“A Review of: Environment & the Role of Ekistics”

The thought of humanity’s future weighs as much as the question of the meaning of life. Philosophers, scientists and laymen dabble with this idea inevitably, but in varying degrees. With today’s struggle of pandemics, climate change, poverty and war -to only name a few- the question of what will become of man and its environment is looking grimmer with each crisis we face. The role of Ekistics attempts to answer this very question through the study of Human Settlements; and upon careful examination of this school of thought, a great deal of it reminded me of the ancient symbol of the Ouroboros. The Ouroboros is a symbol of a snake or serpent eating its own tail, used in many cultures for over a millennium, it symbolizes (in its most basic concept) cosmic harmony, eternity and the cycle of birth and death. Much like how the ancient Egyptians believed in the cyclical nature of the universe and its ability to “flow back into itself”, Ekistics suggests a future of satisfactory balance between man and his environment even in today’s period of frantic and growing disparity. My personal anxiety of whether man has a place on this earth in the near and remote future is soothed by the Ekistics’ belief of society’s ability for renewal and regeneration.

Ekistics (Ek) is first defined by C.A. Doxiadis, a Greek architect and town planner, as a global science of Human Settlements involving the investigation of its five elements: nature, man, society, shells (structures), networks and its relationship with the environment, both the physical (Natural & Man-made) and the conceptual (Social Environment). Different from other human sciences- that deals with the projection of the future- Ekistics offers a more useful tool that utilizes extrapolations but is fundamentally based on the process of designing a future model that moves backwards to reach the present. More so, it draws knowledge from multiple disciplines such as economics, social science, technical disciplines and cultural disciplines to draw theories and general conclusions that can be used in fields of planning, architecture and engineering.

One of Ekistics greatest incentive is the concept of Ecumenopolis (Ecp), where the demand for human settlements will become saturated leading to a broad pattern of urbanization of the whole planet. It represents an urban development premised after assumptions about habitability of surfaces, types of land use, patterns of land occupation and geometry, expected to be attained between the middle and the end of the 22nd century. The Ecp’s space definition is defined through the physical geography of the planet and its time definition on the present, recent past and near future facts, making it a highly likely future development. It is also notable that Ecumenopolis is not a Utopian model of “no place” but an inevitable reality or Entopia, “something in its proper place.” Complimentary to Ecp, Ecumenokepos (Eck) is a pattern that systematically links all Open Spaces (spaces not built-up) through bridges or corridors of protected nature. The connected and continuous characteristic of Eck disconnects and separates Ecp into isolated “blobs” to preserve the natural environment on a grand scale. The process of interrelating open spaces results to an emergence of hierarchy, from the smallest unit such as an individual garden to larger uninhabited areas or wilderness. These links can be achieved through real (physical) connections of bridges or corridors, or through functional (conceptual) movements of people, goods, information etc.  This is essential in properly describing and understanding open spaces and their corresponding problems in order to carefully devise appropriate solutions. The successful implementation of the Eck model is beneficial to the flauras and faunas, the open spaces themselves, and allows man the privilege of continuously moving through open spaces in varying scales.

C.A. Doxiadis also proposed a system of classification of land uses according to “12 zones.” This identifies land use according to the type and degree of human intervention helping to assess and qualify its impact.  The zones range between “Zone 1”, with the least human intervention to “Zone 12”, the most highly polluted industrial areas. This new type of “land registry” map classifies all regions as belonging to a specific zone which aids in international coordination and unification of control.  Each control will describe a very detailed, quantified description of activities allowed or prohibited; it can also be extended to water surfaces and the atmosphere.

Ekistics projections also influence other fields of human activity. Recent phenomenon has led to theories of new spatial units like “regional settlements”, metropolises or conurbations, megalopolises, urbanized regions etc. to replace traditional countries. The location, extent, character and boundaries of these “new units” will be dictated by the new circumstances of the time and the growing importance of Ecumenokepos. Progressive Internationalization will also be observed, reaching beyond “restricted” national boundaries with the growing need for international character of environmental control. The aggressive advancement in science in technology will lead to more systematic ways in dealing with environmental issues. Ek also anticipates the diminishing gap in income after reaching maximum disparity in one or two generations from now, where per capita incomes will be considerably higher in both developed and Third World countries. The acceleration of “information explosion” will develop more efficient scientific information systems to solve complex problems quickly, more correctly and more democratically. Ethics will experience a shift that explores higher value and priority on the generalized preservation of nature. Even with the growing interest in space exploration the majority of people living on Earth is far greater, for it is easier, cheaper, simpler, more logical and more efficient to resolve issues on this planet rather than seeking and developing societies on extra-terrestrial lands.

