AMERICAN COLONIAL TRADITION

BY: HONRADO R. FERNANDEZ (The

Architecture of the Philippines, Traditions and changing Expressions) arkitekturang filipino; spaces and places in history

defies segmentation into separate time frames. Historical Background and Influences American Colonial Tradition The end of the 19th century in the country marked the end of three hundred years of Spanish rule, and the beginning of five decades of American occupation. As the American colonists took over the country, the Spanish colonial tradition in architecture gradually declined. Dominador Castaeda (1964) states that consequently a different architecture appeared as the new regime established itself in the archipelago. New trends and ideas in building design and construction emerged. This was evident in Imperial Americas aggressive push for an architecture known for civic designs and monumental architecture. The first Civil Governor General of the Philippines, William Howard Taft, opted among its policies the betterment of health, education and the living conditions of the natives which demanded the construction of civic buildings, schools, hospitals and other building types that would house the other government services. Due to the growth of commerce and the establishment of industries, there was a need for the erection of new commercial and quasi industrial buildings. However, there was little response through sound urban design to address the growing problems of housing compounded by the mushrooming of ordinary buildings. These problems were a result of the sprawl or overflow of structures from

The American colonial tradition in Philippine architecture covers the period from 1898 to 1946, and covers all architectural styles, including European styles, which were introduced in the country during the American regime. Architectural forms representing this tradition are the following government office buildings, churches, schoolhouses, hospitals, commercial office buildings, department stores, hotels, supermarkets, sports facilities, bridges, malls, movie houses, and high-rise buildings. The tsalet, a new form of residential architecture, emerged. The 20th century contemporary tradition is represented by the architecture created by Filipinos from the later part of American occupation to the present. It includes structure such as private commercial buildings, religious structures, and domestic architecture such as the bungalow, the one-and-a-half story house, the splitlevel house, the middle-class housing and the low-cost housing project, townhouses, condominiums and squatter shanties. The American Colonial and 20th century contemporary traditions have been grouped together since they cover only almost a hundred years, and because the flow of influences and their subsequent effect on the development of architecture is characterized by a continuum that

acdevera-FEU-IARFA

9/12/2008

Intramuros and the poblacions of the port cities of the Philippines. Thus, during the early part of the American period, there was much repair, rehabilitation and construction done by a corps of army engineers. The first licensed Filipino architect was Arcadio Arellano (1872-1920). He was employed in 1901, by Governor Taft to become one of the advisers on architectural matters regarding the construction and reconstruction of buildings. That same year the Philippine Commission created the Bureau of Architecture and Construction of Buildings under the Department of Instruction. However, the only architects employed by the government then were Americans until 1918 when Filipino architects took over and were recognized to practice architecture. In 1904, American architect Daniel H. Burnham (1846-1912), who is also known for having designed the Chicago Worlds Fair of 1893, arrived in the country to survey Manila and Baguio to conceive monumental plan for both cities. His long-term plan for the city of Manila included broad avenues and tree-lined boulevards. These were to radiate from the proposed Government Center, considered as the focal point, and go across the city similar to that of Baron Haussmann, Washington D.C. In its execution, the Burnham plan was committed to William E. Parsons (1872-1939). Burnham, an advocate of neoclassicism, promoted the City Beautiful movement. The classic monumentality of the government

buildings clustered around the proposed plan of Manila reflected a renaissance layout. The following were among the major buildings erected on sites specified in the plan: Congress of the Philippines, Finance Building, the Department of Agticultute and Natutal Resoutces Building. Other buildings were the Post Office, and the Supteme Coutt. The Legislative, the Post Office and other government buildings had an aesthetic and romantic appeal because of the rows of Classical Roman columns blossoming with acanthus leaves and scrolls. Regardless of its appropriateness or inappropriateness, the Classic style was chosen as the official style of government buildings. With the colonization by the Americans, a significant number of Filipinos were formally trained in American and European architectural schools. These schools were saturated with the philosophy of the Ecole des Beaux Arts - that classicism is the fountain head of all architecture. The first Filipino to be recruited by the Bureau of Architecture was Carlos A. Baretto. He trained in Drexel Institute of Philadelphia, and was the first Filipino architect with an academic title during the American occupation. He was involved in the Public Works from 1908-1913, and then also in 1917. Following Baretto was Antonio Toledo (1889-1972), who took up architecture in Cornell University and graduated in 1910. He also worked for the Public Works from 1911. Baretto was succeeded by two mote prominent architects:

acdevera-FEU-IARFA

9/12/2008

Tomas Mapua (1888-1965), a product of Cornell University and Juan Arellano (1888-1960), a graduate of Drexel Institute. Trained in the neoclassical style, Juan Arellano designed the Post Office and the Legislative Building highly advocating the canons of Greco-Roman architecture. These first four Filipino architects collaborated with American architects such as Parson, Ferhagen and Doane in designing significant structures in the country. During the early period of American occupation, the Ecole des Beaux Arts was the source neoclassic style in the country. Similarly, the art deco exposition held in Paris in 1925 became the source of early art deco architecture in the Philippines. In full contrast to their inhibitions during the past years, architects broke away from the former dominant style to give way to an overwhelming variety of styles and overdone buildings. Art deco or modernistic architecture in the Philippines was significant because it openly defied the prevailing neoclassicism, stripping the GrecoRoman columns, capitals, arches and pediments of their details but retaining their classic proportion and character. However, it did not reject decoration as such but adapted its own ornamental style. There was renewed interest in Filipiniana as expressed in motifs, use of space and materials. However, at the height of decorative indulgence and eclecticism, architecture at this period assumed the role of a cloak.., to be draped over the structural frame of a building. This period in the development of architecture must be viewed as the

dawn of the slow movement toward a more sensible architecture. Filipino architects realized the confusion wrought on the land by eclecticism and strove to counteract its ill effects. Despite the academism and eclecticism, the seeds of contemporary architectural thoughts were starting to take hold in the consciousness of the Filipino architects. Local architects rejected the concept that shelter is a machine, but instead accepted the concept that shelter is an organism. Architecture for the technological age was forecasted by the late 19th century prefabricated; all-steel structure of San Sebastian Church by Spaniard Genaro Palacios (1832-1923), and the early 20th century earthquake proof University of Sto. Tomas Main Building designed by Roque Roao. The flourishing economy of the 30s and the changing lifestyles of the people demanded new types of buildings. Such demand was reciprocated by the latest innovation in urban living. Multistory family apartment buildings, and the complex commercial structures to house theaters, offices and hotels, were novel solutions to current architectural problems. After their return, architects trained in London and Massachusetts in the 1930s pushed for organic architecture and the international style. Despite American influence, structures in the 30s indicated a revolt against over-ornamentation and classicism. Buildings now had the quality of simplification of lines and the continuous and uninterrupted verticality of lines that gave buildings a

acdevera-FEU-IARFA

9/12/2008

soaring appearance to contradict its massiveness. Apart from these features, the use of horizontally continuous strips of glass windows across the building faade served as a relief from the monotony produced by vertical lines that was fast becoming an architectural clich. This trend in design was handsomely executed by Andres Luna de San Pedro (18871952) in the Crystal Arcade Building in 1930. This building was recognized as the most outstanding building in Manila until its destruction in WW II. Other notable architects besides Andes Luna de San Pedro were Pablo Antonio (1902-1975), Fernando Ocampo Sr. (1897-1984) and Juan Nakpil (1899-1986). Luna de San Pedro, son of national hero and painter Juan Luna, was a militant advocate of new forms and ornamented structures, and expressed them through art-nouveau style. His best known works, besides the Crystal Arcade, were the Legarda Elementary School in Escolta, and the PerezSamanillo Building. Antonio, on the other hand, strived towards modernism, marked by boldness, play of planes and volumes, and strong, dynamic movement. His architectural achievements include Manila Polo Club in Makati, the Bel-Air Apartments, and early buildings of Far Eastern University. Ocampos exemplary works during the pre-war period include the Paterno building at the foot of what is now the MacArthur Bridge, and the Central Seminary Building of the University of Sto. Tomas. Finally, Nakpil, both an engineer and architect, designed and built the most number of large structures among the group. His later works include the Main Library of

the University of the Philippines in Diliman, and the Rizal Theater in Makati.

acdevera-FEU-IARFA

9/12/2008