WEEK 6

1
Architecture in the Philippines
(Spanish Era)
( 16th to 19th Century )

2
VIGAN HOUSE
• The City of Vigan (Ilokano: Ciudad ti Bigan; Tagalog: Vīgân) is a fourth
class city in the province of Ilocos Sur, Philippines. It is the capital of the
Province of Ilocos Sur. The city is located on the western coast of the large
island of Luzon, facing the South China Sea. According to the
2010 Philippines census, it has a population of 49,747 people.
• The term Vigan was derived from Chinese word "Bee Gan" which means
"Beautiful Shore" and later change to Vigan when the Spaniards arrived.
• The area contains the historic footprint of the entire town and consists of
a total of 233 historic buildings tightly strung along a grid of 25 streets.
• It is a World Heritage Site in that it is one of the few Hispanic towns left in
the Philippines where its structures remained intact, and is well known for
its cobblestone streets, and a unique architecture that fuses Philippine
and Oriental building designs and construction, with colonial European
architecture.
• Former Philippine president Elpidio Quirino, the sixth president of the
Philippines, was born in Vigan, at the current location of the Provincial Jail
(his father was a warden) 3
4
Vigan House Characteristics
1st floor is shop, storage and carriage area
• 2nd floor comprises of grand stair way, living room, bedroom,
dining room, kitchen, toilet, open terrace connected to dining
area or kitchen.
• Thick stone wall on 1st floor
• Light wood structure on 2nd floor
• Soft light and good airflow
• Large wood windows / Capiz (Glass Shell Window)
• Clay roofs and eaves are extended to protect sunlight and rain
• The building materials used in Vigan buildings are terracotta,
wood, shell, stone and lime
5
Urban structures

• VIGAN
• When Juan de Salcedo founded Vigan in 1572, he decided to pattern its
urban plan with that of Intramuros, the walled city in Manila. There were
not many to copy from as Vigan or Ciudad Fernandina, as it was earlier
named, was amongst the earliest settlements built by the Spaniards in the
country.
• The urban planners of the Spanish government also followed a basic
pattern that can be observed in most old towns in the country, whose
establishment dates back to the Spanish colonial period. This pattern is
detailed in the Ley de las Indias, the Law of the Indies, and was put into
force in the 18th century. Under the Law of the Indies streets were to
follow a grid pattern, the center of which being a plaza or central park.

6
• The two storey structures are built of brick and wood, with a steeply
pitched roof reminiscent of traditional Chinese architecture.
• The exterior walls of the upper storey are enclosed by window panels of
kapis shells framed in wood which can be slid back for better ventilation.
• Most of the existing buildings were probably built in the mid 18th to late
19th centuries.
• Due to the economic decline of Vigan as an economic center after the
World War II, only a few of the historic buildings had internal
reorganization for alternative use.

7
Vigan Cathedral, Vigan , Ilocos Su

8
• A house featuring Spanish colonial
architecture in Vigan City

9
• In Vigan, the central park is the Plaza Salcedo. Next to it are
the administrative buildings—the Casa Real or provincial
administrative office, and the municipio (municipal hall). A
stone's throw away are the religious buildings—the seminary
of the archdiocese, the Arzobispado (Archbishop's Palace),
and the St. Paul's Cathedral. Beside these religious structures
is the church-run school, the Saint Paul College, known in its
early days as the Colegio de Niñas.(It is currently being
occupied by a retail store chain.)
• A unique thing is the existence of another plaza, the Plaza
Burgos, which is immediately beside the St. Paul's Cathedral.
After the first tier emanating from Plaza Salcedo are the
houses of prominent residents that now make up the
preserved heritage houses of Vigan. This urban plan remained
relatively intact despite wars and natural calamities that have
been endured by Vigan since its foundation. 10
• The major changes to the original urban landscape were
caused by fires. The Casa Real was replaced with a provincial
capitol building during the American period when the original
structure burned down. The archdiocese seminary was also
destroyed by fire in 1968, and it lay in ruins until the late
1990s, when part of a shopping mall was built on the site.
• The residential areas were not spared. Some of the houses on
Crisologo Street were casualties of fire during the Japanese
period; several houses on Quezon Avenue were destroyed by
fire as well in 1952; while in 1971, some houses near Plaza
Burgos burned down as well. The houses along Crisologo
Street that were burned were later reconstructed faithfully
following the architecture of the former structures.
11
• CRISOLOGO,VIGAN CITY
12
• Presently, there are other major areas of activities other than
the two plazas, though these are still where most recreation
and shopping are done. One may also go to the southern part
of the city to reach the commercial area and public market.
The current Public Market is a new one, as the old one
(formerly the Imelda Socio-Commercial Complex), on the
same site, was (also) destroyed by fire. The very first Public
Market, found in the center of the business district, is now the
site of new commercial buildings and the site of a tricycle-for-
hire terminal.

