GUHIT Pinas Art Center: Workshop + Museum

Guild for Upholding and Harnessing Indispensable Talents

CHAPTER 1

INTRODUCTION

The Philippine visual arts encompass a range of forms developed by Fi P a g e

| 1 P a g e | 1 lipinos because it has a larger and more vigorous artistic community than

any other Southeast Asian nations because it has four cultural heritages - Asian,

European, Mexican, and American. In Manila alone, the arts and culture capital, there

are many art galleries showcasing the works of talented local painters, sculptors,

muralists, and folk artists. Theatrical and orchestral performances are also very

popular. (GOVPH, 2014)

Everyone has its own artistic side and has their own abilities and styles when it

comes to visual arts. For most artists having a first solo exhibition of their carefully

conceptualized visual statement to a rather complicated contemporary art scene is a

dream. (Jay Bautista 2018).

Art has been looked down on, especially local art and people keep saying that

“There’s no money in Art”, and some of the young artists that have a potential and

passion in art are not recognize because of the fear of judgement of most of the people

that art will not help them to live, and some of them were forced to take other

profession in order to gain lots of money. As a result, some aspirant artists that has

potential were not able to improve or to show their talents to the world. Many of them

weakens their courage to continue and pursue their passion in arts.

Some will say “What will you do with your art? Will it really feed you and put a

roof over your head?" and “How we limit our artists" that’ll will discourage them. But

1|Page
GUHIT Pinas Art Center: Workshop + Museum
Guild for Upholding and Harnessing Indispensable Talents

some still pursue their dreams, these are people who often go unrecognized, but still

do what they love to do. (Aleeza Abinuman, 2017)

With the development of the arts, the development of everything else will follow

just like during the Renaissance period, when the flourishing of the arts paved the way

for social and governmental advances. NCCA Chairman Felipe De Leon (2014).

Echoing the statement of the NCCA Chairman, Senator Loren Legarda (2014) said “I

believe art should be an enabler for development”.

1.1 BACKGROUND OF THE STUDY

This is an account of the major events and milestones that have led to the

establishment of the biggest organization of Filipino visual artists in the country

today—GUHIT Pinas.

A group was created through Facebook, named GUHIT Pinas. It was

established by two young bicolanos namely, Jaime Coralde III and Rodman Papros,

that were both visionaries. Their first vision aims to have a healthy, dynamic and

purposeful community of Filipino visual artists. In order to create a local organization

that conducts art-related projects, they made used the social media, particularly

Facebook to find as many artists as they can and encourage the newbies, and the

aspiring artists to commune, interact and mature together with professional artists.

Originally, the guild was named GUHIT meaning Guild for Upholding and

Harnessing Indispensable Talents and was renamed GUHIT Pinas after a week. Since

then, their team decided to have GUHIT Pinas as their official name.

2|Page
GUHIT Pinas Art Center: Workshop + Museum
Guild for Upholding and Harnessing Indispensable Talents

After the success of the group, the growth of the members was unstoppable

and later became a haven for visual artists, from beginners that was starting to realize

their potentials as an artist to professionals that share, teach and inspire other

members about the different medium and styles of art. From then, they have created

a revolution that could reshape the country’s entire creative industry. Also, the

administrators have also stepped up their game, numerous problems and tasks were

kept on increasing that they need to make an organized system that turned them into

a field and office workers, custodians, speakers, leaders, etc.

The team also added more people on their guild and divided each team to organize

and work on different committees. They made the group interesting by having online

segments and contests that shows the capabilities of the artists, including Kulitagisan,

SPAW, Featured Artist of the Week, Concept Day etc. that tests the creativity of each

members or artists who wants to join.

There was also a project called “Expansion Brigade” that will expand the

organization from different city, schools and universities from Luzon, Visayas and

Mindanao. This expansion made the creators visit different cities and provinces to

organize simple gatherings, where he introduces the guild from its vision, mission and

principles.

In order to show the vision, volunteers from each city make the vision possible.

These simple gatherings encourage the members to meet and communicate in person

to establish a good relationship which forms the foundation of the guild.

