Friday 4 August 2017

A Challenge to answer Urban Informality in Metro Manila


ON-SITE RE-HOUSING FOR INFORMAL SETTLERS FAMILIES (ISFs)



          Be it gentrification or a humanitarian act in any country for that matter,  the ISF or the so called Informal Settlers Families which represents 37% of the population of  the National Capital Region (NCR) of the Philippines or more than four million people, lived in slums as of 2008 (HUDCC 2008) is undeniably the subject needing to be addressed. This refers to family household/s living in vulnerable areas not for habitation; on a lot or lots without the consent of the property owner nor with formal legal documents of agreement; in areas reserved for government infrastructure projects; in protected or forest areas (except for indigenous people); in areas for priority development, if applicable; and on other government/public lands or facilities not intended for habitation (Senate Bill 1104).

           Appearing  as persistent and dynamic-pursuing group of people, they are known as marginalized, on the other hand, they also become instruments used by politicians in their  massive actions for poverty alleviations if not for politician’s personal bested interests. Like the sprawling organism occupying the danger zone  defined as the areas along creeks, or bodies of water, Informal settlements often lack the following critical living conditions: access to improved water; access to improved sanitation facilities; sufficient living area (not more than three people sharing a room); structural quality and durability of dwellings; and security of tenure (UN–Habitat 2008).

 Metro Manila in its water table level that is so low and  prone to flood and the location of the Philippines as typhoon prone country had hasten the situation of these ISF to be a critical scenario not just during typhoon months of the year but whole year round.
This situation of the ISF had awakened both the government and private sectors to create programs and  social preparation. The process of establishing social and organizational capabilities, norms and mechanisms that will enable the settlers to work together and develop their housing resettlement plans. This takes place in partnership with
concerned institutions and stakeholders, further enabling settlers to actively participate in housing resettlement projects and resolve community action problems among members and coordination problems with government and other entities. (Patino2016)

          For an Architect-Designer, Informal Settlers are considered as one of the most delicate “CLIENT” to handle. Identification of their income to their capacity to pay amortization to a housing provided by any sponsoring agent is figured after a demographic and economic survey.  

          This writer who is on an MS Architecture, major in Environmental Psychology Tract is inspired, knowing that in an Urban Informality  Re-housing and the  ISF as client may have a unique personal character as individuals and as a group in as much as their behavior and response to an architectural space provided is differently challenging compared to designing to a family outside these danger zones. The definition of privacy in these residential space for them maybe can be  dynamic and each area, especially the common areas shall be  carefully designed to motivate habit formation or behavior formation. 

         Other than access to healthcare and sanitation,  this ISF’s  perception to territoriality, personal space and crowding and their responses to the environment are complex and best
understood in terms of three psychological stages of human behavior: perception, cognition, and spatial behavior. Property and land tenure rights in the Philippines are covered by the New Civil Code of 1950. This system makes it very difficult for squatters or informal settlers to obtain tenure security. Under this law, tenure security is largely defined in terms of land ownership proven by possession of a formally registered title. Thus, people squatting on public or private lands do not have any right at all to occupy the land and to enjoy whatever benefits are derived from such occupation. (Porio2014) To improve security of tenure for the urban poor, three key approaches have been employed, namely, resettlement, slum upgrading and mortgage financing—all designed to give informal settlers ownership of their house and plot. (Porio2014)  

The political will and the seriousness of the government to pursue the ISF housing programme (or ISF housing fund) which refers to the P50-billion Alternative Housing Programme and People’s Plan for ISFs living in danger areas in the NCR. (Patino2016) as one strong move of the Aquino Administration can be one key towards this goal.

The built environment provides the setting by which we live our lives, and impacts on our senses, our emotions, participation in physical activity and community life, our sense of community and general well-being. ( Butterworth 2000).


         Thorough examination of the background of the problem and careful planning is made perfect thru wise implementation. All these aspects when properly exercised is expected to produce  an answer to one of the basic human needs – SHELTER in its most compassionate character. 



An  Introspection in line with Environmental Psychology  ...
Arch Ma. Elena E. Lamasan

Tuesday 22 November 2016

Reaction to the Book: The Skycourt and Skygarden




I.              GENERAL INFORMATION


This  Paper is prepared as a Reaction to the Book,  The Skycourt and Skygarden: Greening the Urban Habitat by Jason Pomeroy. In this paper, a reader’s point of view will be illustrated on how the book that was published  as an  instructive material will appear to a Filipino Architect presently studying Planning: Community Architecture and Urbanism. Some sensitive lines in the book are quoted in the preceding articles and the current Philippine situations are cited to have a realistic understanding of its  applicability to the Philippines as a developing country.

The third part of this Reaction Paper illustrated the theories that Jason Pomeroy and agreed in principles by the reactor. Most tackles issues on Pomeroy’s belief that skycourt and skygarden when incorporated in tall buildings will truly make sense as alternative social spaces necessary in vertical urban design.

The fourth part of this Reaction Paper shows statements in the book that may not be applicable yet to the Philippine urban scenario, still a promising aspect to consider. Some of these are the advocacies for a new hybrid that may change the face of public domain when this  social spaces are  identified in tall buildings of  the 21st century.