13
SPANISH ERA (16TH-19TH CENTURY)
1521-1898
• In the sixteenth century, the scattered islands became a colony of Spain. With
Spanish power and the Christian faith came European Culture and new forms
of building. On the tropical landscape rose City Walls, fortresses, government
buildings, churches and convents, and grand houses. The builders of the period
included Spanish friars, Chinese and native artisans, architects from the
peninsula , and the maestros de obras. The natives learned t o work with brick
and stone, and had to contend with the intricacies of the baroque and rococo.
• a. ilocos Province - in the North
The Vigan House
• The features of the !locos house are derived from the sturdier look and
stronger construction of the whole house, a result of the llocano householder's
character. The llocano believes in Frugality, solidity durability and no non-sense
practicality. He encloses the space under the main floor of the house with
walls of limestone, coral, even hollow-blocks and cement thus creating an
extra floor of living space. The llocano house is highly functional and relatively
free from useless decorative items. 14
SPANISH ERA (16TH-19TH
CENTURY) 1521-1898
• The other notable distinction of traditional
Ilocos houses is a marked Spanish
flavor.Because the llocos provinces were
among t he first to be settled by the
Spaniards,Ilocos towns enjoyed the best of
Spanish culture longest and are today the
most typically Spanish in architecture. The
best example is Vigan in llocos Sur with its
ancient cobblestone streets, brick houses,
tiled roofs, elaborate grillwork stone arches
and colonnades. Most I locos homes and
towns display their familiarity with 17th
century European technology in arches and
domes, in the skillfully executed long spans
betwe.en columns and other typically
European construction features.
15
VIGAN HOUSE RUINS
Vigan, llocos Sur, Philippines
• Fragment of a ruin of an original
Vigan House, Vigan House generally
refers to Antillan design of brick,
lime, and mortar wit h tile roofing
and Phillipine hardwoods. Built in
the early decades of the 19th
century, these relics of Filipino and
Spanish craftsmanship are being
restored by the government.
• Presently there is no other place in
the Philippines richer in Hispanic
tradition than Vigan.capital of llocos
Sur province. un pedazo de Espana
16
en el Oriente.
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ANTILLAN HOUSE

19
20
• A spacious hall caida and a reception room sala occupy the center and largest
portion of the second floor with bedrooms on either side and kitchen, baths and
terrace azotea in the back.
• The sides of the house are curtain walls. bearing no weight since the heavy tile roof
is supported by sturdy wooden or stone columns and are therefore no more than
wooden frames, trellises, sliding window panes made of squares of mother-of-
pearl , capiz shells, balustrades of wood or iron grills called verandillas.
• The second floor projects a good two meters over the first floor walls and adds to
the light, airy appearance of the house.
• The azotea or open porch is usually provided with a ceramic balustrade, banks of
flowering plants, large rain-catching jars.
• lt bears much of the household traffic to and from the kicthen, other living areas
and the back stairs
• To sum up the characteristics of an antillan house, wide windows running along
the length and breadth of the house (to make air conditioning unnecessary), high
ceilings, tile roofs in the traditional high -pitched design, eaves and overhangs, high
ceilings, polished wooden floors, are essential features.
• The generous use of jalousies,sliding lowed windows, mother-of-pearl panes and
panels, ceramic balustrades,brick walls,. stone paving are other items of this
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traditional architecture.
WEEK 7