Their second vision was to make the Philippines as the Art Capital of Asia,

which make the guild’s path clearer by planning and executing of both online programs

3|Page
GUHIT Pinas Art Center: Workshop + Museum
Guild for Upholding and Harnessing Indispensable Talents

and field works. And as the guild kept on expanding, financial was a problem, but for

the consecutive success of their minor and major events, they have caught the

attention from several firms including Pen Tool Mark, Faber Castell, and Dong-A that

expressed interest in providing support to the guild.

1.2 STATEMENT OF THE PROBLEM

GUHIT Pinas are sometimes organizing a convention to gather different artists

from their respective chapters, to meet and interact with each other. This convention

has different activities and contests, from Team Building, Performances, Live Demo,

Workshops, etc. which held in People’s Park Valenzuela or Quezon City Circle.

Problems from financial like they are still renting some place or facility in order

to organize and plan such events, and from physical environment such us the place is

too hot, etc. The get-together of per chapters are quite small, but the annual national

convention where everyone who wants to participate were gathered from Luzon,

Visayas and Mindanao which have almost thousands of participants. Because of not

having any place to have such kind of activity and the need to rent for it to make it

happen, an Art Center for them would be a huge help, considering that there’s a lot of

people who also wants to learn, and showcase and share their talents to everyone.

Also, there are only few art centers in the Philippines and some of them are not

visited by people that often because some of the art-related structures is not funded

by the government, and some people doesn’t appreciate the significance of the art,

especially here in the Philippines.

4|Page
GUHIT Pinas Art Center: Workshop + Museum
Guild for Upholding and Harnessing Indispensable Talents

1.3 PROJECT GOAL AND OBJECTIVES

To guide the project, the goal of this study is to create a place for the GUHIT

Pinas guild to promote Philippine visual arts through architecture. In line with the

project goal are the following objectives:

1. To promote and strengthens the people’s appreciation for Philippine visual art;

2. To create a haven for the GUHIT Pinas new aspirants and professional Filipino

visual artist community as a place for building foundation; and.

3. To make the Philippines the Art Capital of Asia from the vision of the GUHIT

Pinas.

1.4 SIGNIFICANCE OF THE STUDY

The proposed art center facility will have a great impact on the Filipino visual

artists, especially on the Philippine visual art. This project will encourage aspirant in

the field of arts and will promote the art of the different artists. It’ll provide spaces that

can assist the Filipino visual artists and aspirants from different chapters to work and

to make their vision possible. The facility will also help to promote the arts in the

Philippines and to strengthen the people’s appreciation for art.

The facility will be a haven for the unstoppable increase of GUHIT Pinas

community that these people will create a revolution that could reshape the country’s

entire creative industry. The facility will be a place for them to continue and share their

vision by using the facility for their indoor and outdoor activities.

5|Page
GUHIT Pinas Art Center: Workshop + Museum
Guild for Upholding and Harnessing Indispensable Talents

1.5 SCOPE AND LIMITATIONS

The study will focus on how to promote art and to expand the community of

Filipino visual artists by developing an art facility for the guild and its community. The

GUHIT Pinas has various chapters from different school, universities and cities from

Luzon, Visayas, and Mindanao and specialty groups, these group has various

members which practices different styles and techniques with the use of different

medium such as Graphite, Charcoal, Oil Paint, Tattoo, Pastel and Crayons,

Watercolors, Conceptual, Animation, Ballpoint, Mural and Graffiti, 3-D art, Comics,

Food, Doodle, Colored Pencil, Digital, Figure, T-shirt and Printing, Sculpture, Acrylic,

Caricature, Papercraft, Calligraphy, Anime and Fashion design.

Specifically, facilities that will help them do workshops, live demos, ceremonies,

performances etc. that will make the community interact and build a good foundation

for the guild. Also, galleries or museum that will showcase the different artworks and

masterpiece of those who won the contests and those who are already professional.

There is also a space for hall of fames to recognize each one of them, and outdoor

parks that connects the interior to the exterior spaces that will also be used for outdoor

activities.