The last part are recommendations on how this book would be more effective to the Asean Architects and Readers especially the Filipinos.

II.            BIBLIOGRAPHIC INFORMATION
Jason  Pomeroy, ( 2014) THE SKYCOURT AND SKYGARDEN, Routledge, 2 Parksquare,  Milton Park, Abingdon, Oxon OX 14 4RN and by Routledge 711 Third Avenue, New York, NY 10017

III.           MAJOR POINTS IN THE BOOK

The book was written that it will inform,  convince and instruct  the reader while he is directed to the ways on how to achieve the goal. The goal is to provide alternative social spaces  in tall buildings in the manner that is known as part of  vertical urban design. The public realm was carefully defined and the loss of it was gracefully dramatized to create or realize the need for alternative social spaces.

In the historical overview, mentioning the Hanging Gardens of Babylon, built by Nebuchadnezzar II for his wife Amyitis documented in the 6th century BC, had blended sentimentality to the definition of Skycourt and Skygarden for the present. The history shows that human interactions needed a space even before steel and concrete was discovered.  At present, the terms, social density ( interaction between people) and spatial density ( the perception of density with respect to the relationships among spatial elements) are easily interpolated with the advent of high-tech skyscrapers.

The author had fully illustrated how the skycourt and skygarden are now considered as social space, as a transitional space, as an environmental filter, as an enhancer of physiological well-being and bio-diversity and as part of the legislated urban vocabulary.

IV.          VERTICAL URBAN DESIGN THEORY
Jason Pomeroy has an agreeable statement saying that … “the densification of our cities has not only spawned the creation of a new hybrid city composed of mixed-use structures and their social spaces, but also the sustainable democratization of existing rooftop spaces and their air rights.” The book had reflected statistics in Hongkong where illegal rooftop structures do not comply with the planning and control process. This concern  is not yet  so much a current pressing problem in the Philippines but the  Building Laws and Ordinances should already layout the safety nets especially in Metro Manila where eventually rooftops and air space issues will need attention.

Interconnecting verticality in structures is being gracefully illustrated by Jason Pomeroy’s explaination of Movement as a social gel. This theory erases our impression of the highrise buildings as a stackable layer, just simply one on top of the other, making highrise a monotonous thing to design for many architects even the Filipinos. Sad to say that recently, a 50 storey tower only has nice floor plans up to the 5th floor, a nicer floor plan on the 2nd to the last and the Deck and the ever typical 6th to the “nth floor, so to speak. The vertical urban theory stated in the book dramatizes the highrise structures making skycourt and skygardens the ice breaker from the layers of floors and an icing on top or on the deck.

V.            Applicability of the Readings to the present Philippine Urbanism

The book, Skycourt and Skygarden  serves as truly an instructional publication for the Philippines since the urban vertical construction is not as rapid as other countries in Asia and the Western World. But thru this, an advance alert is awakening the developing countries.
To a Filipino Architect’s point of view, the book contains ideas that are still to be reached and to be prepared for. Hoping the Bonifacio Global City, Makati Central Business District and other pocket developments like Eastwood, Ortigas Center and others will reach these High Urbanism, this time with more careful approach.

The character of the “public”  in the definition of public  realm may differ from one country to the other due to differences in  cultures, thus the solutions of the alternative social space maybe similar in movement and structure but the details may differ in each culture.  Social  graces for Filipinos maybe a little bit conservative to that of the New Yorkers and more distinct is that of Japan and others.  Urbanism is an unstoppable, whimsical drama on the surface of the earth which grows up to the skies, and these is what this book: Skycourt and Skygarden is putting reason and rhythm to.
As Filipino Architects, we are thankful for this book and look forward to what is instructs  with thumbs-up!



End

The Burden of Architecture




Abstract:               Of all ARTS, Architecture takes upon itself a unique commitment  and responsibility to mankind.  In the context of Philippine society, Architecture carries that conscience  and  expectation. A structure designed and built by an Architect has to last the longest time  possible.  It must be beautiful and Functional. Though beauty is in the eyes of the beholder, yet, architecture has been known in this earth to be beautiful, functional and strong.

To a painting that lasts until the painter dies, it becomes priceless. To a Jeweller to keep those gems, it’s a cherished  treasure. But what are they? They are decorations  that makes our lifestyle glitters, Arts we see and touch to the most. This makes Architecture stand as unique  in its own. Human takes Architecture as his dwelling and becomes a part of his everyday living.  Everytime a structure is built, it carries in itself the strength to withstand the test of Nature. 

No matter what excuses there are in terms of new materials and methods of construction, still people expect such structure to last. And people expect an Architect’s work to be beautiful as it accommodates his lifestyle.  There is no choice for the Architect but make a firm stand… that this work satisfy what Vitruvius proclaimed as Firmitas, (strength) Utilistas, (Function) Venustas. (Beauty)

These human expectations as the viewer and user or occupant is in same force with the Architect’s pride and bursting self-esteem.  Human Expectations that when failed, will pull down an Architect up to the bitterness of his professional practice. The self-esteem and pride of every Architect in his work serves both the good and the evil. Good is true for his drive to create more as his self-esteem is boasted more. 