The chances of a major catastrophe are very likely, however, given the greater threats that humanity faced in the past it has always proved to survive and prosper. Once the critical period of disparities in social tensions (upheavals, revolutions, wars etc.) and environmental deterioration passes, these issues will soon diminish.  Whatever is left to survive will have a greater chance for recovery and regeneration and problems will be deemed more controllable. Parallel to the cyclical nature of the Ouroboros, Ekistics offers a possibility to revert to a state where man and environment’s relationship is balanced. Overcoming this “major hurdle” will allow for death in order to move towards a birth of a new Ecumenopolis/Ecumenokepos era. Earth as “The Paradise of the solar system” will thrive, “making humanity increasingly aware of its tiny, but important, share in the wider Cosmos” and as a symbol of the eternal cycle of time. 

“A Guide to Negentropy”

At the beginning of Tad Ermitano’s talk he showed an image of a Jackson Pollock painting and associated it to his understanding of the city. The chaos and the disorder were all too familiar for us. As architecture students, we have been made aware of the parallels of an abstract brush stroke to the dynamism of Metro Manila. But much like my appreciation for Pollock’s paintings, I believe that, Manila, underneath all that layer of randomness is a form of “organized chaos.”


The artwork was named “Gillages”, a portmanteau word composed of “gilid” (which means border or edge) and village. It is used to represent the Philippine population who lives at the edge of Manila’s gated villages, a phenomenon that is apparent throughout Metro Manila. This population, as explained in the talk, has built informal settlements around these compounds because of the nature of their work. These people have been the backbone of these villages- from security guards, gardeners, house maids etc.- as they found it to be convenient and practical to live in proximity to their jobs.

The sculpture, made of scrap building materials like wood, metal, plastic etc. very much resembles the modern art movement “arte povera” which literally translates to “poor art.” Attached to it are a number of screens showing video clips of Filipinos from the “Gillages” building and using this trolley-like means of transportation to transverse these gigantic infrastructures in cities. Bridges and railway tracks that was originally meant for metro train systems has bred this ingenious new form of transportation, man-powered and made by the very materials found in the sculptures. The phenomenon that is the “Gillages” is not only present on gated communities but also around city infrastructure.

Although sometimes art has been labeled only for the rich it is this type of art that expand the boundaries of the medium. The very question on whether this should be taken artistically or politically is only secondary to what it meant for the viewer. Art, or modern art at the least is more about the subjectivity of the artwork rather than the subject itself. In my opinion, the very purpose of this piece is to spark interest, emotion and a conversation. Through my own experience of seeing the evolution of our cities, learning the reasoning behind it and understanding our part to play, I must say that it has served its purpose. Although it touches a sensitive matter of poverty in the Philippines, something that has been a “trendy” topic of interest of both in art and film, this has shed light on something that is not a completely image of hopelessness. This piece is more about the ingenuity of the Filipinos rather than just a reflection of their everyday struggle, straying away from the trend of “poverty porn.” In the everyday life of the underprivileged, they have found means to adapt to their environment in ways that a spectator cannot fully understand.


In the midst of all the chaos of urban life, people have this natural ability to survive, discovering and creating news ways to work with what we have and what this means to me as an architecture student is that, not all is hopeless. I used to think that the only way to remedy our cities is to start from scratch. The unrealistic nature of this often leads me to a black hole of despair and inability. But upon the many ways the Filipino has found a way to cope- from building their own settlements to provide a life for their family to making their own means of transportation. Maybe we could too, especially coming from a place of privilege. I have realized that instead of treating this as a problem maybe we, as designers can find a way to build a foundation on it, after all it is in our nature to adapt. It is our duty first to understand these conditions, making artworks like these more important than ever. We must understand that before acting one must understand to avoid creating something that is completely alien to a context. It is only through this way that we can encourage “negentropy.”