1.6 DEFINITION OF TERMS

G.U.H.I.T – meaning Guild for Upholding and Harnessing Indispensable Talents

Guhit - is the Filipino term for "drawing," a form of visual art that makes use of any

number of drawing instruments to mark a two-dimensional medium.

6|Page
GUHIT Pinas Art Center: Workshop + Museum
Guild for Upholding and Harnessing Indispensable Talents

Art Center – It is a functional community center that encourage art practice from

different forms of art. It provides facilities like theatre, gallery, stage for performance,

workshops areas, educational facilities, technical equipment etc.

Haven – A facility or place that offers opportunities or conditions for artists.

Guild - An association of artisans or merchants who oversee the practice of their

craft/trade in an area.

Visual Art – different forms of visual arts.

Upholding - GUHIT Pinas is founded on the principle that every person has an artistic

talent and Art is not for a select few. If discovered, enhanced, and utilized properly,

this artistic talent can be a tool for catalyzing national and global progress.

Harnessing -GUHIT Pinas promotes the welfare of mankind by discovering,

enhancing, and utilizing the artistic talents of every Filipino through initiatives and

support for developmental campaigns.

Indispensable - Art is a potent and irreplaceable tool for communication. GUHIT

Pinas aims at utilizing it for promoting peace, unity, character development, order, and

freedom, considering that they are the major ingredients of true progress and success.

Talents - While GUHIT Pinas is a guild for visual artists (painters, sketchers,

illustrators, and the like), it also upholds other talents that relate and influence visual

art and the Guild's endeavors.

7|Page
GUHIT Pinas Art Center: Workshop + Museum
Guild for Upholding and Harnessing Indispensable Talents

CHAPTER 2

REVIEW OF RELATED LITERATURE

2.1 History of Visual Arts in the Philippines

Before, during the pre-hispanic times, artworks from different forms such as

pottery, textiles, tattoos, anitos, ornament, jewelry etc. These artworks can be used

for many purposes just like religion or simply using them for functional and physical

aspects.

Proto-art galleries before was introduced to exhibit artworks during the Spanish

culture, and it is the start of the proto-art galleries in the Philippine history. Example of

proto-art galleries before are churches that were built with paintings, sculptures, etc.

that makes art only exists through religious purposes from the beginning of Spanish

colonialism and eighteenth century.

Other facilities that are similar to an art gallery during the Spanish era were

found in workshops, and in the Parian, it was the first mall and employment agency in

the Philippines. There are different kinds of craftsman that available that do

commissions of different artworks. According to the NCCA (2015), as the progression

in the Philippine art scene, the need for a gallery was inevitably followed.

2.2 Struggles of Philippine Arts

The struggle for Philippine Art from the book of Purita Kalaw-Ledesma and

Amadis Guerrero, was about the quest of Philippine Art for international recognition

8|Page
GUHIT Pinas Art Center: Workshop + Museum
Guild for Upholding and Harnessing Indispensable Talents

but it was discontinued by the problems such as funding the structures and facilities,

as well as improving the quality of the arts.

“The international recognition of a country’s artists can really sometimes be

(only) as substantial as the budget it provides for it.” (Chikiamco, 2010).

2.3. What’s the Use of Art?

Art works displayed in a local or national museum, makes the people to

“remember” about the past, or to feel what is the art all about or its meaning. Each one

of us has different views and perspective about the artworks but it helps us understand

and appreciate it more the way we see it.

Museums, or galleries not only display or show art but show the history or

culture through these objects made by visual artists. Not only it will save the art by the

artists bus also to promote and strengthens one’s appreciation in art and how

important it is to us.

Each artist has its own style and methods of doing their arts, the difference only

of these works indicates that the very truth and meaning as well as the authentic value

of these objects as art, which tends to be taken for granted, can in fact be changed or

even lost as the time goes by.

“It has become a commonly accepted truth that the meanings attributed to

objects are not inherent to the objects themselves. Rather, the meanings that are

9|Page
GUHIT Pinas Art Center: Workshop + Museum
Guild for Upholding and Harnessing Indispensable Talents

associated with any item or work of human creation are the result of cultural and

historical processes through which that significance has been constructed.” (2008).