But bad is near when his pride is challenged that may push him to do what is upright and sometimes illegal just to validate a title or criticism. Architecture is a  creation of human  for  human. Wherever view it is seen, it is full of responsibility. There is triumph and victory in the practice of this profession and coined with that,  there is a so called Burden of Architecture.



Introduction

The Burden of Architecture had been existing in our life eversince the era of the Pharaos in Ancient times. To make a twist and present that positive note, Architects ascapes from the word “ burden” . The Free Dictionary has made its definition of burden as – something that is emotionally difficult to bear. Understandably, the fact that Architecture shelters human being, this cannot be relegated to the background.

As lifestyle and  trend in society moves faster,  moreover with the Generation Y, the present Architecture now faces many challenges. These challenges forms part of the burdens within the Architects’ inner self, the influence of  Culture, the political will power that pastes an Imagery of what would be the Architecture of the time being, the Media that is on a race track with the development of technology and most of all, MAN ITSELF as the hardest element to convince. This paper evolves on these influences and phenomenon such as:


The Burden of Architecture as affected by the  Imagery  to its  people.
 The Burden of Architecture due to the influence of culture.
 The Morality and Architecture:  the heaviest burden.
The Legal Burden of Architecture .


1.       The Burden of Architecture as affected by the  Imagery to its people.

When Author Robert Wilson asked Charles Correa in an Interview published with  Uncube, Rob asked Charles if at the beginning of his career, was he hoping to invent a new architecture for post-independence India?  Charles retold the fable of Animal Farm by George Orwell. It was said, “ The farmer has this big house that intimidates all the animals – so they decide to revolt and burn his house down. But when he runs away, they are too excited and tired – and a few days later the pigs move into the house and start running the farm exactly as the farmer did. And if a cow or horse protests, the pigs just show them a picture of the farmer’s house to frighten them.”


1.1.     Imagery in the Philippines: Imagery is a visual symbolism that appeals to the human eye to deepen his understanding to what is being conveyed to. In the Philippine setting, the government is not running out of imagery to frighten the people. Imagery had been usefull to sway people’s beliefs. It is a way for the government to post a promise and assurance when a Billboard say.. “ On this Site will rise......”  For every doubt in the future of economy,  there lies plans and promises of good architecture. The on going development of the Entertainment City in Pasay City boasting for its Manila Eye as equivalent  the world’s famous London Eye, the sparkling  night life and the latest of the business hub design to be later called as the  Las Vegas of Asia is a good example of an imagery. Publicity about this idea form Philippine Gaming Corporation (Pagcor) with the banner bearer, the prominent people behind had shaded the Filipino vision of an outstanding economy. This is imagery, this brainwashes the Filipino mind, well, for good, for everybody to be positive and not to think of the debts of the Philippine Government where until your grandson’s grandson has to pay for life.


1.2.     Are Imagery Positively contagious? The writer agree that these developments had commenced, and hopefully will bring economic stability to the country. Yet,  there are  these  hidden agenda and still many things to do for the Filipino named Juan de la Cruz.  Architecture is the most fastest image conveyor. It is visual and its palatable to any investor’s eye. Had the Architects realized that without their skills, talents and passion to visualize and present their perspectives, this world will not see an image of a bright future?

1.3.     How does Imagery becomes a burden of Architecture? The Burden of Architecture of a country like the Philippines  is  when these promises will be in vain. Many billboards of government proposed projects enhanced and already accepted by the Filipino people due to impressive perspectives and illustrations brought about by high technology in Advertising remained billboards. Some are seen along highways with names of Architect/ Designers and Consultants. Sour grapes shall be yours when government allocations change course and such billboards diminishes with the typhoon. Whatever the cause maybe, still the name of the architect already strikes a light in the viewer’s eye. May the upcoming imagery the world will throw will be for the good of Architecture.

2.       The Burden of Architecture. Claiming  Filipino Identity

During the 1980”s when this  Writer was entering  College of Architecture in one of the   Catholic Universities in the Visayas,  Arch Nathaniel Von Einsiedel had that most awaited talk in the City hosted by both the Architects and Engineers. (Thanks that there was no RA 9266 in battle yet with the Civil Engineers). Time was when Arch Francisco Manosa was greatly known for the fruits of the Imeldific Giant Projects especially the Coconut Palace. In his talk, Arch Einsiedel  was strongly encouraging Illongo students to Read Books to nourish their minds to design Filipino, pushing Filipino Architecture. The Open Forum got inquiries like: How can we design Filipino when we don’t have enough reading materials that are Filipino?. There was no George Salvan History of Architecture yet, only the Sir Banister Fletcher book that talks like, about the sketched Renaissance Architecture so finely. True enough, we don’t have enough Books to read that are Filipino those times.

