He emphasized the need for the Philippines to develop its own architecture-to stop copying other cultures and build from and for home. “Architecture must be true to itself, its land, and its people,” exalted the architect. For him, Philippine vernacular architecture is best reflected in the primitive and primordial traditions of the Philippines, hence his fondness for getting inspiration from the bahay kubo and the bahay na bato when creating structures to be branded as “ Bobby Mañosa’s works. He pioneered the art of Philippine neo vernacular architecture. Neo vernacular architecture is a way of asserting the distinctiveness of Filipino architecture by dominating an architectural design with Filipino architectural features.Īrchitect Francisco Manosa strived to determine and showcase the Filipino architectural archetype-the architectural design representing true Filipino culturally and environmentally–in his works. To make Philippine architecture distinct or free from foreign influences, determining the “vernacular” architecture of the country is essential. In reality, architectural structures are cultural artifacts produced by nationalism and, at the same time, an agent to propagate the sense of nationalism. His quest to define Filipino architecture, through incorporating indigenous elements and materials in his works, rightfully positioned him among the country’s greats as he was conferred as a National Artist for Architecture and Allied Arts in 2018.Īrchitecture is not just design or beautification of structures. Up until this day, these remain evident in many national buildings, educational institutions, as well as in modern residential and commercial developments.Īt a time when this seemed to be the norm for many of the country’s architectural firms, one man, in the form of late Architect Francisco “Bobby” Mañosa emerged as one of the most influential voices who rallied for uniquely-Filipino designs. Philippine architecture is perhaps more aptly described as a hodgepodge of foreign influences. Most Notable Works of Architecture by Francisco Mañosa.Later, it was demolished and transferred to Bataan. Until 2009, Casa Bizantina was home to 50 informal settlers. After the Second World War, the house was leased to various tenants. It was a school until 1919 when the Instituto moved to its own building at Sampaloc and expand to become The University of Manila. From 1914 to 1919, the house was leased out to Instituto de Manila to hold elementary and high school classes. In 1886, he won the contract to renovate the Tribunal de Sangleyes. Don Lorenzo was a native principalia and one of the numerous building contractors in Binondo (De Viana, 2001). The house, along with the facade, built in 1890, was created by Don Lorenzo del Rosario. However, it is important to note that Neo-Mudejar traces its origins in the Bizantine style. Since floral houses used styles individually or in combination, it is highly possible that both Neo-Bizantine style and, to a lesser extent, Neo-Mudejar style influenced the construction of the house. De Viana (2001), in Three Centuries of Binondo Architecture, argues that the house is mainly influenced by Neo-Mudejar style, as indicated by the moorish door transom on the exterior, which are echoed in the interior wooden arches and transom traceries. Floral houses, particularly those built during the last few decades of the 19th century, made use of revivalist styles in the form of influences from Neo-styles of Renaissance, Baroque, Byzantine, Romanesque, Neo-Mudejar (Tinio and Zialcita). Houses built during the period were characterized by more elaborate yet delicate embellishments in comparison to the previous Geometric period. Tinio and Zialcita (1980), of the Philippine Ancestral Houses, wrote that the Floral period for the Philippine ancestral houses flourished during the time of the 1880s to the 1930s. It also demonstrates the characteristics of a “Floral” bahay na bato. Moreover, the house is also representative of the proliferation of three storey high structures in commercial downtown areas outside Intramuros like Binondo. A decade before the house was built in 1890, the government enforced the use of galvanized iron sheets instead of curved roof tiles as additional protection also from earthquakes. Galvanized iron sheets are used for the roofing. The structure was typical of the bahay na bato in order to protect the inhabitants from earthquakes. The ground storey is built of stone and bricks while the upper storeys were made of various Philippine hardwood. The Casa Bizantina house is a bahay na bato at the corner of Madrid and Penarubia streets in San Nicolas, Binondo.
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