2.4 Fine art publicity: The complete guide for Galleries and Artist

Whether you’re an artist or with a commercial or nonprofit gallery, it will be a

useful and helpful for the artists to market their own work. The role of the gallery,

museum, or artist are not recognized because of the occurrence of Internet, Social

Media, Technologies and Mass-marketing techniques. But the trend will increase by

the help of the technologies it can be developed throughout all areas of artworld,

especially there’s a digital art that is being practice today.

The level for public relations activity, can be used to implement strategies that

can helpful in setting an objectives and strategies to have success in marketing each

artist’s works.

Publicity is an effective way to introduce your artwork and masterpiece to the

public, they will be familiar through different arts and it will help them appreciate the

importance of art, Also, it will help to build confidence to the artist to continue and

pursue its passion.

“In the old days, when the artworld had more purity, collectors seldom even saw

the artist. Now collectors want to have some fun, they want to show off art and the

artist. —John Alexander, quoted in Paul Gardner’s article, “How to Succeed (By Really

Trying),” ARTnews

10 | P a g e
GUHIT Pinas Art Center: Workshop + Museum
Guild for Upholding and Harnessing Indispensable Talents

It can also make a meaningful connection to the artist and the non-artist, that

may encourage them and change their perspective about the negative things they say

about arts. It will help to promote the art and will create a new role through the world

of art.

2.5 Adult Education, Museums and Art Galleries

Public Museum and Galleries, can be a space for understanding the meaning,

having debate, creating knowledge, self-reflexivity etc.

As contact zones, public museums and art galleries can present a façade of

motionlessness, passivity and indifference, yet they can also actively shape “our most

basic assumptions about the past and about ourselves” (Marstine, 2006, p. 1)

Museum honor their history, traditions, and culture through collections of

objects that connects the new generation audiences to let them know and understand

the past. They will replace the traditional museum experience into a contemporary,

that produce new ways of engagement of the people and the art.

Also, politics has been a problem to the imagined sanctity of art, that

result that vibrant artworks and artefact die. Art and cultural institutions suggest an

unconditional bias toward prevailing forces of social power through highly selective

representational practices, but there have always been ruptures through

experimentations, and a questioning of their own assumptions about “cultural

11 | P a g e
GUHIT Pinas Art Center: Workshop + Museum
Guild for Upholding and Harnessing Indispensable Talents

production and knowledge” (Macdonald, 1998, p. 176; see also Perry & Cunningham,

1999)

2.6 Interpreting Art in Museum and Galleries

The interpretation of the tangible and intangible of art through the culture,

and how it relates to the politics of personhood, the role of the museum in the

discursive construction of art and intellectual consequences in which museums ‘map’

art.

Criteria are used of many people nowadays to know the value of art or work,

from the creative skills of the artists to meaning of the art itself.

2.7 Museum Skepticism – History of the Display of Art in Public Galleries

The analysis that people discussed in art museums has less awareness of

interpreting the art itself. Each appearance of art changes through time, and different

analysis from people will be identified, depending on how the art is seen by them.

Part of the intended meaning of the space as it has been arranged is to be

minimally visible, unobtrusive; this is how the expository agent, including its authority,

make itself visible. (Mieke Bal) According to Albert Levi, he describes the Frick as ‘‘a

presentation of works of art in their naked individuality, a temple of pure aesthetic

experience, a virtual embodiment of the idea of the art museum as an exclusive

12 | P a g e
GUHIT Pinas Art Center: Workshop + Museum
Guild for Upholding and Harnessing Indispensable Talents

assembly of nothing but masterpieces.” Once you look, then you will find many such

interpretations by description.

The interpretation of the people is diverse as the art historians, which build

a connection from the past and the present through art

2.8 GUHIT Pinas Overview

The facebook group was created on the 24 th of May, in the year 2016. The

creators of the said guild plans to put a local organization that will conduct and cater

art related projects across the Rinconada Bikol Area. But, instead of having a local

organization, they want to make it national that will incorporate large scale initiatives.

Different activites, contests, segments, conventions etc. were held by the said

organization that includes participants from different parts of the Philippines.