2.1  Break –Free and claim Filipino Architecture Identity 

Presently, the cyberworld conquered us all and the e-books flooding everywhere. Surprisingly, the Information Technology brings us foreign designs with matching DYI “Do it Yourself” equipments and Building Materials Installations mostly of synthetic, plastic, metals and glass. According to Ar. Paulo Alcazaren, “The problem with Philippine architecture is, in fact,  its  invisibility. Nobody can substantially define it, the public does not know it exists beyond the nipa hut and if it does exist, it is otherwise rendered unrecognizable because it hides behind (and I really must reiterate) monstrous billboards, or underneath a foreign façade; in many instances actually designed by a foreigner.” It is Philippine art invisibility that was tackled in a talk delivered by culture maven Dr. Nina Baker at the Ayala Museum recently. The title of the talk was "Breaking into the Global Arena: What does it take?" Dr. Baker put Philippine art in focus, looking at issues of national identity, the hegemonic burden of colonialism and today’s globalization of art and culture mainly through new art and multi-media forms (and by inference, architecture).

According to Alcazaren, “ Her conclusion: we Filipinos (and our art) have been invisible to the world probably because of our culture’s innate plasticity, our ability to quickly assimilate, absorb, adapt to and adopt forms ( fashion, speech, art, architecture, etc.)  So, are we cultural chameleons rendering ourselves mestizo clones from those we chose to valorize? Is our hybrid culture of continuous hybridism with no end in sight except copycatting?”


2.2   Origen of  Filipino Architectural Education, how does it affects our Designs.

The Architecture in this country had been living with a burden, inherited from our ancestors, so to say, since even our First Filipino Registered Architect  Don Tomas Mapúa, obtained his degree at Cornell University in Ithaca, New York in the US.  And therefore following there on, more Architects studied and trained abroad brought International Architectural Designs to the country. The Filipino Architecture must break-free and with the strong FILIPINO IDENTITY implemented in our Designs started by the Marcos Regime, slowly the Filipino Architecture is getting its Identity.

3.       The Morality and Architecture: the heaviest burden.

Many debates on the Morality and Architecture had touched significant issues concerning the past and the present. Some of these can be read in books, blogs and social media pages reaching the young and the olds in the Profession and in Business sector. The art historian David Watkin against any attempt to ground architecture on morality, expressed in his book Morality  and  Architecture,  first  published  by  Oxford  University  Press  in  1977. Watkin maintains that the claim of architecture to morality undermines individual imagination as well as the aesthetic value of the work carried on by artistic tradition. Watkin’s approach is not only very close to Kant’s concept of aesthetic autonomy  but,  more  than  that,  it  rigorously  defends  the  supremacy  of  the aesthetic factor in architecture. On this ground, Watkin proceeds to a critique of the architectural theory of the nineteenth and the first half of the twentieth century. He classifies architectural theory in three categories:

1. “architecture enters the threshold of the twentieth century suffering an inner contradiction between its aesthetic self claiming total independence and a moral, engaged into a social mission, self”

2. According  to Watkin (1977, pp. 3-4), it is the nineteenth art theorist Pugin he who initiates architecture’s claim to morality in the modern era. In his Contrasts (1836), Pugin claims that the same principles that underlie religious truths should underlie the form  of a building. Engaged  in the legacy of Pugin’s  claim  to  truth, Modern architecture has to defeat religious doctrines with some other kind of truth, Watkin argues.1 Thus, in order to be morally justified, Modern architecture has to become a rational instrument of social policy. Furthermore, it has to express the “true” nature of the materials.

3. Le Corbusier’s words: “A man who practices a religion and does not believe in it is a poor wretch; (…) We are to be pitied for living in unworthy houses, since they ruin our health and our morale”(Le Corbusier 1987, p. 14).

3.1  Reconcile the Past and the Present Trends in Professional Practice as History enlightens the  issue of the Burden of Architecture.

 Renaissance architecture seems to be an excellent example of understanding and interpretation of past values.  In the book written by Helen Tatla, Morality and Architecture ,  the  philosophy of Gadamer says that in the Quattro libri dell’ architettura, first published in 1570, Palladio maintains that “the practice of architecture as a manifestation of virtue is a moral obligation for the architect:  (Palladio 1965). This is true even in the Philippine scenario as supported by the Architect’s Code of Ethics. Thus, Architects were taught to be modest even not permitted to do advertisements.  It became a burden as a moral obligation to stay “not commercially inclined” but to focus on “serving towards the Interest of the Client”.
At present, there is still a debatable issue whether to advertise as part of Business Marketing Strategy does not contradicts the Architects’ Code of Ethics.


3.2   Responsibility in Design.

The third category of architectural theory dealing with the principles underlying Modern architecture,  discussed in the book written by Helen Tatla, Morality and Architecture which Watkin despises, is the rational-technological one. It originates in the 18th  century French theorists and is related to Classical, Gothic or “modern” architecture. As Viollet-le-Duc (1889, vol. I, p. 448)) puts it, giving a mechanistic interpretation of the Gothic, “we must be true in respect of the programme, and true in respect of the constructive processes.” (Watkin 1977, p.

