UNIT 6 PHILIPPINE ART PDF

UNIT 6 PHILIPPINE ART Lesson 1: An Overview of Historical Development of Philippine Art This lesson provides brief discussion of the development of Philippine arts from Pre- Colonial Period to Modern/Contemporary Period. It aims to widen the knowledge of the students on Philippine a...

UNIT 6 PHILIPPINE ART Lesson 1: An Overview of Historical Development of Philippine Art This lesson provides brief discussion of the development of Philippine arts from Pre- Colonial Period to Modern/Contemporary Period. It aims to widen the knowledge of the students on Philippine art. An Overview of the Art and Culture of the Philippines The arts of the Philippines reflect a society with diverse cultural influences and traditions. The Malayan peoples had early contact with traders who introduced Chinese and Indian influences. Islamic traditions were first introduced to the Malays of the southern Philippine Islands in the 14th century. Most modern aspects of Philippine cultural life evolved under the foreign rule of Spain and, later, the United States. In the 16th century the Spanish imposed a foreign culture based in Catholicism. While the lowland peoples were acculturated through religious conversion, the Muslims and some upland tribal groups maintained cultural independence. Among those who were assimilated arose an educated elite who began to establish a modern Filipino literary tradition. During the first half of the 20th century, American influence made the Philippines one of the most Westernized nations in Southeast Asia. The cultural movements of Europe and the United States profoundly influenced Filipino artists, even after independence in 1946. While drawing on Western forms, however, the works of Filipino painters, writers, and musicians are imbued with distinctly Philippine themes. By expressing the cultural richness of the archipelago in all its diversity, Filipino artists have helped to shape a sense of national identity. Many Malay cultural traditions have survived despite centuries of foreign rule. Muslims and upland tribal groups maintain distinct traditions in music, dance, and sculpture. In addition, many Filipino artists incorporate indigenous folk motifs into modern forms. Pre-Colonization Period Local communities are being established and art starts to go beyond mere craft, i.e. stone weapons or jewelry starts to have decorative elements, meaning and context. Shells were fashioned into tools, as well as ornaments. The oldest known ornaments made from cone shells were found in the early 1960’s in the grave of an adult male in Duyong Cave in Palawan. A shell disc with a hole in the center was found next to his right ear and a disk with a hole by the edge was found on his chest. The shell ornaments were dated 4854 B.C. Angono Petroglyphs are oldest known work of art in the Philippines located in the province of Rizal.  Pre-colonial traditional art have religious symbols, every day activity such as fishing, farming, etc., or a specific decorative art pattern to the community. It has either the influence of local religion (animistic) or Islamic based. There is also an exchange of art aesthetics and art processes with the Chinese and other Asian countries who are frequent traders with our indigenous groups. Spanish Colonization Period Introduced formal Painting, Sculpture and Architecture which was inspired by the Byzantine, Gothic, Baroque and Rococo art styles. Most art works are Religious (Catholic) based. In the formation of the elite Filipinos class, the Ilustrado, paved way for the rich locals to study aboard, a more “academic” and “western” approach has been learned. The Filipino Classicism is formed that borrows the Neo-Classicism, Romanticism and even a hint of Impressionism. Two Filipino Art Styles develop during the Spanish Period: Miniaturismo, art styles that pays attention to details and textures of the costume, and Letras y Figuras, art style that fuses letters with figures in every day activity amidst a common background. It was usually used in painting a patron’s full name. American Colonization Period The American brought in Education and Value Formation with both following the “American way of life” (Alice Guillermo, Sining Biswal, 1994, p. 4). Art Illustration, Advertising and Commercial Design gained popularity and incorporated in Fine Arts. Painting themes still largely favored Genre Paintings, Landscapes and Still Life; Portraits are reserved for high ranking officials with a more academic approach to make the subject more formal. Modernism to Contemporary Period Philippine Modern Art (1946 – 1970). The study of determining what is