In what I thought is just randomness and entropy we have found a chaotic form of order. Much like a Jackson Pollock painting, our cities are made up of layers and layers of “organized chaos” you just have to look closer.

Eco Architecture

Makati is a known concrete jungle at the heart of the Metropolis housing several of the country’s biggest corporations and commercial giants. Its skyline boats of towering high rise buildings standing with prominence as high as the companies they house.

Amidst the array of solid masses in Makati is a distinct high rise building that dominated Makati’s urban landscape in its completion in 2013. This is the Zuellig Building, a premium-grade office tower designed by Skidmore, Owings and Merrill in cooperation with the local firm Coscolluela & Associates. Breaking the usually rigid patterns of the business district’s edifices, Zuellig Building boasts of an all-glass façade mimicking bamboo and flowing water. This façade, with none of the panels made the same as another, was designed by Meinhardt Hong Kong Pte. Ltd. Heralded by many for its simple yet thoughtful aesthetic, Zuellig is also one of the most eco-friendly green buildings in the country.

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One of the notable elements of the building is its glass curtain wall façade. It gives the organic motif of the building with its depiction of nature. But this design element is just as functional as it is for aesthetic value. The patterns add shading capabilities for the building envelope. More so, the make of this glass façade provides one of the biggest eco factors for the Zuellig Building. The façade is made of double-paned low-emissivity glass panels. These glass panels make it possible for the whole building to minimize its solar heat gain and energy loss while still providing the maximum penetration of light for natural lighting. The building’s function towards conserving the environment doesn’t stop at its exterior. Interior functions are also organized in such a way that minimum energy is consumed and minimum wastes are produced. It has an efficient waste management system that controls and organizes waste disposal. They also have a grey water recycling system to optimize the usage of water within the vicinity of the building.

To solidify the efforts of Zuellig Building, it is also a Platinum level LEED Core and Shell Building. LEED, or Leadership in Energy and Environmental Design, is a certification globally recognized for setting standards for green building. LEED works with a certain point system measuring factors in sustainable site development, water savings, energy efficiency, material selection and indoor environmental quality. Zuellig, with its top efforts in functioning with the environment, holds that highest of the four ranks given by LEED.

We see very few of such buildings in Manila. Oftens, edifices in the country are built to the utmost benefit of the owner rather than the community or environment. Safe to say that Zuellig Building is the anti-thesis of the norm.

It can only be imagined the amount of progress the country could have environmentally if everyone puts as much emphasis on sustainability like how the builders of Zuellig did, especially structures that are often used by the general population like the country’s malls. Shopping malls are absurdly prevalent in the country; perhaps one in every two to five blocks could be found. With the density of shopping malls, if each mall is able to practice sustainability then the commercial industry will be able to contribute significantly when it comes to taking care of the natural environment through the built environment.

Several malls can be found in the Makati Central Business District. Most of them are owned by the prominent Ayala family—the very same family who dominates Makati with their businesses. Not very far from Zuellig building is the Ayala Center, a complex of a number of their developments, mostly malls. On one side is the Glorietta complex, on the other is the Greenbelt complex. Being a name so big, if Ayala builds with sustainability in mind, they will be able to bring a much bigger impact with taking care of the environment as developers.

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It is notable, however, that compared to most commercial developments, Ayala provides more percentage of open space relative to their indoor spaces. Greenbelt, for example, has 30% of open spaces. This helps widely in eliminating carbon emissions. Their open spaces green elements such as vegetation and water features. Heat gain is lessened with areas and elements as such. The plan of Greenbelt is made so in order for people to enjoy both the indoor and outdoor spaces. The outdoor spaces are notably not an afterthought. This is significant because most malls made by other developers render less than 10% of open space in their planning.

However, if Ayala does push forward with the concept of sustainability in their building, they have yet to consider several factors. Malls usually consume a lot of energy and very few if any at all use renewable energy. It would help if malls like Greenbelt utilize solar power. Carbon emissions and heat gain can be caused by the use of A/C systems which are highly used in malls. If, at least, they try to revert the effects of their mechanical systems, the use of renewable energy would definitely be a significant response.