 The programme, concerning the organization of human functional needs in space, as well as the structural needs of the work, constitute - in moral terms – the source of form of modern architecture. Truth and morality are defined on the basis of universality implied by a new collectivist society. Watkin says, “We can gather that individual taste and imagination are immoral and false as far as architectural form is concerned (Watkin 1977, p. 14; Pevsner 2005, pp. 110-11).

            In archinology, documentaries of the  first recorded study of ethics that was by Socrates, Plato, Aristotle and their contemporaries,  used words that in translation had multiple meanings: the term aischron described something 'shameful' as well as 'ugly', and kal's referred to something as being 'honorable' and/or 'beautiful'.
 This duality of meaning seems to indicate that there was an early relationship between ethics and aesthetics, which in turn may relate to a link between the character of an architect, the approach to design, and the quality of the work.
Increasingly unachievable is the very basic human characteristic of feeling, or being, ‘in place’. Humans have not evolved in a way that we are no longer in need of or incapable of experiencing and knowing places. However, our use and exploitation of the human environment is indifferent to place. When people depend on place to define meaning, then it is that indifference that is in need of ethical scrutiny. For humanity to live in a more permanent, grounded self, we need to renew the ethical framework to remind us of the virtues of life and help create and preserve place.


3.3   Capture the Positive Effect of realizing this Burden  at  Present.

The famous Architect  Zaha Hadid was questioned about the migrant workers who have died while working on the al-Wakrah stadium in Qatar, designed by Zaha Hadid Architects. Ms. Hadid likened her concern for their plight to her concern for Iraqi deaths: “I’m more concerned about the deaths in Iraq as well, so what do I do about that? I’m not taking it lightly but I think it’s for the government to look to take care of. It’s not my duty as an architect to look at it.” She further asserted that her responsibility was limited to personal censure: “I can make a statement, a personal statement, about the situation with the workers, but I cannot do anything about it because I have no power to do anything about it.”
In another publication, Zaha Hadid made a statement  when asked about conditions on construction projects for the Qatar World Cup, Hadid responded that it was responsibility of the Qatari government not architects to address issues relating to worker deaths. "It's not my duty as an architect to look at it," said Hadid. "I cannot do anything about it because I have no power to do anything about it. I think it's a problem anywhere in the world. But, as I said, I think there are discrepancies all over the world." "I have nothing to do with the workers," she added. "I think that's an issue the government – if there's a problem – should pick up. Hopefully, these things will be resolved."

3.4  Unfortunate Incidents during the Project Implimentation as Burden of Architecture

As elaborated by the Author Sheri Wing in the Article: Moral Responsibility: Zaha Hadid and the al-Wakrah Stadium”, Metropolis ask if,  when a disaster occurs during an economic or architectural endeavor, is it just a matter of legal responsibility or is there a moral component as well? Does the fame of the architect somehow mitigate the responsibility? Or, as some actors have claimed, does one's fame and bully pulpit make one more responsible to use that influence towards promoting good or charitable causes that will ostensibly benefit fellow human beings? 
Sherin Wing tackled the issue on the responsibilities of the Architects when she said; “It might be interesting to look at other examples of what individuals and corporations can do when they are either 1) involved or implicated in tragic incidents or 2) at odds with the unsavory practices of a government that happens to employ them. 

3.5  We see no more: The Manila Film Center Tragedy. Had it opened our eyes? Or the Government Propaganda succeeded in burying  the Memory.

                In the southwest end  of the CCP Complex, (Cultural Center of the Philippines)  is Manila Film Center located in Pasay City.  It is a national building,  The Manila Film Center designed by architect Froilan Hong where its edifice is supported on more than nine hundred piles which reaches to the bed-rock about 120 feet below. The Manila Film Center served as the main theater for the 1st Manila International Film Festival (MIFF) from the 18th to the 29th of January, 1982. The building has also been the subject of controversies due to an accident that happened during the final stages of its construction in 1981.

It has been told that the a Feasibility study was prepared and among the Film Center’s project components were the 360-degree theatre that will show images of the past and present historical and tourism scenes for the future generations to see. This writer on those years were on a first year college in the school of Architecture and this attraction were not just Filipinos  but people around the world were hopeful for. It was really for generations to see, but we see no more.

An accident occurred around 3:00 a.m. on November 17, 1981 during the construction of the Manila Film Center. Its scaffolding collapsed, and at least 169 workers fell and were buried under quick-drying wet cement. A blanket of security was immediately imposed by the Marcos administration, and neither rescuers nor ambulances were permitted on the site until an official statement had been prepared. The rescuers were eventually permitted to go inside the accident site 9 hours after the collapse.

The Manila Film Center is said to be haunted due to the accident that took place in the construction of the structure. It has been speculated that due to the 9 hours that passed before rescuers were allowed in the site, some of the workers were entombed alive and that the bodies were left in the hardened concrete slabs. In a 2005 documentary produced by GMA Network's i-Witness,  all 169 workers were traced and the records show that not more than a dozen died, Furthermore all the bodies were retrieved and were given a proper burial..