Philippine Contemporary Art Period is still being determined since the word has been loosely used even during the American Colonial Period. However, some Philippine art historians/critics has always been a follower of the Western Art Style and its trends at that point and thus, suggested that this was actually the point where Philippine Modern Art Period started but went only full swing only after the war. This is set by the creation of the Art Association of the Philippines (AAP) that in a way has a strong leaning with the Modernist than the Conservatives (the traditional art also termed as the Amorsolo School). It was on the on-set of the sudden rise of personal computers and new technology created a new art medium for the arts and human expression. But there were also countless revivals of old styles being done. This started a new direction for the arts thus, setting the name, momentarily, the Philippine Contemporary Period. Lesson 2: Philippine Indigenous Art This lesson includes discussion of representative Philippine indigenous arts. It aims to provide information which would help students develop their appreciation of Philippine indigenous arts. Philippine Indigenous Arts The indigenous people of the Philippines comprise around 10% to 20% of the country’s population. They are scattered all over the country, and can be found in the mountainous and lowland areas. Those in the mountains of Luzon are referred to as the “igorot”, while those in the southern part of the country are often called the “lumad,” which is a Visayan term for ‘native’, referring to non-Muslim indigenous groups. Indigenous people in the Cordilleras include the Ifugao, Bontoc, Ibaloi, Isneg, Isnag (Apayao), Kalinga, Kankanaey, Tnguian, Gaddang (Kalinga and Isabela). From the Sierra Madre and Caraballo can be found the Ilongots (culturetrip.com, Wikipedia). Lumad, or non-Muslim groups include the Blaan, Bukidnon, Manobo, Subanen, Tasaday and the T’boli. Others include the Badjaos (Sulu), Ati and Tumandok (Panay Island), Tagbanwa (Palawan), and Mangyan(Mindoro). Each of these indigenous peoples group has its own culture, producing their own arts and crafts. Representative arts of some of the indigenous groups will be presented in this section. Body Painting Philippines, before it got its name in honor of King Philip of Spain, was know to travellers as “ La Isla de Los Pintados” (Island of the Painted Ones). This name was given after the peculiar practice the locals had of adorning themselves—their entire bodies laced with intricate designs embedded into their skin. Pintados is the term used by Spanish colonizers to describe indigenous people with tattooed bodies residing in the islands of Cebu, Bohol, and Leyte in the Biçayas (Visayas) region of the Philippines. The word itself means "painted." It was first used during the Spanish colonization of the Philippines. The men are known for their tattoo art, which often covers most of their bodies. They apply the tattoos by pricking the skin with sharp pieces of iron and then applying black powder to the open wounds which is absorbed into the skin permanently. The inhabitants of the province of Camarines, located at the eastern end of the islands, resemble the Pintados.  The Spaniards called the ancient Visayans "pintados" (tattooed men). "Batuk" (which means the marking of snakes or lizards) was the general term for tattoos, or "patik" in some places. Tattoos were symbols of male valor, applied only after a man had performed in battle with fitting courage and, like modern military decorations, they are accumulated with additional feats. Meaning, they are not performed all in one sitting but in installments. Tattoos are indicative of a man's bravery in capturing or killing enemies. The more tattoos a man has, the more is the success he has achieved in battle. "The Pintados are a courageous and warlike race; they have continually waged war on both land and sea for pillage and booty which they call 'Mangubat' ". This word means going to other lands in search of conquest; to go out to plunder, to raid or to fight. http://nightskylie.blogspot.com/2014/02/mandigima-pintados.html The Bulul In the Cordilleras, art is part of everyday life and is intrinsically linked to community and spiritual wellbeing. Many villages are built around a central stone platform where social and spiritual rites are performed. These include the worship of deities and ancestors and the consecration of sculptural figures. The carving of ancestral and religious figures was a shared practice by all communities of the Central Cordilleran mountain range.  