Moreover, malls produce a lot of waste. It may be hard to control each and every tenant in the mall with the way they organize their trash. However, being a giant corporation, they should find a way in minimizing the amount of waste the whole complex produces.

Just like Zuellig, the Ayala malls such as Greenbelt can do so much if they provide a massive greywater/rainwater recycling system. The area in which the complex occupies is massive. If they put bigger incentives in recycling or curing water wastes that the complex receives, then they will be able to optimize the use of water in various ways.

For sure, it is always harder said than done. Sustainability may always incur extra effort. But natural resources are finite. Putting extra effort in extending the life span of the world we live in and the resources it gives us, it should come back to us a hundred fold.

A Christmas Story

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The holidays is a time when we are reminded of all the things that has passed us by through the years. It is a time where we recall all the people and events that have significantly affected our lives, and let go of all the things that hold us back. Despite whatever, Christmas will always be a day of love and gratitude and the epitome of the Christmas spirit can be found in a tradition that we’ve always anticipated since when we were kids, the Christmas tree.

The beauty of the Christmas tree is not measured by how much it costs or how big it is but by the memories that surround it. It is a representation of the family or the person that built it and this unconventional Christmas tree, is a representation of me.

One of the elements of this tree is the looping bronze wire that is inspired by one of my other projects The Void (https://chelsiebydesign.wordpress.com/2016/10/07/void/). This represents the life changing event that still defines who I am today and after all, we are products of our own experiences.

The bottom part are shards of a broken disk that aims to reflect images around it to remind me of the importance of self reflection and self discovery.

The soul of this unconventional Christmas Tree lies not on its ornaments or height but on what it represents; the recollection of memories, experiences, and growth.

One Way Ticket

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A blurred vision of reality

Growing up with a father who worked overseas I was always told that the grass is greener on the other side. The Philippines is my home country but migration and seeking opportunities abroad has always been the plan set out for me. It always just felt as if things are not enough for me to build my dreams and the current economical status restricts me from being able to make a difference. My lack of nationalism often bothers me for it is already encrypted that the Philippines will never progress into a country of my own ideals but experience riding the Philippine National Railway (PNR) made me realize that greener isn’t always better.

 

An hour in before my next class I was rushing my way to the train station and almost walked back a couple of times questioning what’s the point of this activity. Dressed up in my regular style –a shirt, jacket and jeans- I was powering through hot and polluted air just wanting to get it over and done with. Just a couple of steps away from the tracks I can almost smell the fear out of me, I didn’t know what to expect, where to go and what to do. Stepping into the train was suffocating; there was little air, no personal space (basically why my photo is all blurry) and just plain uncomfortable. I started this activity with a closed mind but I finished it was a completely different perspective.

 

Riding the train I felt so out of place, it reminded me of how I always felt like I never belonged in this country, how I’ve been isolating myself from my own people. As I look at the blank faces around me I try to figure out their story, riding that train everyday just so you have enough to feed a family of five. Being too caught up in my own bubble with my own visions I lose sight of what makes this country beautiful. It’s the people, the passion and the room for growth. The power of this country is beneath the struggles of its people: those who spend hours of labor, those who put up with the corrupt government and those who choose to carry on with what they have.

 

I always thought there wasn’t enough room for me to grow in this country but I realized if I really want to make a difference I’m going have to be that extra room for growth. There is nothing to fix in a country that is complete, but in a place like this you can actually make an impact that can also make the world a better place.

Trust // brutalism

2016-10-07 09.44.28 1.jpgThe Murphy’s Law states that anything that can go wrong will go wrong and the world functions around these cruelties presented by the universe. Most people think that life is unfair, that we get thrown into situations we think we do not deserve but I think otherwise. Negativity has a constant presence in our lives some of them are consequences of our actions but some may happen for no reason at all; the possibility that these sufferings may or may not have meaning is paradoxically what gives life reason.

We were tasked to ask one of our peers about a negative event that happened in their lives and then turn this event and change it into something beautiful. Her story navigated towards the rebellion of his older brother and how much it took great control of her family. Between constant fights it took life away from them day by day but no matter how much pain, neglect and chaos revolved around these five people they never stopped taking care of each other; amidst a hurricane they held hands and stuck together. In a situation such as this, most may think that there is no silver lining but when you choose to battle it as a family, with enough trust that things may be better you will come out stronger than before.

