The Burden
of Architecture
By: Arch Ma.
Elena Lamasan
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 ,
functional and Strong.
To a painting
that lasts until the painter dies, it becomes priceless. To a Jeweler 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
dictates 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 creation
of human for human. Wherever view it i 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 scapes 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 useful 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 say that in the Quattro libri
dell’ architectura, 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 programe, 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 Implementation
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.
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 involved 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 the him. Yet, in case
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:
1. Charles
Correa – Interview with Rob Wilson
http://www.uncubemagazine.com/sixcms/detail.php?id=9567961&articleid=art-1370856698109-4d61f277-3d27-40c5-afc7-2a79534aa937#!/page17
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Noche, History of Philippine Architecture: National Commission for Culture and
the Arts, September 04, 2014
http://www.ncca.gov.ph/about-culture-and-arts/articles-on-c-n-a/article.php?igm=1&i=110
3. The
Cultural Burden of Architecture
http://www.jstor.org/discover/10.2307/40480507?uid=2129&uid=2&uid=70&uid=4&sid=211045
87946167
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:Philstar Lifestyle, September 4, 2014
http://www.philstar.com/modern-living/375298/where-are-filipino-architects
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http://www.metropolismag.com/Point-of-View/March-2014/Moral-Responsibility-Zaha-Hadid-and-the-al-Wakrah-Stadium/
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http://www.archdaily.com/383402/should-architects-follow-a-code-of-ethics/
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http://www.smartplanet.com/blog/the-take/when-architects-design-death-chambers/
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10
http://books.google.com.ph/books?id=_ncAAwAAQBAJ&pg=PA142&lpg=PA142&dq=The+mor
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Right Thing...”archinology http://www.archinology.com/ethics/
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http://www.bdcnetwork.com/qa/architect-david%C2%A0watkins-moral-responsibility-use-research-design
16. The Manila
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