The bulul are freestanding in-the-round images of granary gods or anito, ancestors, and nature deities. They may either be in a standing or a sitting position. If sitting, their rear ends do not touch the ground but are raised above it, their hands touching their knees or their arms resting across their knees, as in the traditional way of sitting in the outdoors when performing a ritual or simply bonding together to talk by an open fire in the cold mountain air. Figures are frontal in presentation and planimetric, following the planes of the original wooden block. Facial features are simplified and lightly incised, with a geometricizing tendency. There is no intention to represent a particular individual, as in a portrait, but the generalized features are deemed more appropriate in representing anthropomorphic deities of an archetypal cast (nanopdf.com) An important characteristic is that the bulul are generally found in pairs, male and female. This pairing, which symbolizes the sexual principle, also signifies the value that society places on fertility: the whole of nature—including all living things of the earth, water, and sky—multiplies and flourishes from the union of the archetypal man and woman. As granary gods, the bulul are found inside granaries. They do not only guard the harvest from insects and animals, but also guarantee its continued increase. Bulul are very important in Ifugao society, where rice is the staple crop, and they are frequently placed in rice fields and granaries as guardians. Before taking their function as guardians, the sculptures are ritually consecrated by coating the figure with pig or chicken blood, which can leave them with a darkened and mottled patina (artgallery.nsw.gov.au). Tat-tagu, a kind of bulul found in Kiangan, Ifugao, are used in a healing ritual. Unlike the usual bulul which come in pair, tat-tagu are single figures representing the sick person. Hagabi Among Cordillera houses, those of the Ifugao are the most sculptural. Wooden posts are carved with circular rat guards that prevent rodents from entering the house. Its walls and doors are of wood, usually carved with chevron patterns. Beneath the Ifugao house is the hagabi, a prestige bench owned by the affluent and carved from a single piece of hardwood. Its center is usually higher than the sides, thus forming a low arch or a squat chevron shape. The ends of the bench are carved with stylized animal heads, like the pig or boar. For the carving of the bench, the affluent throw a feast, called cañao, during which the bench is brought from the forest, where it has been carved, to the house of its owner. Other motifs carved in relief in the Cordilleras are human figures, lizards, snakes, and crocodiles. The Okir The okir or okkil or ukkil is an exclusive artistic cultural heritage of the Maranaos of Lanao. It is an artistic design of the Maranao native inhabitants of southern Philippines beginning from the early 6th Century C.E. before the Islamization of the area. Okir is a design or pattern often rendered or curved in hardwood, brass, silver and wall painting in curvilinear lines and Arabic geometric figures. It is a set of leaf, fern, or vine motif expressed in most of the Maranao’s art. There are two classifications of okir design--okir a dato, the ornamental design for men and okir a bay, a kind of design for women. Okir is an art depicting the indigenous originality and skill of the Maranaos. It is a fine art of figuring, painting, curving and sculpting depicting the social and psychological identity of Maranao society. Okir is said to be firstly made in Tugaya, Lanao del Sur, the home for Maranao artisans and the Industrial capital of Lanao del Sur.  Okir designs include sarimanok (legendary bird), naga (snake) and pako rabong (fern), and it has the following elements: T’nalak T’nalak is a sacred cloth woven by the T’boli people in communities around Lake Sebu, Mindanao island. Traditionally made by women of royal blood, thousands of patterns that reference folklore and stories are known to the T’boli women by memory. Fu Dalu, a spiritual guardian, guides t’nalak weaving through the weavers’ dreams, a process that is enriched with taboo and ritual. T’nalak has a distinctive tri-color scheme—white, red and black or dark brown. Fibers used in weaving are harvested from the abaca tree and prepared in a process known as kedungon. T’nalak is used for ritual purposes, as an offering to the spirits and during festival celebrations. It is also used to exchange food and supplies between families in T’boli barter economy (https://www.thetextileatlas.com). T’nalak Torogan The torogan was the traditional house of the Marano royalties. The