Often times our relatives are the roots of our disappointments but after this activity I realized that these people are the only ones you can truly count on no matter what. Some things in life may be unreasonable but it is the good things that we need to take notice of for order is relatively existent to chaos and that’s the beauty of chaos.

Void // a life changing event

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Approximately a year from today, I lost everything that mattered to me. I found myself in a dark place with almost no sign of hope or willingness to move on. It felt like every bit of me was crumbling into thin ash. After having everything stripped off of you -your family, your friends and everyone you love- you feel emptier and emptier almost as if like you’re a walking vessel with no soul. This is practically what defined my life from then on: the feeling of the void.

Coming from a place where everything felt lighter and simpler, I was full. With only so little room I had less chances to disappoint. As time continues to click the hollow becomes vast but even so, I build character and I make spaces for growth.

Nothing felt real in this prolonged state of vacivity and this sculpture is a representation of it. It is me -my progress- in this space time we call universe and as the empty space grows, I grow and since then I knew that there’s beauty in emptiness

“If there’s empty spaces in your heart,
They’ll make you think it’s wrong,
Like having empty spaces,
Means you never can be strong,
But I’ve learned that all these spaces,
Means there’s room enough to grow,
And the people that once filled them,
Were always meant to be let go,
And all these empty spaces,
Create a strange sort of pull,
That attract so many people,
You wouldn’t meet if they were full,
So if you’re made of empty spaces,
Don’t ever think it’s wrong,
Because maybe they’re just empty,
Until the right person comes along.”

-e.hemingway

An Aftermath:

Being able to talk about this to others and actually making something out of it makes me realize three things. First is that although bad things hasn’t come to an end -or maybe they will not but looking back to where you came from and where you are now is essential. Growth is enough reason to give meaning to all this suffering. Second is that vulnerability is a much greater sign of strength than of weakness. Our emotions make us human and allowing yourself to feel is part of how we are supposed to function. Lastly is that everyone has it differently and barely no one has it easy. There’s no such things as perfect in this world and the real key to being happy is acceptance and perspective. We see the things we want to see and most of the times the universe gives us what we need but usually take them for granted.

A Note // minimalism

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Growing up in a setting where people regard literature as barely noticeable and less significant, it was quite unusual that my siblings and I took passion into the art of creative writing. What started with just a scribble of disagreeing words from unorganized thoughts turned out to be a practice that significantly changed our lives: the way we think and see. Writers, as I see them, are painters who create images through words, and just like any artist a writer has a tool of his own- a pen and a paper. A pen is used to draw these pictures much like a brush, and a paper used as a canvas, a blank space that expands the mind into different corners of creativity. As a writer (or at least a self-proclaimed one) this notebook is my instrument.

This worn-out pocket notebook is a translation of my personality or at least a romanticized version of it. Its grey felt cover and miniature scale does not only fit my physical aesthetic (a short girl who likes grey) but also teases people enough to want to read it. The amusing little footnote at the bottom cover that says “Humdrum today, witty tomorrow- better make a note” navigates a little bit away from the bland and melancholy impression of its design to create balance (no one wants to be too sad anyway). It almost felt like this notebook was specially crafted and designed for me so much that if I were to be one, I would look like this.

Its written pages are a product of my heart and soul- used as an attempt to create something beautiful. I use this notebook to translate thoughts and emotions I can only keep to myself; a way to express and process my own universe. All through a play of words I am able to put all the intangible aspects of my life into one little note and that I think is a little bit magical. The contents are the children of my passion to write and want to express-which makes it nothing less than a form of art and no matter how badly written my works are they are still products of my experiences in life, love and everything in between. This is why it is significant- because it is who I am or even a better version.

The Cultural Center of the Philippines and Its Defiance Against Context

cultural-centre-of-the-philippines-when-it-was-brand-spankin-newThe Cultural Center of the Philippines—a complex built to represent and enrich the gift of arts and culture the Philippines has to offer. The CCP complex consists of the country’s main cultural edifices and several famed commercial developments. It has become the focal point when people look at the Philippine’s cultural treasures.