The building was then designed to have two components which were the auditoria and archives. According to Hong, the foundation was set on reclaimed land near the Manila Bay.  Since the deadline of the structure was tight, it required 4,000 workers, working in 3 shifts across 24 hours. One thousand workers constructed the lobby  in 72 hours, a job which would normally entail six weeks of labor. The Film Center opened in 1982 costing an estimate of $25 million.

Talitha Espiritu on a write up published in an article titled House of Horrors said, “Like a black hole in time and space, the Manila Film Center is now stricken of life, a place where no positive energy can come from. But it is a place where the horrors of Nov. 17, 1981 remain trapped like unreleased energy, the energy of decay and collapse.”




3.5 To Design or not to Design.
On the moral responsibility of Architecture, the United Architects of the Philippines ( UAP) does not have specific rules yet to fully itemize what was written in the poetic-like Architects Code of  Ethics. Writer Roman Mars, in his 99% Invisible Radio Show that focuses on Design and Architecture touched on the topic: The Design of prisons which contain execution chambers or house prisoners in solitary confinement. He discusses whether architects have a moral duty to decline these commissions and whether, as a profession, architecture should have a code of ethics which prevents registered architects from participating in such designs.

He compares architecture to the medical profession, where the American Medical Association imposes an ethical code on its members which all but forbids them from taking part in execution by lethal injection, based on medicine’s general aim of preservation, rather than destruction of Life.
The United Architects of the Philippines (UAP) does not have specific provisions on this issue. Probably because there are less current challenges in this these areas, eventually, the Architects as a professional directly involed in accommodating man’s activities and dwelling will be more sensitive on the issue going more towards implementing Laws for Human Rights protection.

Statements published says, the Architects, Designers and Planners for Social Responsibility would like to see an added clause in the (AIA) American Institute of Architect’s Ethical Code, which prohibits architects from accepting any commission designed for “ execution or for torture or other cruel, inhuman, or degrading treatment or punishment, including prolonged solitary confinement.

David H. Watkins in the published interview in BD+C which asked: In your book, you state that “the architect has a moral responsibility to use research data in the design process.” Why a “moral responsibility”? says: “Our responsibility for protecting the well-being of building occupants should involve more than protecting them against fire and structural collapse. Today, there is an ever-increasing body of research on the relationship between buildings and human behavior. As design-related knowledge expands and becomes more definitive, it carries with it an inherent moral obligation to apply it.”



4.          Legal Burden of Architecture.

Legal Responsibility of the Architect dictates that  failures during  Construction Implementation if the Architect’s role is limited on the Design or Authorship of the Plan cannot be thrown back to  him.  Yet, cases of Tragedy which pronounces a National or even a worldwide issue cannot be ignored. The Architects mission is to design for  beauty, function and strength to the built environment and it must be safe so as to protect the lives and property.




REFERENCES:


2.       Manuel D. Noche, History of Philippine Architecture: National Commission for Culture and the Arts, September 04, 2014

3.       The Cultural Burden of Architecture

4.       Winand Klassen. Cebu City: University of San Carlos, 1986. Xiv, 435 pages: Architecture In the Philippines: Filipino Buildings in a Cross Cultural Context

5.       Paulo Alcazaren, CITY SENSE By CITY SENSE: Where are the Filipino Architects? :Philstar Lifestyle, September 4, 2014

6.       Philip Nobel, “Anti-Starchitecture Chic”, Metropolis Magazine, June 2007

7.       Helen Tatla, “Morality and Architecture”, Technological Education Institution,  TEI of Athens

8.       Sherin Wing, “Moral Responsibility, Zaha Hadid and the al-Wakrah Stadium”, Metropolis, March 4, 2014

9.       Rory Stott, “Should Architects Follow a Code of Ethics?”,  Architecture News Editor’s Choice, Arch Daily, June 10, 2013

10.    C.C Sullivan, “When Architects Design Death Chambers” , StarPlanet, Issue 21

11.    Stephen Walker, “ Gordon Matta-Clark: Art, Architecture and the Attack on Modernism

12.    David Greusel,Kansas; Eric Jacobsen, Pasadena;Michael Metzger,Annapolis: “ Architecture as Moral Art: Surveying the Moral Dimension of Architecture”, Heaven and Earth, Vol 12 No.1,August 2017

13.    D. Kris Hamilton, FAIA, FASCHA, EDAC, ‘The Moral Responsibility of Leadership for Design Outcomes”. HERD, May 15, 2012

14.    “Doing the Right Thing...”archinology

15.    Architect David Watkins : “A Moral Responsibility to Use Research Design”, Building Design and Construction

16.    The Manila Film Center, Wikipedia
http://en.wikipedia.org/wiki/Manila_Film_Center





REFLECTIONS ...




DESIGNING AN URBAN SPACE ...  something i can be, ... within it.