22
Spanish Era ( 16th to 19th Century )
Continuation

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Batanes (18th Century)
• The northern most frontier of the Philippine Archipelago, is the
Batanes islands inhabited by some 12,000 inhabitants called the
lvatans, an ethnic group.
• lvatan towns were laid out with a sharply angular corners at
generally 90°, streets are straight lined.
• That is how these lvatan towns were laid out 200 years ago
when the lvatans first came down from their mountain-bound
villages to live on the Littorals in more compact settlements.
• The Dominican Missionaries, Fathers Baltazar Calderon and
Bartolome Artiguez selected the places where the towns were
to be located.
• This done, ropes were used to mark out the streets and the lots
on which houses were to be built.
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The IVATAN HOUSE
• At the arrival of Western Civilization through the Dominican
Missionaries and the representatives of the Spanish
Government in 1783, the lvatans were dwelling in huts made
mostly of light and perishable materials.
• The huts were low, partly because high structures would have
been easily destroyed by typhoons, and partly because
Batanes did not have enough suitable timber nor suitable
tools for larger constructions.
• Cogon grass was the chief roofing material. To close the sides
of the hut, cogon and sticks
• were used.
• Occasionally, the walling of the house was made of stones
held precariously together by mud mixed with chopped
cogon. 25
• Once the Spanish government and the missions were
established permanently, public buildings like
churches and tribunates {town halls),and other
constructions like fortifications and bridges
necessitated stronger materials.
• Large timber from Luzon were imported,and more
advanced tools and Technology of carpentry and
masonry were introduced.
• Masons and carpenters from Cagayan, the llokos and
Pampanga were assigned to Batanes.
• Saws and other implements and tools were brought
in.
• Most importantof all cal (lime) was introduced. 26
• Lime was long known to lvatans before the coming of the
Spaniards, but its only use seems to have been as ingredient for
the preparation of mamahen (betel nut chew or buyo).
• The imported craftsmen under the direction of the missionaries
and the Spanish officials gave the native population opportunity
for apprenticeship in the new skills of lime making and the use
of recently acquired and more advanced tools.
• The result was the gradual development of what is now known
as the traditional
• IVA TAN- HOUSE made of thick (about 2 ½ ft. ) stone and lime
wall with thick thatched roof made of several layers of cogon
and held together by seasoned sticks or reeds and rattan. The
primary consideration in the making of the lvatan house is the
durability and effective resistance to the power of the strongest
typhoons.
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28
29
• An lvatan house is cool in the hot season, and warm in
the cold ·season.
• The traditional lvatan family usually owns two houses,
one contains the living room (rakuh) and the other
contains the kitchen (kusina).
• The rakuh, or parlor, shares a space with the sleeping
quarters and holds all household furnishing and
equipment that should not be exposed to smoke.
• The doors and windows of both the rakuh and kusina are
comparatively fewer and smaller than those of other rural
homes in most parts of Luzon.
• The rakuh has generally two doors and two windows, all
found on three walls, while the fourth wall is frequently
windowless and facing the direction from which storm
winds blow strongest. 30
31
• The kusina has no chimney in spite of the thick smoke that
cooking generates, because during windy days, a chimney can
suck in wind that would scatter sparks from
• the stove and thus start a fire because of the dry cogon and
sticks that make up the roof .
• There are two reasons for the separation of the two buildings:
• An lvatan kusina at cooking time is filled with smoke, there
being no chimney, and the doors & windows where there is
one-are low and small. For this reason, the inside, of a kusina
is normally sootblack soon after regular use, and everything
kept in it, farm tools, baskets, etc. quickly become dark brown
due to the cumulative effect of the smoke.
• The other reason is security in case of fire. In recent times,
fires have been very rare,but in case either of the two houses
burn, the remaining section secures the owner against
homelessness.
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Bahay na Bato . .... up to 1920's
• In the nineteenth century evolved the bahay na bate
(house of stone). a happy marriage of the basic native
form·hip-roof, elevated quarters, large windows, post
and lintel construction - and European influence -
large, specialized interior spaces,classical ornaments,
and the use of masonry.
• The churches were on one hand, simple in plan and
box-like in structure, but on the other hand, had richly
decorated facades and ornately carved altars in the
baroque and rococo styles as interpreted, or modified,
by local artisans. In this period emerged a Filipino
style, a synthesis of native and western forms.
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Bahay na Bato . . ... up to 1920's
• The bahay na bato is a structure that
meets the challenges of the Philippine
• landscape.
• It uses sawali {woven bamboo slats).
• This type of ceiling was cooler, readily
available and surer protection against
earthquakes.
• "There was no danger of boards falling on
your head when an earthquake
happened.
• The roof of the provincial houses was
made of Thatch.