Aside from the financial problems before, and later answered by support from

different firms, they also have private businesses and more members started to help

by lending different kinds of support from money to different services. They also

manage to generate incomes and covers the financial needs of the guild.

2.9 Development of Philippine Museum

Communities emerged with realizations, that a museum Is not only for a place

for exhibition but also a place for a good source of education, enjoyment,

entertainment and empowerment. Due to the war, many of the artworks were

13 | P a g e
GUHIT Pinas Art Center: Workshop + Museum
Guild for Upholding and Harnessing Indispensable Talents

destroyed and some of them were recovered, these collections were the reason to

encourage high art, and started museum in the country during the Martial Law period.

After that, different artists gained interests to different forms of art, especially in

expressive idioms. They adopted the techniques of abstract paintings and use different

approach to create their own original piece. This started the new development on the

artistic environment.

Later, an organization by Purita Kalaw-Ledesma was established in 1948,

named The Art Association of the Philippines and it was the first organization for visual

artists that began their exhibitions and establish themselves in small studios, they were

called the Mabini Artist.

The Philippine Art Gallery (PAG), established by writer-painter Lyd Arguilla in

1950, nurtured the seed of modern art in the Philippines. In this small shop in Ermita

street, artists and writers would see each other regularly. (Zerrudo, 2015)

Then, different art forms from past to present was increasing that different

popular programs were made.

“A year after the Cultural Center of the Philippines (CCP) was reorganized in

1986, the Coordinating Center for the Visual Arts (CCVA) was instituted to encourage

art expressions based on theory and praxis rather on commercial motives, move the

artistic experience closer into the mainstream of society and enhance this experience

for both the artist and his audience. Along with the creation of the CCVA, the former

14 | P a g e
GUHIT Pinas Art Center: Workshop + Museum
Guild for Upholding and Harnessing Indispensable Talents

CCP Museum (established in 1969) was reorganized into Contemporary Art museum

of the Philippines (CAMP) and was tasked to undertake studies on all forms of current

visual expressions through exhibitions and fora. The CAMP maintains the art holdings

of the CCP, most of which were acquired when the CCP absorbed the permanent

collection of the Museum of Philippine Art (MOPA). Museo ng Kalinangang Pilipino

was established as another Cultural Center of the Philippines’ Museum in 1988 to

clarify Philippine aesthetic traditions, world views and beliefs of traditional

communities.” (Zerrudo, 2015)

“In 1986, the original goal of the Metropolitan Museum of Manila to showcase

world art was enhanced with the implementation of new bilingual, didactic and holistic

approaches to museum exhibitions. Shows of foreign art are now complemented with

exhibits of Philippine art of the same period or genre.

The Philippine Museum of Ethnology is a reorganization of the Museum of

Philippine Traditional Cultures which was inaugurated in 1972 under the auspices of

the PANAMIN (Presidential Arm for National Minorities). It reopened in 1986 under the

new administration of the Nayong Filipino Foundation. The museum features

indigenous costumes and ethnographic collections of various cultural minorities.”

(Zerrudo, 2015)

Different museums were authorized to branch out different museums in the

country to achieve their goal on bringing the museum closer to the people. Aside of

this was historical creation of NCCA, National Commission for Cultural and the Arts,

15 | P a g e
GUHIT Pinas Art Center: Workshop + Museum
Guild for Upholding and Harnessing Indispensable Talents

because it handles the development and dissemination of Culture in the Philippines,

also to promote Philippine cultural heritage.

“The latest development in Philippine museums is the emergence of interactive

museums and ecomuseums. An interactive museum is based on the concept of

allowing the audience to interact with exhibition components to heighten their

enjoyment and to facilitate their learning process. Exponents of this format are the

Science Centrum (1992) and Museo Pambata (1993).

Ecomuseums are community learning centers that link the past with the

present as a strategy to deal with future needs of the particular society.” (Zerrudo,

2015).