sultan, along with his wives, children and servants lived on it. Torogan was also a communal house where affairs of the community was held ( http://www.traveltrilogy.com/). Torogans were elevated from the ground using tukod or hard tree trunk of huge girths. At the center is the tapuwilih post surrounded by twenty-five others at the base. Each of it stands on a careful assemblage of huge stones half-buried on the ground. They also act as shock absorbers making the house sway in times of earthquake and strong winds. Parts of the torogan include the dorung, the multi-purpose ground space created under the wooden beams, and the poro, or the main house on the second floor, which is an open space partitioned only with clothes and chests. The wooden staircase, the stringer board as well as the panolong (extended beam) are decorated with okir designs. Torogan(google.com) Torogan—panolong(google.com) Lesson 3: Philippine Art During the Colonial and Contemporary Periods This lesson discusses art in the Philippines during the colonization period and modern/contemporary times. Topic 1: Philippine Painting During the Spanish colonial period, destruction of indigenous arts began because it was believed that these arts were pagan and evil. Painting during this period was considered an undeveloped art. During the early period of Spanish colonization, painting served the interest of religion since the church was the sole patron of the art. Native painters made mediocre copies of art themes from chromes and estampitas. The introduction of Western painting was brought forth together with the construction of the churches since the interior of most of these churches were painted and decorated. The priest became the first painters. Later, art schools were founded. Drawing lessons were initiated by Agustinian Fathers of Intramuros as early as the 17th century. They introduced religious paintings to their native pupils (apprentices). The talented apprentices were allowed to paint ornamentations and eventually became figure painters themselves. Filipino painters during the 18 th century never attempted to draw from life and only copied from reproductions. These painters copied Western paintings, hence early religious paintings of the 19th century were made in the image and likeness of the west, particularly the classical style. Art production was under the supervision of the priests. The Spanish imposition produced the colonial culture, which is a fusion of western and indigenous culture. One of the early masters was Jose Dans, a prolific painter from Paete, Laguna. His works can be seen in the church of Pakil, Laguna. The opening of the Suez Canal in 19th century provided the natives the opportunity to engage in international trade through the Galleon Trade. Those whose business prospered were classified as middle class. These middle class people became the nouveau riche, and became the new patrons of art, especially in portrait painting. Portrait painting became popular during this period, and religious painter Damian Domingo eventually became a portrait painter. He was from Binondo, Manila who was schooled and trained in the system of painting. The Holy Family was one of his popular artworks. His love for painting compelled him to establish an art school. Severino Javier, known as Captain Wiring, was a portrait painter from Paco, Manila, and a contemporary of Damian Domingo. Antonio Malantic was also from Binondo, Manila who was called retratista de Binondo because his painting style was so precise in the rendering of details. He was popular because of his beautiful portains like his Julia Francia which exudes his precision in handling of details. Another prolific portrait painter was Justiniano Asuncio, known as Capitan Ting of Sta. Cruz, Manila. His nephew, Jose Maria Asuncion, and Rafael Enriquez introduced the style called miniaturismo, a painting with an over concern for detail. The Academia de Dibujo y Pintura was founded on March 13, 1846, with Agustin Saez as its director and sole faculty member. Later on, he was succeeded by Lorenzo Guerrero. The school offered courses in drawing and painting whose objective was to establish a link between Philippine painting and Western art. Products of the Academia were Simon Flores, a genre painter, who also obtained training from his uncle Fabian dela Rosa, also a genre painter ; Felipe Roxas, a landscape painter; Ramon Martinez, a sculptor and a figure painter, who later became a faculty of the Academia; Jose Pepe Lozano, who became an illuminator. Other Filipino painters include Rafael Enriquez and Miguel Zaragosa, who worked as professional painters in