34
Bahay na Bato . . ... up to 1920's
• The "bahay na bato functions well in relation to
Filipino lifestyle, customs and values" , since the
filipino has an extended family so that there are at
least two or three generations living under one roof.
• There is no sharp demarcation between adult space
and space for the chilfern in the Filipino town house.
• Basically a close knit family, the Filipino wants to
share the warmth and ·kinship of each family
member thus there is no strict line of space that
divides parents and children, old and young.
35
Bahay na Bato . . ... up to 1920's
• It is common knowledge that children can play hide-and -
seek, tug of war, etc. In the upstairs rooms including the
master's bedroom.
• " As long as the children do not create a pandemonium or
play too close to expensive furnishing.
• The Filipino house is their one big playground until they grow
up. Bedrooms were small and few (two or three at the most).
• In proportion to the number of occupants. Other rooms like
the sala or the upper floor landing can be transformed into
sleeping quarters and the Filipino will not mind the
arrangement at all.
• Many families in the provinces love to layout the mats in the
living room during hot summer nights so that they can enjoy
the breeze that comes through the open ventanilla (transom).36
Bahay na Bato . . ... up to 1920's
• House builders of any age have mined the materials from the sea, the forest,
the earth and from the farm.
• From the sea comes a variety of capiz shells for windows, oyster shells which
are ground for mortar,and blocks of coral stone for walls .
• The same material is used for most of the Spanish -type churches in the
Visayas.
• The farm yields as much building materials as the sea.
• For mortar, molasses (pulot) from sugarcane and egg white from the chicken
coop are mixed with lime for cementing purposes.
• In Vigan, the ancient builders used the sap of the Sablot Shrub to mix with
lime for cementing the old houses in town.
• The abundant supply of Philippine hardwood (narra, molave, tanguile ,
kamagong, mahogany, etc.) from the forests are used for beams, posts,
walls, and floors.
• And the good earth with its deposits of local stones, bricks and tiles from
Clay, and volcanic turf adobe stones, becomes an inexhaustible source of
building materials . . 37
Bahay na Bato . . ... up to 1920's
• Other features of the bahay na bato
that make it a uniquely Filipino
building concept include the
banguera, (dishrack) was a carry
over from the bangahan of the nipa
house, where pots are kept to drain,
slat floors in the kitchen which is
similar to the sahig (floor) of the
bahay kubo, and the fact that these
houses are built on stilts.
• Whether the posts are embedded
on the wall or exposed.

38
Bahay na Bato . . ... up to 1920's
• Another feature is the ventanilla.
• The idea of having an extra window for more ventilation is
very Filipino.
• There is also the presence of the media-aqua (awning)
popular at the turn of the century which gave double
protection from sun and rain.
• Movable walls, presence of barandillas or traceries on the wall
and use of glass and mirrors (espejo) to create illusions. of
transparency and space give the feeling that there are no real
physical boundaries in the stone house as there is none
among the family members.

39
• Facsimile of a neo renaissance residence featuring incised
carving on its second storey panels ( Dona Ysabel Alberto,Calle
Nozaleda,Intramuros,Decemeber 14,1897)

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PADIEMOS HOUSE –GAPAN NEUVA
ECIJA

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FILIPINO ARCHITECTURE
 Vigan Houses
UNESCO WORLD HERITAGE LIST  Antillan Houses
 Ivatan Houses
San Agustin, Intramuros
Miagao Church, Ilo-ilo PARTS
San Agustin, Paoay, Ilocos Norte
Sta. Monica, Ilocos Sur FIRST FLOOR:
Zaguan, for caroza
Quadra, horse stable
SPANISH HOUSES: BAHAY-NA-BATO Bodega, storeroom

evolved from the Bahay Kubo: SECOND FLOOR:

 tropical house Stairway
 steep, hip roof Caida, ante-sala from stairs
 post and lintel construction Sala, living room
 light and airy structure Comedor, dining room
 elevated living quarters Cocina, kitchen
 economy of materials Dispensa, pantry
 space flowing from one room to next Letrina or Comun, toilet
Baño, bath
Spanish, Neo-Classical, Gothic, and Azotea, open terrace
Baroque influence: Aljibe, water cistern
 grandeur and solidity Cuarto, Alcoba, Dormitorio
 ornamentation Entresuelo, vault
Balcon, balcony 42
Patio, courtyard
BAHAY NA BATO
First Floor
For caroza storage Zaguan
Horse Stable Quadra
Store room Bodega

