own firm in Cebu as soon as she can
accumulate enough money. From just being inspired by the SAFAD
building to becoming one of the topnotchers of the licensure
exam in 2021, Ar. Bea sets an example for all students that when
you believe in yourself and stay patient, everything will fall into
place. Just trust the process and never give up.
Architect Troy Elizaga was born in 1980 in Davao City. He
graduated from the University of San Carlos in 1996 (Bachelor of
Science in Architecture) and in 2009 (Master of Architecture). He
started teaching in the same University in 2003.
I first met Architect Elizaga in the Philippines in 2014, during
fieldwork to assess how the Bohol earthquake in October 2013
had affected heritage structures. In January 2015, I met him again
in Japan at a conference in Sapporo, at Fuji Women’s University.
I ended that day singing karaoke with him. During the next
two years, our cooperation became more intensive at various
symposiums and workshops in Tacloban, Cebu, and Bohol.
In April 2016, he started his doctoral studies under my tutelage
at the University of Shiga Prefecture in Japan. During that time, I
participated with him in many workshops, research, and fieldwork
in Japan, the Philippines, and Vietnam.
In 2018, he was appointed the Head of Escuela Taller Bohol, and
since then we worked together on the preservation of the Jesuit
House 1730 in Cebu.
In June 2019, he obtained the title of Environmental Planner (Enp).
He was also a founding member in 2020, as well as an
active member of our NGO FootRoots, which focuses on
helping the marginalized and underprivileged population
of Cebuano society.
Architect Elizaga obtained his doctoral degree in
September 2020, with the thesis “Study on the Housing
Resettlement for Disaster-affected Communities of
Tacloban and Cebu, Philippines”. In that year, he also
he started the process of opening his office in Cebu to
be named UCHRRC (Urban, Community, and Heritage
Rehabilitation and Research Consultancy Inc.).
Dear Troy, I have written your name in the countless
presentations, events, and publications we have shared. I
never imagined that I would have to write your name with
so much pain for an article like this one. Even so, I would
not stop writing it.
You have left us too quickly. After all these years, we were
full of projects and illusions to embark on new projects
together. I do not mention the emptiness left by your
absence, but I thank you for the time we shared together.
You showed me the best of the Philippines and Filipinos.
You made me cherish your country even more.