“This period of museums for all describes the continued increase in number of

museums and their adoption of user-friendly programs. The contemporary museum

movement is strikingly characterized by the heightened consciousness to conduct

research on the collection and the audience, to consider the Philippine milieu and to

design appropriate services to maximize the impact on the people. The movement is

a discernment process that begins with introspection and reflection and later creation

and evolution. The realization is not only on the appropriate museum technology but

on the identification of the Filipino approach to museology.” (Zerrudo, 2015)

Zerrudo end his article by his conclusion “The development of Philippine

museums in the past ninety-eight years has been from tradition to innovation. In the

early stage, museums conformed to the orthodox framework- as institutions that

16 | P a g e
GUHIT Pinas Art Center: Workshop + Museum
Guild for Upholding and Harnessing Indispensable Talents

collect and exhibit material culture for the education of humanity. In recent years,

museums have become cultural animators and social reformers. At different levels of

intensity throughout Philippine museum history, conditions of government support for

the arts, freedom of artistic expression, and private patronage of the arts provided

conducive environment for the museums’ growth and transformation. Museums will

continue to exist and evolve as long as they provide meaning to people and uplift their

lives.”

17 | P a g e
GUHIT Pinas Art Center: Workshop + Museum
Guild for Upholding and Harnessing Indispensable Talents

CHAPTER 3

RESEARCH METHODOLOGY

3.1 RESEARCH DESIGN

The purpose of this chapter is to define the research methodology of the

study. Data and information will be gathered and analyzed in order to guide the

research for this study.

To accomplish the objectives of the project, data will be gathered with

quantitative and qualitative method.

3.2 RESEARCH INSTRUMENTS

Research Instruments are measurement tools (for example, questionnaires or

scales) designed to obtain data on a topic of interest from research subjects. (Duke

University 2019). There are different research instruments that are used to gather data

that is relevant to the study.

The following research instrument are to be utilized:

3.2.1 SURVEYS

Survey research is the collection of data attained by asking individuals

questions either in person, on paper, by phone or online. Conducting surveys

is one form of primary research, which is the gathering data first-hand from its

source. The information collected may also be accessed subsequently by other

parties in secondary research.

18 | P a g e
GUHIT Pinas Art Center: Workshop + Museum
Guild for Upholding and Harnessing Indispensable Talents

Survey research is used to gather the opinions, beliefs and feelings of selected

groups of individuals, often chosen for demographic sampling. These demographics

include age, gender, ethnicity or income levels. (Rouse, 2017)

3.2.2 CASE STUDIES

Case study is also one of the essential instruments in research. This help

the researcher to understand existing similar structure or facilities that is related

to the study. It can be a local or international study that contains information

such as design standards and innovation that can help the researcher through

the project.

3.2.3 INTERVIEWS

Interviews can be defined as a qualitative research technique which

involves “conducting intensive individual interviews with a small number of

respondents to explore their perspectives on a particular idea, program or

situation. Connaway, L.S.& Powell, R.P. (2010)

In line with the study, interviewees include non-artist and artist, and non-

members and members, as well as, the administrators that are included in the

GUHIT Pinas Facebook group and will be interviewed by the set of questions

are listed below:

INTERVIEW QUESTIONS (For Administrators):

1. When was GUHIT Pinas created?

19 | P a g e
GUHIT Pinas Art Center: Workshop + Museum
Guild for Upholding and Harnessing Indispensable Talents

2. What are the problems that have encounter when having a convention?

(Time, Distance, Small Space etc.)

3. What kind of environment or place do you usually use for meetups/getting

together?

4. What are the goals of the guild?

5. What are the challenges and conflict you’ve faced at work, and how you dealt

with it?

6. What type of facility or work environment do you prefer? (aside from an

airconditioned facility)

7. What activities do you do and plan to do in your conventions?

8. Do you think having this facility will help your goals and visions to be clearer?

9. Will it help in promoting and strengthening the people’s appreciation for art?

INTERVIEW QUESTIONS (For Members and Non-members):

1. Are you a professional artist? Or a newbie when it comes to art?

a. If professional artist

i. What style do you practice?

ii. What medium/art materials do you use?

b. If newbie

i. What style and materials do you want to learn?

ii. Do some members help you to improve your skills?

2. Do you know any art center or art related facilities in your area or in the

Philippines? If yes, what is it and where?