Second Floor
Water Cistern Aljibe
Overhanging 2nd floor Volada
Food Storage Dispensa
Ante room for stairs Caida
Living room Sala
Dining room Comedor
Kitchen Cocina
Pantry Dispensa
Toilet Letrina / Comun
Bath Bano
Open terrace Azotea Room
Cuarto / Alcoba / Dormitorio
Vault Entresuelo
Balcony Balcon
Courtyard Patio 43
FILIPINO ARCHITECTURE

20th C:
MODERN

ISLAMIC

CHINESE

JAPANESE

INDIAN

FILIPINO

44
FILIPINO ARCHITECTURE

20th C:
MODERN

ISLAMIC

CHINESE

JAPANESE

INDIAN

FILIPINO
WEEK 8

46
Spanish Era ( 16th to 19th Century)
Examples of Bahay na Bato

47
EXAMPLES
• a) Late Spanish - Philippine period up to 1898 the roof ing is 45° gradient or less.
• Building materials for construction were available from the local market, but
certain items were imported from abroad. For instance, galvanized iron roofing
sheets or clay roofing tiles or glazed bathroom tiles were imported articles, Fire
bricks, limestone, hardwoods, capiz shells (tor window panes) and lumber were
available locally.

• Two-storied dwellings of wealthy Manilans often had

provisions for the garage of horse-drawn coaches quarters
for stable boys and maids, commodious salas, as well as
verandahs.
• Foundation works were simple.
• Hardwood posts usually anchored on buried stones
(piedra china ) or adobe are examples.
• Wide windows and sliding window shutter were
common; so were high ceilings, heavy door jambs and
carved doors; decorative iron grills were of typical Spanish
artistry .
48
• This latter part of the
19th century saw the
rise of the first Filipino
architects.
• Felix Roxas, trained in
England and Spain , who
designed churches
government buildings,
and upper class
residences, and Arcadia
Arellano, trained as a
maestro de obras, who
built houses that were
remarkable for their
elegance 49
ANCESTRAL HOUSES OF NEGROS
• The decades from 1860 to 1890 saw the scions of the Iloilo
merchant families furiously carving our haciendas from the
wilderness and planting them to sugarcane.
• The success in business of the hacenderos made them erect
mansions and plantation houses.
• The earliest houses had wall of plain planks held together by
slats.
• The ground floor walls usually rested on a low stone base of
coquina or coral rock.
• The roof, hipped and very steep, was always of nipa palm
shingles.

50
ANCESTRAL HOUSES OF NEGROS
• By 1870, elaborate lace like grillwork with designs as intricate as
handmade tatting began to appear, together with carved exterior paneling
• Transoms with floral and foliate scrollwork pierced to increase ventilation
made their appearance in the 1880's.
• By then, wrought iron grills were decorated with cast lead ornaments
which usually featured rosettes and fleur-de-lis.
• The influence of art nouveau crept in the 1890's and swirling vines and
flowers giddily decorated staircase balustrades.
• Opulence became the norm as fretwork arches appeared all over the salas
and comedores (living and dining rooms).
• The capiz shell windows, unique to the Philippines, were replaced by
etched glass panes imported from Germany, which gave way to colored
glass towards the turn of the century.