90 91

† EFREN CINCO
MUAÑA, JR., UAP
Architect Efren “Junx” Muaña, Jr. was born in Cebu. He
studied in the University of San Carlos (USC) and Cebu
Institute of Technology (CIT) and graduated with the
degree Bachelor of Science in Architecture. His love
for art and photography led him to teach in USC some
subjects like Freehand Drawing and Photography under
the Fine Arts department. Known to be calm, soft-spoken,
friendly, knowledgeable, and talented, he was loved by
his friends, colleagues, students, or anyone who got to
meet and know him. He saw the potential in people and
encouraged them to develop them. He had the passion
and drive to turn his interests and talents into something
that could be useful, always on the quest to learn, to
create, to discover, and then share with others.
Junx set up with his friends an outdoor equipment and
apparel shop called “Habagat”, which is now a known
brand. A mountaineer himself, he became the adviser for
the USC Mountaineering Club and a founding member
of CAMP-CEBU. His passion for music inspired him to
open the Backyard Project Studios, which became not only
a recording and rehearsal studio but a place where the
camaraderie between local bands and artists flourished.
92
ART WITH A SPLASH
OF DEVOTION
Photo by Slizz Productions
JULIANA MAE FLORES
ALTHEA LEBIOS
CHANEL CATAO
EDITED BY CLARIZA MAE SEVILLA
“Hail Mary, full of grace, the Lord is with thee; blessed art
thou among women, and blessed is the fruit of thy womb,
Jesus. Holy Mary, Mother of God, pray for us sinners, now
and at the hour of our death.”
BY MARIE SUSETTE MASA LOYOLA, UAP
On October 23, 2021, the University of San Carlos’
South Campus kicked off their USC Days with fun and
educational events. One of these events was the Marian
He formed the Hardwood Band, which played most of his own
Art Exhibit. Every October, gifted senior high school
compositions. He skillfully crafted quality guitars with the brand
students from the Arts and Design (A&D) track join the
name “Harana Guitars”.
rest of the world in commemorating the Month of the
Holy Rosary by painting their unique depiction of the
In 1994, Junx was diagnosed with Stage 3B lung cancer. With major
Virgin Mary, and conveying messages of prayer and
surgeries, chemotherapy, radiation, medication, and endless visits
peace throughout the world. This year, the University of
to his doctors, he recovered. More than the medical treatments,
San Carlos launched the Marian Art Exhibit on October
the utmost love and care of family, the healing power of art and
20, and opened it to the public until November 8. The
music, and his will to live paved the way for a miracle to happen,
exhibit was located on the Upper Ground Floor City Wing
and he won the battle against cancer.
Bridgeway of SM Seaside Cebu City.
Junx continued to touch the lives of so many and made significant
Mrs. Marie Tabotabo, one of the event coordinators,
contributions to education and architecture, to the art and music
says that this year’s theme is a collection of artworks
community, and to the outdoor sports community. But on Sept.
representing Mother Mary. She also mentioned that
15, 2021, Junx succumbed to Covid-19, at the age of 62. Only good
this year’s event is the University of San Carlos’ first ever
words about this man echoed from everyone who knew him.
Marian Art Exhibit.
He is survived by his wife Nelma, children Cara and Julia, and his VIRGIN MARY WITH A CHERRY
grandchildren that he loved so dearly.
In 2018, the inaugural Marian Exhibit at USC began as a BLOSSOM BRANCH
simple activity for the Religious Education (ReEd) subject.
We owe special thanks to his daughters, Cara and Julia, for most of SUMMER SANDOT
“What event can we arrange for Mama Mary for the
the information included in this article.
month of the Holy Rosary?” asked Mr. Boyet Silab, a
ReEd subject teacher.
93
“I told him we could have an exhibit,” Mrs. Tabotabo had
suggested. Since the first exhibit was only open to a limited
number of people, it was dubbed a pocket exhibit. Its success
convinced the ReEd teachers that continuing the activity
was a good idea. As a result, this school year, they decided
to launch a major public exhibit to honor the Holy Mary and
showcase the abilities of the Arts and Design Students.
However, planning an art exhibit isn’t always full speed
ahead. Mrs. Tabotabo had doubts while the project was still
in its early stages. “At first, I didn’t really expect much
because of the pandemic—and considering that I cannot
supervise them [...] face-to-face. It’s really quite difficult
to look at artworks online,” she explains. However, once
her students started sending in their work, her doubts
disappeared. “The moment I knew that there were a lot
of good works, that’s when it was a good sign for me to
push on with the exhibit.”
As a devotee of Mama Mary, Mrs. Tabotabo actively engages
in church activities, especially Marian acts, which she puts
forward in this exhibit. Thanks to the assistance of the ReEd
teachers, and Mr. Clyde Chan—who mostly handled the
technical aspects of the event—Mrs. Tabotabo says that
organizing the event was “a breeze.”
She further explained how this experience affected her
personally: “I have always been dedicated to her [Mama
Mary]. I know she’s always the person who I run to for
all my favors and she has never failed me. It would be
very nice to use the arts as a medium and a channel for
honoring and promoting Mama Mary’s intentions, which
is of course, our own intentions.”
Moreover, she also commended her students for the
artwork they created and further expressed the significance
of the Marian Art Exhibit, which is to remember and honor
Mother Mary during a month dedicated to her. “We’re
not just exhibiting for the sake of art but we’re also
exhibiting for a good cause [...] to help make the world a
better place,” she adds.
The success of the grand Marian Art Exhibit would not have
been possible without the show’s major attraction—the
artwork created by the Grade 11 and 12 students from the
Arts and Design Track.
Grade 12 student, Summer Sandot, expressed how art had
a really big impact on her life, and she incorporated this
value into her work for the Marian Exhibit. “My piece was
about Mother Mary, and she was holding a rosary,” she
says. “I incorporated the rosary into my piece [so that it
becomes] significant to the Holy Rosary Month.” While
painting, she felt how much of an inspiration Mother Mary is
to most women because of her grace and purity.
Sean Jericho Suerto, a Grade 11 A&D student, also expressed
his sentiments in working with his piece for the Marian
Exhibit. Suerto’s art piece is an oil painting on canvas that
honors Mother Mary entitled “A Cold Night in Bethlehem”.
94
creativity. It also gave the faculty a chance to fulfill their spiritual
duty of sharing God’s story and giving back to Mother Mary for all
the prayers of guidance she has answered.
The spiritual mother, Mary, the Mother of God, who, through the
power of the Holy Spirit brought “the Word Made Flesh” into our
lives, is being honored as the source of our joy, the one to whom we
can express our sufferings, joys, and cries, and who embraces all
people through the various works of art that depict Her being and
perfection in this Marian Art Exhibit.
What began as a ReEd activity has now become an annual event
that everyone can look forward to so that we can continue
honoring and serving the Holy Family. The University of San
Carlos offers a variety of activities that center around developing
a strong sense of community and individuality for both students
and faculty. This is not the first and it certainly won’t be the
last event that celebrates our faith and creativity of expression
because it is important that we stay true to our hearts as we
strengthen our minds.
Photos from USC SHS - South:
“A Cold Night in Bethlehem”
“Queen of Peace, Our Lady of the Holy Rosary”
Photos by Slizz Productions: QUEEN OF PEACE, OUR LADY OF
“Virgin Mary with a Cherry Blossom Branch” THE HOLY ROSARY
“Ethereal Madonna”
“Mary the Matron” FIONA VIVARES
A COLD NIGHT IN BETHLEHEM
SEAN JERICHO SUERTO
His inspiration for the piece came from multiple places, but
his mother’s favorite colors played a large part in its creation.
He explained that he wanted to express the importance of
subjectivity in art. “Subjectivity is very essential,” he says. “It
is what makes it [the artwork] personal and tells so much
about an artist.” He then went on further to add that his art
was incorporated with themes that are close to him, like his
mother and Christmas.
The exhibit was not just an activity to showcase the astonishing
artworks and immense talents of the Arts and Design students
from the University of San Carlos. It was an exhibit with a cause; it
was a way for people to remember Mother Mary’s grace and the
importance of the holy figures in our lives. The event also held a lot
of sentimental value to the people involved—from the hardworking
and devoted coordinators to the talented and brilliant Arts and
Design Students. It gave the students a chance to reflect on their
spirituality and provide them with an outlet for their emotions and
ETHEREAL MADONNA MARY THE MATRON
JASPER VILLACIN MAIA BENJALINE LAVADIA
95
FINE ARTS
MIA LUA
BFA - ADV 1
Digital Art