I like the idea in the Book, The Image of a City by   Kevin Lynch that says, “the design of a City is a temporal art” and that “its image is soaked in memories and meanings”. In the point of view of a practicing architect like me, who is used to design and construct buildings for the Client, i see my work as the one i can dream of, while it is still on its design phase and the one i can touch while it is being constructed.  But after the project is turned over,  its already just a thing to look at,  to watch that building deteriorates or to watch it being revived again, usually by other architects already. This i realize that the sensorial effectivity  of doing a building for a client is on the eyes and the touch only.

But  designing an Urban Space, like a City, especially when You yourself as the designer is a Citizen of that place brings you to the totality of your  senses including your 6th sense which are  the intuition-fear-anxiety-speculations  and guesses.  As urban designers, we are not just spectacles but we are a part of it. Inside it,...within it.

I never had this feeling before even since i became a Contractor of a 30Million  Palms Resort in Boracay, modesty aside. Because  though i consider it as my biggest project so far, yet, its finished and already turned over, and i am in Manila now. I may just feel it when i go back to Boracay again and stay in that Resort. A little knowledge of Urban Design thru a one term subject  Arc 213 had shifted my paradigm. It had given me a wider and clearer mirror and see more meaning in the profession.

I lament on those audience composed of architects several years ago when the famous Urban Planner Nathaniel von Einsiedel was talking to them. It seems before they listened to those speeches, they must had taken first this subject: Planning to easily relate to the principles discussed. Now i see, it is only when you capture the Theory of Planning where you can appreciate the meaning of it and relate to the sentiments of many planners when they bombarded the Metro Manila situations and other cities outside the country.


REFLECTION  ON GOVERNANCE

Just a week ago, i was in close argument  with my previous college professor, Arch Manuel Tingson of University of San Agustin. It was about the filling-in of portions of Iloilo River named and awarded as the Longest Landscaped River Esplanade in the Country. My professor advised as , “in Urban Design , work with politicians” , this is a sour sound to me. All my life i did not ever wanted to work  with politicians, and even go out labelling those designers as puppets of politicians. 

Yet, the topics on Governance in this subject had opened my eyes to realized and see the difference. When an architect constructs a Mall, he will just deal with construction crew and his budget to complete it. When designing a city and constructing portions of it, you deal with human being as part of it. As what Peter Webber says: “ the process of moulding the form of the city through time”.

BEING LOST IN MY OWN CITY

It is said that a good environmental image gives its possessor an important sense of emotional security. A well planned community may easily direct people’s activity to its route and destination . All these i agree, and that i also agree to the fact that  cities needs revitalization, renewed and shall be made economically sound and sustainable. But there is the reality in its sentimental value of the matter. The permeability of the urban design, not just in the artistic sense but on the  economic-social condition.  Cities whom the original inhabitants were used to, and spent their years,  are now, just by the quick computer presentation and release of Infrastructure Funds are scraped-off and changed to what all of us designers say Green Cities.

In a way, the time for acceptance of the people of the design in the way they perceive it and react to the new environment is so fast.  With the saturation of mass media, even the outskirts are reached with images of propaganda on how your city will be as political promises. Personally, i had seen many images of the bridge of the famous Architect Calatrava of Spain published in the net that says, this will be your new bridge.. this and that.



And now that IT got its way, its vital to consider if the legibility of the urban structure blends in same pace with the mindset of the people. Reason why people cannot cooperate with the city ordinances is because, ordinances are treated like “ posting a poster of Do this..Do that.. or else..???...”  It has to be considered that still, the participation of the people in moulding ordinances is its ticket to obedience and support.

The long and quite ( though i accept, they are stagnant bushes and swamps)  that were once builders of memories are now changed into Esplanades, walk able parks and i am saddened of the piers and river banks who still posses their natural curves and remains of piers posts, are now changed to high-tech marina with resto –bars. Yes, this is gaining taxes for the city and its good now.. the city is still clean. But had you thought of all these developments after 5  or 10 years?  Where will be the wastes of these resto along the walk able parks will go?

It is not that we don’t like developments. It is because there is that identity and harmonious relationship between the man and the ecology of these places that now, in the strike of many backhoe and bulldozers  getting title recognitions and DPWH Funds.

Sad to say, i feel lost in my city due to the rapid modernization that had been useful for the economy but defeats the inhabitants belongingness. I feel lost in my city because the state of mind of the city  administrators are now changed. They become friends of the investors who are not Illongos but businessmen from other places. And the most saddest part is, when you rise up and question, you will be tagged as” kontra-partido” a political term baptized for those who seem like does not like what the present political party is doing in handling the city.

What else do we sacrifice to have a good Urban Design other than facing-out  our old and harmonious communion with our sprawling community called now the “IS” term for  illegal settlers and the continues educating of the constituents. Are we fitting to what nature wants us to be? Or are we the one now,  traversing nature due to our own greed for power and recognition. Is this saving for Human Survival? Or building-up human quest for more satisfaction that later even the whole world can no longer  accommodate.

I am in the Island of Panay until i age 25 years old and had witnessed how the island of Boracay is now,  compared to 1975. Now, many Urban and Environmental Planners flip-up their drafting table upside down. There is no more land in Boracay Island to dramatize, all are already owned , if not titled, by rights. Here, another meaning of being LOST  in your city is clear. The old inhabitants now, lost their city in its face because they were driven away.