51
ANCESTRAL HOUSE OF NEGROS

52
53
TUAZON HOUSE, Arlegui St. Quipo
Manila • Built toward the end of the nineteenth century
is an elegant structure of wood and brick.
• Entrance to the house is through tall massive
wooden doors, whose panels are decorated
with floral carvings.
• Light comes in through wrought-iron grilles
overhead backed with glass pane.
• A brass knocker, shaped like a hand wearing a
fob watch on its wrist, summons the caretaker
from within .
• The large gate is typical of the porte cochere
built for horsedrawn carriages.
• Slabs of piedra china (once used as ballasts in
chinese junks) line the inner courtyard. 54
TUAZON HOUSE, Arlegui St. Quipo
Manila
• A long winding stairway, whose polish shines in the dim light, lead up to
the main house on the landing is a mirrored-hat-and-umbrella stand.
• To the right, the airy dining room is coaled (by the wind from the garden
below) through long rectangular swinging windows covered with opaque
glass.
• The entire breadth of the room is walled in by pierced-through decorative
sidings.
• Another steep flight of narrow step leads up to the loft, where exces loads
of accumulated memories are stored, kept in rows of trunks.
• One corner is flushed with unwanted book shelves and aparador
(wardrobe cabinets).
• Two huge brass beds of Filipino manufacture dominate the center of the
room.
• Ivory saints encased in glass-domed virinas crowd the top of one
aparador. 55
TUAZON HOUSE, Arlegui St. Quipo
Manila
• In the sitting room, two round marble-topped tables with
heavy claw supports are found.
• Overhead is a chandelier and multicolored tulip-like glass
shades lighting the outer recesses of the sala.
• Stately doors with heavy brass fittings .lead to the bedrooms
on both sides of the sitting room.
• The balustrades below the window casings are also
reinforced by sliding doors.
• Multicolored glass panes decorate the panel above the
window.
• The flooring of the house is of narra slabs 18 ½” (0.46m}
wide.
56
AQUILINO CALIXTO HOUSE (1920)
Corner of Extremadura and
Lepanto St. Manila
• This two-storey house is built without using nails:
• Its parts were pains takingly tenored and glued together ,
Section by Section.
• A latticed porch opens into the spacious airness of the living
room.
• Its ceilings are high in receding with chandeliers at the center,
and its doors tall, the partition walls are topped with delicate
wood panels perforated with floral scrolls.
• The allow light and wind to circulate around the house. A
grandfather's clock stand against one wall.
• Two corner cupboards and a mirrored sideboard holds the
family porcelains and crystals.
57
58
59
Former Mayor Zafiro Ledesma
Residence –Iloilo City

• Iloilo being the historical & cultural cradle of the Visayan

Island is known for is handwoven fabrics,historical artifacts &
antiques old churches of varying designs & old residences 60
• A classic example of turn-of –the –century
architecture
61
WEEK 9

62
Spanish Era ( 16th to 19th Century )
Examples of Catholic Churches

63
Hispanic Churches
• Most of the Catholic churches with Spanish influence are found in the
Ilocos region in the North.
• The llocos church is generally ·part of the complex that includes an atrium
and a convent.
• The transept that is a feature of the crucifixion style of churches is absent
in a majority of them.
• In general, the religious edifices are rectangu lar structures that often face
the sea.
• The worshipper enters to find himself in a single .nave that leads directly
to an altar fully visible from the entrance.
• The impression imparted is thus that of a strictly functional adifice, built
for only on purpose.
• To afford the corner a sheltered place for worhip .

64
Hispanic Churches
• Belfries may form an integral part of the church or are built as
a separate
structure.
• Materials are brick, coral or river rock, plastered over with
stucco. Some churches sport glazed tiles floors and wooden
pillars.
• The ceilings come in tin, wood or sawali and the walls are
thick enough to stand earthquakes.
• As if to attest to the fact that roofs, whether of light material
such as Nipa, or stronger and modern such as galvanized iron ,
the churches of !locos have this distinguishing feature: an
outdoor stairway is always found against the wall of the nave
and leading to the roof.
65
VIGAN CATHEDRAL ,Vigan Park
Ilocos Sur
• Massiveness characterizes the
churches in the Northern part
of the region.
• There are evident attempts to
scale heights of grandeur in
the design of the facades.
• The churches in Southern
Ilocos, and the other hand.
are smaller and show a
proportionately tighter use of
space.

66
Pan-ay Church

67
FILIPINO ARCHITECTURE
SPANISH CHURCHES
20th
C:
MODERN
Panay Church
ISLAMIC
largest bell, from 30 sacks of
CHINESE coins donated by
JAPANESE
townspeople

INDIAN

FILIPINO

68
Pan-ay Church
• This awe-inspiring monument to a past Spanish grandeur in
Pan-ay town is about 250 ft long and 80 feet wide. Its nine
feet thick walls are of coral blocks.
• The floor is of colored marble which shine in subdued tone
under two misty lights.
• The church has a five-storey belfry that shelters a huge
antique bell surrounded with eight smaller bells.
• Shrouded with many enchanting tales, the huge bell holds a
more fascinating truth: it was casted from 76 sacks of coins
believed to have been contributed by citizens of Pan-ay.
• Its mammoth size holds a staggering record. It is seven feet in
diameter and 10,400 kilograms in weight and is considered
the biggest in the Philippines, if not in Southeast Asia. (MOT-
Iloilo) 69
The Barasaoin Church-Malolos
Bulacan
• It was the seat of the
Malolos Congress that
led to the framing of the
1899 Philippine
Constitution.
• It may be recalled that
Bulacan was one of the
eight provinces that rose
up in arms against
Spanish colonial rule.
70
PAOAY CHURCH IN ILOCOS NORTE
• This church was first built in 1774, although the mission dates
from 1593.
• Its huge buttresses, with scroll design, are said to be
unmatched in the Philippines.
• There are 11 buttresses on each side, and two at the back,
each two paces thick, projecting five and a half paces from the
wall.
• These buttresses illustrate why the llocos churches have
withstood earthquakes through the ages.