3. When did you join GUHIT Pinas? Why?

4. Do you participate or join a contest or competition organized by GUHIT Pinas?

20 | P a g e
GUHIT Pinas Art Center: Workshop + Museum
Guild for Upholding and Harnessing Indispensable Talents

a. If yes,

i. Where is it held?

ii. Have you experience having problems regarding the

place/venue? (Distance, Transportation etc.)

iii. What else do you like to see or experience on the place or venue?

b. If no,

i. why did you not participate? (Travel Distance, Financial, etc.)

5. If there’s a GUHIT Pinas Art Center, would you go there? Why or why not?

6. Would it help the guild’s vision to have a community with Filipino visual artists?

7. Will it help in promoting and strengthening the people’s appreciation for art?

INTERVIEW QUESTIONS (For Non-Artist):

1. Are you interested in art?

a. If yes,

i. Do you know any forms of art?

1. Can you name them?

2. Do you want to learn any of these/this?

b. If no,

i. Do you want to experience, see and know different kinds of art?

Why or why not?

2. Have you visited any art-related buildings? (Museums, Galleries, etc.)

a. If yes,

i. Where is it located?

ii. Did you enjoy visiting the visit?

iii. How was your experience in the facility?

21 | P a g e
GUHIT Pinas Art Center: Workshop + Museum
Guild for Upholding and Harnessing Indispensable Talents

b. If no,

i. Do you like to visit one? Why or why not?

3. Have you tried participating or going in an Art exhibition or convention?

a. If yes,

i. Where is it held?

ii. How was your experience on the event?

4. If there’s an art-related structure in your area, will you go there? Why or why

not?

3.2.4 SECONDARY DATA

Secondary data analysis refers to the analysis of existing data collected

by others. Secondary analysis affords researchers the opportunity to

investigate research questions using large-scale data sets that are often

inclusive of under-represented groups, while saving time and resources. (M.

Brent Donnellan and Richard E. Lucas, 2013) These resources can be from

journals, books, articles etc.

22 | P a g e
GUHIT Pinas Art Center: Workshop + Museum
Guild for Upholding and Harnessing Indispensable Talents

CHAPTER 4

SITE PROFILE AND ANALYSIS

4.1. SITE SELECTION CRITERIA

The researcher used the following criteria listed as basis for the selection of

the most feasible site for the proposed project.

4.1.1. Accessibility – The site shall have access to vehicular transport both

public and private. The more accessible the location of the site, the more

users will be expected to visit and use the facility.

4.1.1.1. Target Market – The site shall be near and convenient for the

users and consumers, from Artists, Newbies to Non-artists.

4.1.1.2. Centrality – The site should be in an area that will avoid extensive

transporting and to minimize travel distance.

4.1.1.3. Road – The site should at least be connected to the major road.

4.1.2. Scale – The area of the site shall be big and suitable enough to cater

thousands of participants (GUHIT Pinas Annual National Convention

reached thousands of participants from different schools, universities,

cities and chapters from Luzon, Visayas and Mindanao), and to

accommodate all the needed facilities, spaces and operations of the

project.

4.1.3. Proper Land Use and Zoning – The site must conform to the provisions

of the CLUP and Zoning Ordinances of the locality having jurisdiction over

the project site. The addition of the proposed structure should be beneficial

to the city and its future developments,

23 | P a g e
GUHIT Pinas Art Center: Workshop + Museum
Guild for Upholding and Harnessing Indispensable Talents

4.1.4. Room for Expansion – The site should have space for continuous

expansion of the proposed structures. Additional space must be allocated

for any future additions to be made for the continuous evolution of arts.

4.1.5. Safety

4.1.5.1. Public Services – The site shall be near to Fire and Police

protection.

4.1.5.2. Social Hazards – The incidence of crimes, theft etc. should be

avoided.

4.1.5.3. Environment and Weather – The site must be in an urbanized

city and should have a good environment surrounded by natural

landscapes. The conditions of the site should be considered, from

environmental and climatic conditions such as flooding, earthquake

etc. to be prevented and to apply solutions on the design.

4.1.6. Cost

4.1.7. Nearby Establishments – The site must be near nearby establishments

that will also cater the needs of the users and other support facilities. These

facilities can be a huge factor for the promotion of the proposed structure.