MANIPULATORS OF THE PHYSICAL ENVIRONMENT

Its surprising to read this line....” As manipulators of the physical environment, city planners are primarily interested in the external agent in the interaction which produces the environmental image.”  The definition of the word manipulator as stated in www.yourdictionary.com  says, “ is the person or machine that does a job with skill or shrewdly manages something to their benefit.” Oftentimes we hear and we wanted to believe, for the good of the people, to be sustainable, for clean and Green.... hopefully and stand firm it is not for the politiceans monetary benefit. At this point, the word “ manipulators”  shall be referred to the Politiceans if they are permitted to manipulate the physical environment and make urban designers only as illustrators.

A town mayor had ordered for a design of a covered court in front of an Old Historical Municipal Hall in one of the towns in Visayas. The Architect in the municipal council contradicted to the idea because it will defeat the historical image of the town, cover the historical Municipal Hall. Still the  Mayor proceeded with, kick-out that contradicting architect by saying , “this is my town “..and requested funds for the structurally sound monster court that covered the ever graceful mementos of the town glorious past. The townfolks sigh.. this is not our town anymore.. this is Town of the Mayor.

Grant the people its belongingness because the people are part of forming the city. Permit the people to own and be proud of the image of their city and slowly blend them to the so- called diversification leading to sustainability. These  imageability hits my imagination of the simple urban area of Marinduque and Bagiou, both are on mountain –like images of a City which are very opposite to the City of Manila and Las Pinas, both in Flat land.

In effect, going back again to my City, Iloilo, it imageability is brought about by the rivers curving like “tears on a woman’s face”. This made me anxious of up to what extent modernization  will occur, if they are now able to fill-in portions of the kilometers of the rivers, time will come that they will fully cover the rivers and convert it to the entirely land for use. And i am looking forward to miss to see ...the Iloilo River that looks like ..” tears on a woman’s face”.

URBAN  ART IS ENTIRELY A DIFFERENT ART

My impression of Landscape design is like a small scale of a city design. In landscape design, what your perspective now is not yet there when you started because plants did not grow yet, and it will reach a point when such perspective of yours will meet with what the status of the actual, but wait a while and the plants will grow unmanageable and the image of that Landscape you did will go beyond what  you expected. 

This is because, in Landscape, we deal with the living plants and elements. More with the city, we live with everything, not just living humans, flora and fauna, but we live with the evolution of the mindsets of every individual. And since the art of urban design has to deal with the two-the observer and the observed, then, its image to the observer maybe different depending on the evolution of mindsets of the observer at a given time. Here now, i agree that the designers are like psychologists in this tasks.

Flanagan said... there is such a thing as “the landscape of our confusion” , yes there is and i feel that fear now after knowing what urban design is all about. It is because, if the art ( city design) and the audience ( the people) grows together, there are uncontrollable aspects that not only one person can control but needs the designer (art) and the administrators or governance ( the people) . In this sense, i feel “fear” realizing how necessary education has to be for City Administrator. 

How many of our high Government officials took up urban designing. There are a few of them and the effect of the knowledge such city administrator has is really visible affecting good directions of public infrastructure. Considering governance as a vital element in urban design, then the City Mayor becomes a city architect  on its own, relatively. 


Let me end this reflection by the phrases from the Book: Thermal Delight in Architecture by Lisa Hechong....

A sixteenth-century traveller furnished an eyewitness description of the delights of a Persian garden during its golden age:

“The garden I shall describe was constructed in such a way that two courses of crystal-clear water met before a building, forming a large lake in which country swans, geese and ducks disposed themselves. Below this lake were seven waterfalls – as many as there are planets ... From the lake jets of water spouted up so high into the air that the spray, as it descended, was like a rain of diamonds. How often was i moved by the rippling of the fountains and the murmuring of the brook as it streamed downhill, over the terraces of the garden, hemmed in by rose bushes, willows and acacias. I cried with sheer joy until the exceeding beauty and the rucshing of the water rocked me to sleep”


LET  DEVELOPMENTS  TAKE ITS PLACE BUT LEAVE US OUR HEARTS

Many books will still be written and many theories in Planning will still be strengthened. The findings and principles today may twist years from now, depending again on the global community, the rise of political issues and the economy. Urbanism had been defined since the times of the Romans in their own way of shaping it. And now that many countries of the so-called 3rd world is on its height of Urbanism, these are already unstoppable. 
           
            New propaganda will emerge and new psycho wars will threaten the human race. Unnoticed are the threatening of global warming and other famine as a weapon to distract   and destroy concentration and sway towards the country’s ruler’s financial gain. In all these, my only wish is to let developments take its place but please give a space for human senses, the sensitivity of the designers shall remain to protect the human sense of living on this earth be protected from the roaring concrete jungle of the hybrid city.


References:
·        Image of the City by Kevin Lynch
·      Thermal Delight in Architecture by Lisa Hechong
·      Urban Design-Methods and Techniques by Cliff Moughtin, Rafael Cuesta,
Christine Sarris and Paola