GALLERY
GAYELIN CELIZ
BFA - ADV 1
Digital Art

KAROL ANDRINO
BFA - ADV 2
Digital Art

CHERYL BATO
BFA - ADV 1 ALEXANDRA ALERTA LIWAYWAY SALAMAT
Digital Art BFA - ADV 2
BFA - ADV 3
Digital Art Digital Art

96 97
 PATRICIA RAFANAN

ARCHITECTURE
BFA - ADV 4
Visual Identity

GALLERY

OROCARE CAPITAL HOSPITAL

A PROPOSED LEVEL 2 HOSPITAL AND
EXTENDED EMERGENCY FACILITY

The main goal was to provide a

structure that lends a helping hand to
the people of Oroquieta City. The area
has an average population density,
yet it comprises a limited number of
healthcare facilities. It is essential to help
secure facilities for rural communities.

Proponents: Chrsitian Palanas, Raia

Alcantara &, Sophia Toledo

JOE LAYOLA
BFA - ADV 3
Visual Identity

LINGAP GENERAL HOSPITAL

A PROPOSED LEVEL 2 HOSPITAL AND
EXTENDED EMERGENCY FACILITY IN
COMPOSTELA, CEBU

The designers envision a medical complex,

ANTON LIN at which point a medical school, dormitories,
commercial spaces, chapel, and public park
BFA - ADV 4 are to be integrated in the future. Filipino
Visual Identity
ingenuity and intelligence will be highlighted
in this project.