4.1.7.1. Commercial – This will help to promote the proposed structure;

users will patronize going to that area.

4.1.7.2. Residential – Users from residential areas will be considered

also as a user of the proposed structure.

24 | P a g e
GUHIT Pinas Art Center: Workshop + Museum
Guild for Upholding and Harnessing Indispensable Talents

4.2. SITE JUSTIFICATION

Possible Location/Potential Site:

Arca South

As a resident of Taguig city, BGC and McKinley Hills become popular for people

such as tourists from different places to gather and enjoy. And a part of the city which

is the Arca South is currently under development. The area will be developed like the

Bonifacio High Street and will have different commercial, residentials, official

structures and establishments that can be a huge factor to the proposed building, The

Arca South is also accessible to the Public because of near terminals such as FTI

Terminal and PNR FTI Station.

Other possible places for site selection:

• Along/Near Quezon City Circle

• Along/Near People’s Park Valenzuela

The possible location listed above were considered because it is sometimes used

as the venue of the GUHIT Pinas Annual National Convention. That will be easier for

the members and administrators to go there because of the familiarity of the place,

location and size.

25 | P a g e
GUHIT Pinas Art Center: Workshop + Museum
Guild for Upholding and Harnessing Indispensable Talents

BIBILIOGRAPHY

Mrazek, J., & Pitelka, M. (2007). What's the Use of Art?: Asian Visual and Material

Culture in Context. University of Hawaii Press.

Abbott, S. (2005). Fine Art Publicity, 2nd Edition: The Complete Guide for Artists,

Galleries, and Museums (Business and Legal Forms) (1st ed.).

Clover, D. E., Sanford, K., Bell, L., & Johnson, K. (2016). Adult Education, Museums

and Art Galleries: Animating Social, Cultural and Institutional Change. Sense.

Whitehead, C. (2012). Interpreting Art in Museums and Galleries. Routledge.

Maglaya, K. (2014, September 05). How important are the arts in nation-building?

Retrieved from https://lifestyle.inquirer.net/170749/how-important-are-the-arts-in-

nation-building/

Abinuman, A. (2017, July 22). What's Wrong with Filipino Art and Why Is It Under-

Appreciated? Retrieved from https://www.candymag.com/lifestyle/what-s-wrong-with-

filipino-art-and-why-is-it-under-appreciated-a1580-20170722

Rouse, M. (2017, July). Survey Research. Retrieved from

https://whatis.techtarget.com/definition/survey-research

Boyce, C. & Neale, P. (2006) “Conducting in-depth Interviews: A Guide for Designing

and Conducting In-Depth Interviews”, Pathfinder International Tool Series

Connaway, L.S.& Powell, R.P. (2010) “Basic Research Methods for Librarians” ABC-

CLIO

Donnellan, B., & Lucas, R. E. (2013, March 23). The Oxford Handbook of Quantitative

Methods in Psychology: Vol. 2: Statistical Analysis. Retrieved from

26 | P a g e
GUHIT Pinas Art Center: Workshop + Museum
Guild for Upholding and Harnessing Indispensable Talents

https://www.oxfordhandbooks.com/view/10.1093/oxfordhb/9780199934898.001.0001

/oxfordhb-9780199934898-e-028

Yusi, L. (2015, April 16). The Development of Art Galleries in the Philippines. Retrieved

from https://ncca.gov.ph/about-ncca-3/subcommissions/subcommission-on-cultural-

heritagesch/art-galleries/the-development-of-art-galleries-in-the-philippines/

Chikiamco, C. (2010, May 24). The struggle for Philippine Art - then and now.

Retrieved from https://www.philstar.com/lifestyle/arts-and-

culture/2010/05/24/577469/struggle-philippine-art-then-and-now

Zerrudo, E. B. (2015, April 29). Making Museums: The Development of Philippine

Museums from 1901-1998. Retrieved from https://ncca.gov.ph/about-ncca-

3/subcommissions/subcommission-on-cultural-heritagesch/museums/making-

museums-the-development-of-philippine-museums-from-1901-1998/

27 | P a g e