Madrid, London, and Paris for more than twenty years. Enriquez did religious, portraits and figure paintings. He also established the School of Fine Arts, and later the UP School of Fine Arts, where he was the director until he died in 1927. Zaragosa, on the other hand, was a pointillist who was influenced by the impressionism period of Europe. Two of the most celebrated Filipino painters during this period were Juan Luna and Felix Resurreccion Hidalgo who both garnered distinguished honors abroad. Luna won the gold medal at the Exposicion Nacional de Bellas Artes in Madrid, Spain in 1884 for his painting Spoliarium, while Hidalgo, who came from an illustrado class was recognized and won awards for his Virgenes Cristianas Expuestas al Populacho and La Barca de Aqueronte. During the early American colonization period, painting became a stagnant art. There was little demand for portrait painting because of the invention of camera. Most of the painters Legaspi – semi-abstract, texture landscape, National Artist in 1990, depiction of the masses; Romeo Tabuena – watercolor landscape; workers and peasants; Ang Kiukok – National Artist in 2001; Jose Joya – first proponent of abstract expressionism; National Artist in 2003; Constancio Bernardo – goemetric abstraction of international style; Mauro Malang Santos– former cartoonist/illustrator, a Fauvist expressionist; Nestor Leynes – employed magic realism; Fernando Zobel – abstract style; Benedicto Cabrera “Bencab”, National Artist in 2006; Antonio Austria– from San Juan, and Jose Blanco – student of Francisco. Topic 2: Sculpture During the Spanish Colonial Period, sculpture was confined within the walls of the church. Just like painting, it was used as a tool in teaching the natives the Christian doctrine. Santoses or images of saints, and retablos or altar pieces, were the kinds of sculptures made during this period. Carving, which started in the pre-colonization activity of making the likha, was redirected later by the friars into the creation of the santos. This activity was under strict surveillance by church authorities lest the natives inject pagan elements into the prescribed iconography of the Church. By the 17th century, however, the natives were already familiar with Christian subjects. Juan de los Santos and Lorenzo Flores carved several retablos for the Agustinian and Tayabas churches, respectively. Aside from them, numerous carvers of this period remain unknown.  Most of the santos were carved out of wood, which is the most available material. Bone and ivory were also used, but only for those affluent families in those times. The usual subjects of santos were Christ, Mary, the Holy Trinity, Adam and Eve, and the Apostles. The making of effigies of these religious personages with their symbols (e.g. San Roque with a dog, St. Peter with a rooster) drew out the fertile imagination of early native carvers. Sculpture was secularized during the American colonization period. It was made an integral part of rural and urban planning. Public sculptures like monuments to commemorate heroes were erected. In 1903, the Americans ordered the erection of monuments of Jose Rizal in all the plazas of the country. However, the prototype of these monuments was only built in 1913 by a Swiss national. Guillermo Tolentino, a classicist sculptor, finished the Andres Bonifacio monument in 1933. An earlier sculpture of Bonifacio was made by Ramon Martinez in 1905. Abstraction, experimentation with new materials and technique, and new sculptural concepts that aim to liberate sculpture from the established modes of modernism mark the development of modern Philippine sculpture from the post-war period to the present. It is both a reaction against the conservative-classical tradition of the American period and an adherence to the latest trends in the international school of sculpture. Modern sculptors such as Napoleon Abueva believed that “pure form and good design” alone should be the consideration in appraising their works. Abueva is considered the first modern Filipino sculptor. His modernism was developed during his studies in the United States. Abdulmari Imao, a sculptor from Jolo, Sulu, has done sculptural reliefs on embossed brass of the sarimanok motif, and wood sculpture on other themes. Solomon Saprid is known for his treatment of tikbalang as well as the Gomburza Monument in front of the Manila Cathedral. Eduardo Castrillo has done the most massive sculpture in the country. His works include the Last Supper at the Loyola Memorial Park in Marikina, Pieta, for the same memorial park in Paranaque, and other historical and legendary figures, designs for trophies