71
PAOAY CHURCH IN ILOCOS NORTE

72
MANILA CATHEDRAL ,By Fernando Ocampo

73
FILIPINO ARCHITECTURE
SPANISH CHURCHES
20th
C:
MODERN
Manila Cathedral
ISLAMIC
 by Bishop Domingo
CHINESE Salazar
JAPANESE

INDIAN

FILIPINO

74
BAGUIO CATHEDRAL
Baguio City, PhUippines
• One of the landmarks that the visitor to Baguio, the 5,000 feet above-sea-
level summer capital of the Philippines , cannot escape seeing is the
Baguio Cathedral which is built on top of a hill overlooking most of the
city.
• Work on the church was started in 1920 by Fr. Flormund Carlu, CICM, and
was completed in 1935 at a total cost of P150,000.00 (the exchange rate at
the time was two pesos to one U.S.dollar).
• The tiles used were important from Europe.
• The altar and the three bells came from Belgium where most of the CICM
fathers come from.
• The woodwork and the pews are of Benguet pine.
• The stations of the cross were carved by Papaya, an illiterate lfugao
woodcarver.

75
BAGUIO CATHEDRAL
Baguio City, Philippines

76
SAN SEBASTIAN CATHEDRAL
Bacolod City Negros Occidental

• Originally a church founded by Bishop Mariano Cuartero, O.P.

Cornerstone laid 27 April 1876.
• Inaugurated 20 January 1882. Fr. Mauricio Ferrero, first parish
priest.
• Became a cathedral 23 June 1933. Repaired and improved
1936 by Msgr. Casimiro M.Lladoc, D. D.,first bishop, 1933-
1941 .
• Like most churches in the Visayan islands (central Philippines)
this church is built of stone incontrast to the churches in the
llocos provinces in Luzon island which are built mainly of
bricks.
77
SAN SEBASTIAN CATHEDRAL
Bacolod City Negros Occidental

78
DARAGA CHURCH & BELLTOWER
Daraga, AIbay. Philippines
• The location of this church on top of a small
hilt reminds one of Borobudur in Indonesia.
• Built on a new site, Daraga, not long after the
eruption of Mayon volcano in 1814 which
buried the old church in Cagsawa (the upper
portion of the belltower of the old church still
stands today) the Daraga churh is perhaps one
of the best expressions of the Filipino church
builder's interpretation of baroque
architecture. 79
DARAGA CHURCH & BELLTOWER
Daraga, AIbay. Philippines

80
DARAGA CHURCH BELL TOWER
Daraga. Albay. Philippines
• It is difficult to imagine a church built during the Spanish colonial period in the
Philippines that does not have a bell tower.
• The most impressive bell towers are separate structures although some are on top of
the church prediments (for example that of the church of San Jeronimo in Morang,
Rizal).
• The sound of a bell or several bells in belltowers has a long history of meanings.
• The bells were. rung to call the faithful to mass, the sequence of ringings meant - first
ringing was a warning which may be fifteen minutes before mass started , the second
meant mass started in five minutes and the final bell was for entering the church for
mass to start.
• There was, infact a difference in calling people to low mass or high mass.
• Bells announced weddings. baptisms, and deaths. In some places the ringing of bells
differed for the death of males, females, and children.
• In many cases in the past bells were rung to announce danger.
• Perhaps the most famous of these ringings which is depicted in many paintings is the
• oracion {angelus) when the bells are rung at the end of the day (usually at six o'clock at
81
dusk) and people stop to pray.
DARAGA CHURCH BELL TOWER
Daraga. Albay. Philippines

82
FILIPINO ARCHITECTURE
SPANISH CHURCHES
20th
C:
MODERN
Morong Church, Rizal
ISLAMIC
 Spanish Baroque style
CHINESE  by Fr. Blas dela Madre
JAPANESE