Proponents: Maria Erna Cabarrubias,

Johann Lance Nalo &,
Dwight Dexter Lastimosa

AMABELLE PIÑON
BFA - ADV 4
Visual Identity

98
 TAGBOANAN HOSPITAL TERASA HIGHLAND RESORT
A PROPOSED LEVEL 2 HOSPITAL AND A PROPOSED ECLECTIC CONTEMPO-
EXTENDED EMERGENCY FACILITY FILIPINO AGRO-RESORT

The concept for this design revolves
around bamboo weaving, a traditional
practice in Southern Cebu. The façade
of the building is covered by a shading
device that resembles the pattern of
bamboo woven walls.
Sits from the magnificent landscapes
of Cadapdapan Rice Terraces, Terasa
brings you to a worthwhile experience
of comfort, luxury and wellness as you
immerse to the breath of nature and the
richness of culture.

Proponent: Rodnick Devalque

Proponents: Ryan Japhet Gablines &,
Gerard Anton Mahinay

INTERIOR
DESIGN GALLERY
BAKHAWAN
A SAMA BADJAO COMMUNITY
KALINAO HIGHLAND RESORT MANGROVE SANCTUARY

A PROPOSED ECLECTIC CONTEMPO-FILIPINO The design looks forward to a new

AGRO-RESORT sustainable Badjao community that aims
to build safe and secure communities
Kalinao Highland Resort sits in the scenic barangay through expanding economic
of Licaon in Sumilao Bukidnon. The resort operates opportuities and local resources
in consortium with the Higanonon Tribe and local
farmers, making the resort an agricultural tourist
destination while benefitting these communities. Proponent: Ryan Japhet Gablines

Proponents: Mathea Pugoy &, Renzo Montenegro

100 101
 LANDSCAPE
KABAGTAO ARCHITECTURE GALLERY
A NEW WAY OF LIFE

The rising water levels of the ocean due

to climate changes harms the existance
of residents along coastal areas, this is
where Kabagtao comes to play, thriving
KAN-IRAG NATURE PARK
on top of the water surface secures
A PROPOSED NATURE PARK
elevation of living for every family in the
coastal community.
Proponents: Jazzie Arcales, Kenneth
Lev Dano, Jake Adrian Flores &,
Proponent: James Marie Kyle Colina Jehan Tan

PARAISO: THE ECO-SITIO

A SOCIALLY-SUSTAINABLE
COMMUNITY FOR THE MEMEBERS OF
THE INFORMAL WASTE SECTOR
KAN-IRAG NATURE PARK
A PROPOSED DEVELOPMENT IN
Paraiso: The Eco-Sitio aims to intergate KAN-IRAG NATURE PARK
members of the informal waste sector
formally into the waste management
system. The projects consists of a Proponents: Lyza Armecin, Lorenz
recyclng facility, a livelihood/retail Tribucio, Khenn Odgoc &, Shen Marie
center and social housing for the Montecillo
staff and their families.

Proponent: Renzo Montenegro

102 103
 Your Creative Journey Begins Here
Be part of a Community of Carolinian Architects, Artists, and Designers

BS ARCHITECTURE MASTER OF ARCHITECTURE ACC Architecture Computer Center

BACHELOR of LANDSCAPE ARCHITECTURE Architectural Science CHERISH Conservation Heritage
BS INTERIOR DESIGN Landscape Architecture Research Institure and
BS ENVIRONMENTAL PLANNING Urban Design Workshop
BACHELOR OF FINE ARTS Interior Architecture IPD Institute for Planning
Advertising Arts MASTER IN URBAN PLANNING and Design
Painting MASTER OF ARTS AND DESIGN
LANTAWAN SAFAD Publications,
Fashion Design MASTER IN FINE ARTS
Architectural Communication
Cinema Cinema Studies
and Theory
Marketing Communication
(Off-shore)

You may contact us at the
Office of the Dean (032) 230-0100 local 207
or apply at ww.ismis.usc.edu.ph/apply-SAFAD stamp
104
Address:
School of Architecture, Fine Arts and Design
SAFAD Building, Talamban Campus, University of San Carlos
Cebu City, 6000 Philippines