It was the brainchild of the once First Lady Imelda Marcos to become the melting pot of Filipino culture and arts. It was established to house the most brilliant talents of the country and their priceless masterpieces. To this day, it still has not wavered in rendering its purpose to audiences both local and foreign. It still beams and stands in pride with all the honors that has bloomed from the cultural grounds. Sometimes maybe even too proud for the everyday Filipino.

Standing on a prime 88-hectare reclaimed land along Roxas Boulevard is the complex that has developed over time to bring forth entertainment to the country culturally and commercially. The Cultural Center of the Philippines, the forefront of the complex stands on the edge along Roxas Boulevard seemingly providing a grand opening gesture. This structure holds several of the country’s most important performances in ballet, music, theater and cinema to name a few. The Cultural Center of the Philippines also provides various gallery spaces for artists and has a rich collection of mainstay pieces of art in their museums. Other than this, and not quite popular to many, the Cultural Center of the Philippines has a library that holds several of the most rare literary treasures that are available for use to the general public.Within the complex is another performance venue that can sit a multitude of spectators. Tanghalang Francisco Balagtas or more commonly known as the Folk Arts Theater is a covered proscenium amphitheater. It seats up to 8,000 people hence its popularity as a venue for concerts in its heyday during the 80’s. Within the bounds of the Cultural Center of the Philippines Complex are various commercial developments that are mostly culinary in nature. Defining the outer perimeter is the Philippine International Convention Center, a famous venue for various kinds of events with 5 modules made to be defined by its use rather than the buildings themselves defining its own function. On the southwest end of the complex near the Macapagal Boulevard, another reclaimed land, is the infamous Manila Film Center whose name rang in history because of a tragedy that occurred during its construction. It was made to be the venue for the First Manila Film Center; however, with the tragedies that envelope the edifice, its glory was only witnessed for the said festival and lived under a shadow since.

The CCP complex is a hallmark for Filipino culture. It is incredibly monumental that with its name comes with immediate imagery in mind. The Cultural Center of the Philippines, the Tanghalang Francisco Balagtas and the Philippine International Convention Center were all designed by the National Artist for Architecture Leandro Locsin. The Manila Film Theater was designed by Froilan Hong. All these edifices within the CCP Complex boast of a common factor—they all follow the movement of Brutalist architecture. One thing that’s considerably appealing with brutalist architecture is the rawness of the structures that belong under its arm. Brutalism in architecture showcases unfinished surfaces that boasts so loudly of massive forms in unusual definition in shapes. There is boldness in the simplicity in detail, or lack thereof, in brutalist architecture. The power is in the scale.  If anything, the edifices of the Cultural Center of the Philippines are definitely boasting of power.

The core of what the CCP was made for and what it stands for is truly honorable. To have a brewing pot of everything beautiful the country has to offer is a gift not a lot of countries may have. However, looking past this honor, we can see arguable problems and questions that have not been answered or even recognized.

The design of the edifices are all demanded by Imelda Marcos, just as with several of her other projects. While we cannot definitely discredit the brilliance of Leandro Locsin and his work, the backbone of CCP’s collective image was first imagined in Imelda’s insights. The construction of the Cultural Center of the Philippines was quite troubling to some given its cost and the undisclosed massive case of poverty in the country at that time. But the First Lady had it her way and just as much as it was a representation of the Philippine culture, it even more so became an architecture of power.

The main problem that can be seen with the CCP, disregarding the fact that it is objectively beautiful, is that it is out of context. It was made to represent the Filipino. And to do that, it would have been worthwhile to put the structure in the context of Philippines as an environment. To build an edifice in brutalist architecture does not quite fit this context. Brutalist structures usually have smaller windows as compared to the scale of the massive forms that compromise it. To do that in a tropical country, right by the bay no less, just somehow does not blend with the environment. The use of massive slabs of concrete engages more heat than minimize it. These are just some of the notable technical architectural problems of the structures.