INDIAN

FILIPINO

83
MIAGAO CHURCH Miagao ,Iloilo,
•
Philippines
This church has been declared a national historical landmark by the National
Historical Institute of the Ministry of (formerly Department) of Education and
Culture of the Republic of the Philippines.
The marker of the church reads:
“Construction of this church began in 1787 while Fray Francisco M ..
Gonzales,O.S.A, was parish priest of this town and Domingo Libo-on was
gobernadorci!lo .The church was completed in 1779. It served as fortress against
Muslim rebels. In 1898, during t he revolution, the church was destroyed.
Subsequently rebuilt, it was damaged by fire in 1910. It was badly damaged by
earthquake in 1948.Restoration work began in 1960 and completed in 1962, during
the term of office of Most Rev. Dr. Jose Ma. Cuenco, D.D., Metropolitan Archbishop
of Jaro, of Msgr. Ferna.ndo s. Javillo, O.P ., Parish priest of this town and Dioscoro
Mueda,Municipal Mayor.”
• The restoration, like much of the restoration work on churches and other buildings
built during the Spanish period, has masked the original design and quality of work
and materials used . However, the mixture of medieval baroque and native Filipino
styles that characterized many of the churches built in the Philippines during 84
the
eighteenth and nineteenth centuries is unmistakable.
FILIPINO ARCHITECTURE
SPANISH CHURCHES
20th
C:
MODERN
Miagao Church, Ilo-ilo
ISLAMIC
 by Fr. Fernando
CHINESE Comporedondo
JAPANESE

INDIAN

FILIPINO

85
MIAGAO CHURCH Miagao ,Iloilo,
Philippines

86
Quiapo Church

• The first Quiapo Parish Church was constructed of

bamboo and nipa . 87
FILIPINO ARCHITECTURE
SPANISH CHURCHES
20th
C:
MODERN
Quiapo Church
ISLAMIC
restored by Juan Nakpil and
CHINESE Jose Maria Zaragosa
JAPANESE

INDIAN

FILIPINO

88
Quiapo Church

• Quiapo Church today

89
FILIPINO ARCHITECTURE
SPANISH CHURCHES
20th
C:
MODERN
Calasiao, Pangasinan
ISLAMIC
 2nd best bell tower
CHINESE  by Fr. Ramon Dalinao
JAPANESE

INDIAN

FILIPINO

90
FILIPINO ARCHITECTURE
SPANISH CHURCHES
20th
C:
MODERN
Laoag Church, Ilocos Norte
ISLAMIC
 by Fr. Joseph Ruiz
CHINESE  sinking belltower
JAPANESE

INDIAN

FILIPINO

91
FILIPINO ARCHITECTURE
SPANISH CHURCHES
20th
C:
MODERN
Las Pinas Church
ISLAMIC
 by Fr. Diego Cera
CHINESE

JAPANESE

INDIAN

FILIPINO

92
FILIPINO ARCHITECTURE
SPANISH CHURCHES
20th
C:
MODERN
Loboc, Bohol
ISLAMIC
 biggest number of murals
CHINESE on walls and ceilings
JAPANESE

INDIAN

FILIPINO

93
FILIPINO ARCHITECTURE
SPANISH CHURCHES
20th
C:
MODERN
San Agustin Church
ISLAMIC
by Fr. Juan Macias
CHINESE

JAPANESE

INDIAN

FILIPINO

94
FILIPINO ARCHITECTURE
SPANISH CHURCHES
20th
C:
MODERN
San Sebastian
ISLAMIC
one of first steel buildings
CHINESE steel from Belgium by Eiffel
JAPANESE

INDIAN

FILIPINO

95
FILIPINO ARCHITECTURE
SPANISH CHURCHES
20th
C:
MODERN
Taal Church, Batangas
ISLAMIC
by Fr. Martin Aguirre
CHINESE biggest church
JAPANESE

INDIAN

FILIPINO

96
FILIPINO ARCHITECTURE
SPANISH CHURCHES
20th
C:
MODERN
Sta. Ana Church, Manila
ISLAMIC
by Fr. Vicente Ingles
CHINESE restored by Juan Nakpil
JAPANESE

INDIAN

FILIPINO

97
FILIPINO ARCHITECTURE
SPANISH CHURCHES
20th
C:
MODERN
Sto. Nino CHURCH, Cebu
ISLAMIC
by Diego de Herrera
CHINESE

JAPANESE

INDIAN

FILIPINO

98