and jewelry, and reliefs and environmental sculptures. Other sculptors like Roberto Chabet (used painted metal and wood planks), Virgilio Aviado (used rubber foam cut-outs), and Ray Albano (made hanging metal and paper) experimented and challenged the prevailing modern concepts in sculptural art. They claimed that their sculptures are “liberated” and “lived-in”. Their works incorporate elements of theatre (through dramatic lighting), dance (through movement), and music (through sound). Topic 3: Architecture  Philippine architecture reflects the character, motives, needs and traditions of the Filipinos. It mirrors a kind of Filipino character which evidently a mixture of an indigenous psyche and the varied colonial influence. It also reflects the history and culture of the Filipinos. The Philippines became the colony of Spain from 1565 to 1899. During this period, the Spanish-influenced architecture became popular. Spanish influenced architecture can be classified into religious, military, civil, and domestic architecture. Under religious architecture were the Catholic churches built throughout the country for the religious orders. They are the most visible reminder of Spanish heritage. The first Catholic churches in Cebu and Manila were built for the Augustinians. Most of the churches show the influence of the baroque style in architecture. Early Catholic churches have the following features: convent (residence of the parish priest), bausterio (baptistery), altar mayor (main altar), retablo (altar pieces), pulpito (pulpit), coro (choir loft), campanario (bell tower), patio (churchyard). Paoay Church (Augustian Church) in Earthquake Baroque (style) Manila Cathedral (in Intramuros)—a Neo-Romanesque style  The Spanish colonial period also brought with it military architecture as seen in the fortifications they built all over the archipelago. Foremost of which is Intramuros in Manila. Intramuros which literally means within the walls, is a defensive network composed of raveling and bulwarks to protect the Spanish city from attack. It also contains the foremost military outpost during the Spanish reign, Fort Santiago named after Spain’s patron saint. Fort Santiago During the 19th century, wealthy Filipinos built some fine houses, usually with solid stone foundations or brick lower walls, and overhanging, wooden upper story with balustrades and kapis shell sliding windows, and a tiled roof. The Rizal house in Calamba, Laguna and the Luna house in Badoc, Ilocos Norte are good examples. Vigan, Ilocos Sur as well as Taal in Batangas have the best surviving Spanish quarters. The city of Manila, Ilo-ilo and Cebu also have some notable old houses. Other areas of the country present different forms of tribal architecture as compared to the low-land bahaykubo which is influenced greatly by culture, and in some cases, climate and the environment. In the upland regions of the Cordillera Mountains, the houses, though still using native materials, is a bit more secured. Where the low-land bahay kubo is ventilated on all sides, the mountain huts, Bontoc, fayu; Ifugao, bale; Kalinga, binayon; Kankanay, binangiyan, and others typify a more insulated dwelling. The Maranao torogan, on the other hand, is designed for royalty and thus built with much ornamentation and elaborate details. Being an isolated and wind-frequented area, the Batanes Islands, exhibit the most different of all traditional architecture in the Philippines. The Ivatan`s rakuh is built solidly on all sides, made of a meter thick rubble work covered by thick thatch roofing to withstand gales which frequent the area.  Bahay na Bato Bahay na Bato (Vigan City) Commercial structures which developed only during the latter part of the Spanish period evolved primarily from the typical Filipino noble house or the Bahay na Bato. The Bahay na Bato is a derivation of the traditional Bahay Kubo with more sturdier materials as the main form of construction. Using the same spatial arrangements of the Bahay kubo, the Bahay na Bato continued the principle of open ventilation and elevated apartments as that of its predecessor. The only difference being that the Bahay na Bato, which translates as Stone House, is made in most cases of stone instead of the more traditional bamboo. Other versions of the Bahay na Bato would be constructed of a stone- or brick-supported lower level and a hard wooden upper level covered by tiles or in later cases galvanized iron. The window of the house is unique in architecture for it opens not just from mid-level but from floor to ceiling. This enables tropical wind to circulate freely into the structure enabling the house