On another puzzling note in relation to the complex’s location is the diminished significance of its adjacencies. The complex stands on reclaimed land which naturally provides it with the potential view of the Manila Bay that presents one of the best sunsets in the world. Somehow, the complex was designed in such a way that it grays out its outer perimeter, the Manila Bay included, as if to put immense focus on merely what is within. Perhaps this is why the CCP in its younger years seemed to welcome merely the elite. It seemed incredibly exclusive. Rather than be welcoming, the mass seemed demeaning. It still does—oozing with power as if to look down to those who can’t reach its level of class. While more and more Filipinos step in the edifices in modern times, it still cannot be denied that there is a sense of hierarchy in which it was built. This yet again shows how the CCP, as much as it is a home for the Filipino arts, is definitely a form of power.

The Cultural Center of the Philippines was made to be home to national cultural treasures, a representation of talent and brilliance. It has always been that in its truest sense. But was it built for the Filipinos? That definitely still stands as a question with unending answers.

An Analysis of Oneself

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Understanding who you are and what you want is probably one of the hardest things a person has to go through. Self-awareness takes courage, patience and understanding; all of which can be easily done individually but not collectively. A person must be brave enough to realize all of his/her faults and weaknesses. No matter how much you try no one can ever be perfect, for all individuals are made up uniquely and never more than the other. It also takes patience and a whole lot of time to come into conclusion of oneself. People are bound to change and our environment are to do the same and knowing who you are in a situation such as this takes up more than just one try. Understanding all this, and the importance of each puts it all together. This is why I’ve come close to myself to analyze what I can and cannot do or what may hinder or support me for becoming the person I want to be

This SWOT analysis is a combination of my traits both as a designer and a person

Strengths

  • Ability to express ideas and thoughts well
  • Clear understanding of the realities in life (flaws of society, social injustice etc.)
  • Consciousness with time
  • Wide range of skill set (manual and digital tools)
  • Well read (architecture, art, technology, music etc.)
  • Extroverted
  • Involved in other interests (film, music, art)
  • Good listener
  • Pragmatic

 Weakness

  • Always subject to change
  • Procrastinates
  • May easily lose focus
  • Socially anxious
  • Emotionally unstable
  • No identity
  • Rarely vulnerable

Opportunities

  • Can use other creative backgrounds
  • Philosophical person (can be used in coming up with ideas and concepts)
  • May be easily inspired by people or vice versa
  • Open to constructive criticism
  • Urge to understand and fully know oneself
  • Has big dreams

Threats

  • Can easily be distracted and influenced by others
  • May sometimes be impatient
  • Occasional panic attacks
  • May sometimes lose motivation and settle for mediocre
  • Sometimes forget about priorities

 

Architecture in Words // a manifesto

2016-04-07 05.42.38 1.jpgHuman beings are built with two parts of a brain, one of which may work harder than the other but never on its own. The left processes all that is scientific, logical and systematic while the right process things that are creative, sensory and emotional. We are also divided into two parts of our needs, physiological –those that require our body to work properly- and psychological- those that require our subjective self to function. The world amazingly is built in way that it is divided into parts, parts of which make up a whole, a complement of each other –the yin and the yang. This is synonymous -and even directly related- to my personal understanding of Architecture and its purpose. What sets architecture apart from a simple box of concrete is its ability to touch beyond the human body, its ability to connect with the soul, a combination of science and art-almost the same as how a functioning brain is built but also completely how nature works.

Through the years of civilization architecture has already altered the way we think and live. It has become part of our nature as human beings and a part of nature itself. This is how, in my opinion, architecture should be built: as part of the natural canvas of earth and never against it. Architecture is a catalyst to bring the modern person and its environment together. We are to design in a way that we incorporate ourselves into the world, to build with or around it.

The universe also works in a cycle of a problem and a solution, opposites that allow us to create and innovate and as aspiring architects we are inventors that understand that nature works in this way, building things that answer problems offered by situations and circumstances. We are to be visionaries and optimists that think the world can always be a better place.

Architecture is also a form of art for the people and by the people. We built for the success of those around us so we may inspire and innovate. We are conductors of space and we orchestrate movement, emotions and progress.

The complexities of my architectural manifesto cannot be written down in a short literary piece such as this but can be coined in these three points above.

The world works in a way that it is codependent of each other. It is hard wired to work in a process, a cycle that connects everything, and as young designers we should opt to truly understand how nature works -how we are affected by our environment and how the world is affected by us- before we try to modify a part of it.

“we are the artists of science and the scientists of art”