to be ventilated tropically. The upper level, or the piano noble of the house contains the most luxuriously furnished apartments, this level overhangs the ground level which contains mostly storage and carriage depots. Other structures developed during the Spanish Period were schools and hospitals (Ateneo Municipal, University of Santo Tomas, Colegio de Letran, Hospital de San Juan de Dios). Though most often attached to the church, these structures eventually developed into their own following the tropical baroque style of architecture popular at the time. University of Santo Tomas (Main Building) The Philippine Revolution of 1887 led to the declaration of independence from Spain. This, on the other hand, was superceded by the transfer of power from Spain to the United States as part of the settlement entered by the Kingdom of Spain with the United States after the Spanish-American war. The Americans came to the islands in 1898. With the arrival of the Americans came a new breed of architectural structures. Foremost of the American contributions to the country was the establishment of civil government. This led to the erection of government buildings from the city all the way to the municipal level. Government houses dotted every community. Designed in the most respectable manner, these government houses resembled Greek or roman temples complete with porticoes and pediments. The revival period, popular at the turn of the century, became the foremost architectural parlance of the era as seen in such buildings as the Government Post Office Building as well as the Legislative House. Education of the masses also became the thrust of the American regime, as such, public education was established, foremost of which is the University of the Philippines. With American rule firmly established in the islands, the military government at the time invited the noted Chicago architect and town planner Daniel Burnham to develop the city of Manila and found a summer capital in the area of Baguio. Burnham’s arrival led to the formation of the Burnham Plan which identifies the city of Manila as a uniquely European city in the tropics and as such opposed to develop its architecture in line with the existing style. The style of architecture, as suggested, varies little from existing architecture at the time as typified by The Manila Hotel. New structures continued the use of conventional motifs but were made of more durable materials such as concrete. This style of architecture prevailed even after the turn of the century. Manila Post Office Building (Juan Arellano) Manila Hotel (William Parson) The eclectic style, a mixture of historic styles, also found its way in some of the commercial establishments rising in the business district such as the Regina Building along historic Escolta. The emergence of Art Nouveau also gave some samples in the central business districts (Uy-Chaco Building along Calle Rosario and Plaza Cervantes) as well as in stately homes of the well to do (Casa de Ariston Bautista in Calle Barbosa, Quiapo). By the mid 20`s to the eve of the second world war, Art Deco became the bi-word for Philippine Architecture with works such as the Metropolitan Theatre along Plaza Aroceros, Perez-Samanillo Building, Crystal Arcade and Capitol theatre along Escolta, State and Avenue Theatre along Avenida Rizal, Lide and Times Theatre along Quezon Boulevard and others. Metropolitan Theater (Juan Arellano) Source: google.com The aftermath of the second world war left nothing but destruction in its wake, and a time of rebuilding ensued. The modern era dawned on Philippine architecture using the simple straight lines of the International Modern Style as a chief mode of expression. By the 70`s a new form of Philippine architecture emerged with the filipinization of architecture. The Filipino style found its way in the re-emergence of traditional motifs, the bahay-kubo and the bahay na bato became popular forms to be copied and modernized (Batasan Pambansa, BLISS Housing projects). By the 80`s the country’s architectural idiom was swept by the tide of Post Modernism, a hearkening back of some sort to the romance of classical architecture. Today, architecture in the Philippines continue to be vibrant and with the country opening up to the world, more first rate architecture is pouring in (Noche (n.d). History of Philippine architecture. Retrieved May 20, 2021 from https://ncca.gov.ph/). Manila City Hall (Tomas Mapua) Source: google.com UP Admin Building (Juan Nakpil)  UP Circular Chapel (Leandro Locsin) Source: google.com Cultural Center of the Philippines (Leandro Locsin) Coconut Palace (Francisco Manosa)