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CULTURAL CENTER A cultural center or cultural centre is an organization, building or complex that promotes culture and arts. Cultural centers can be neighborhood community arts organizations, private facilities, government-sponsored, or activist-run. > Conference and meeting rooms > Art gallery and exhibition space > Theatrette - performing arts space > Visual and performing artists workshop space > Café, Retail shop sales of Indigenous Australian arts and crafts > Cultural Education Programs The Cultural Center of the Philippines, Home of Filipino culture and arts
In 2002, the CCP bidded out the services for the formulation of the CCP Complex Master Development Plan. Of the ten (10) qualified local and international firms led by the Planning Resources and Operations Systems, Inc. (PROS) won the bid. Working closely with the CCP Board and Management during the past year, PROS formulated the master plan with the following objectives set by the CCP: • To develop the CCP Complex as a center for arts and culture in Asia and the centerpiece of artistic expression of the Filipino soul and spirit; • To maximize the income potentials of CCP’s real properties; • To encourage private sector participation in the development of the CCP Complex; • To promote private and public activities in the CCP Complex. In 2004, PROS completed and submitted the CCP Master Development Plan including research, studies and recommendations on the following: • Approach and Methodology • The Regional Setting of the CCP • Existing Site Conditions • Potentials and Challenges • The Master Plan • Access and Circulation Strategies • Engineering Studies • EnvironmentalManagement Plan • The Business Plan • Program of Implementation • Design Guidelines and Standards
Tanghalang Pambansa The Tanghalang Pambansa is the flagship venue and principal offices of the Center. Designed by National Artist for Architecture Leandro Locsin, its design was based and expanded on the unconstructed Philippine-American Friendship Center. TheTangahalan is a primary example of the architect's signature style known as the floating volume, a trait can be seen in structures indigenous to the Philippines such as the nipa hut. It houses three performing arts venues, one theater for film screenings, galleries, a museum and the center's library and archives. Being a work of a National Artist, the brutalist structure is qualified to be an important cultural landmark as stipulated in Republic Act No. 10066.[22] Construction began in 1966, with Alfredo Juinio serving as structural engineer and Filipino firm DM Consunji as builder. Originally called the Theater of Performing Arts, it was completed and inaugurated in 1969. Its first major renovation occurred in 2005 for the opening and closing ceremonies of the 112th General Assembly of the Inter-Parliamentary Union held in Manila. Included in the renovation were cleaning and replacement of the marble trim, installation of a new air-conditioning system and new carpeting.[21] Architecture The façade of the National Theater is dominated by a two-storey travertine block suspended 12 meters high by deep concave cantilevers on three sides. The rest of the structure is clad in concrete, textured by crushed seashells originally found on the reclamation site.[8] The building is built on a massive podium, and entry is through a vehicular ramp in front of the raised lobby and a pedestrian side entry on its northwest side. In front of the façade and below the ramp, there is an octagonal reflecting pool with fountains and underwater lights. On the main lobby, three largeCapiz-shell chandeliers hang from the third floor ceiling, each symbolizing the three main geographical divisions of the Philippines: Luzon, Visayas and Mindanao. At the orchestra entrance, a brass sculpture, The Seven Arts by Vicente Manansalawelcomes the audience into the main theater. From the pedestrian entrance, Arturo Luz's Black and White is displayed as spectators enter the little theater or ascend to the main lobby through a massive carpeted spiral staircase. Most of the interior is lit artificially, as there are few windows, most of which are located along the sides of the main lobby. Large areas on the upper floors are open to the ground floor lobby, emphasizing the large chandeliers and fluid interior spaces on northeast side of the building. Galleries and other rooms surround these open areas, occupying the space created by the huge cantilevered block. Whenever possible, the walls surrounding these rooms are used as additional venues for displaying art works. Much of the criticism of the building's architecture is directed towards its vehicular ramp. Since there are usually no valet services or parking areas directly accessible from the lobby entrance, the ramp's use is ideal only for audience members who are chauffeur-driven; at the expense of pedestrians, who may enter through the side entrance or a narrow (and potentially hazardous) pathway on the ramp.[23][24] In defense of the design, Andy Locsin (a partner of his father's firm) explained that the decision of raising the whole structure on the podium (and consequently, the addition of the ramp) was in response to the high sea levels on the reclaimed land, and was not intended to promote an elitist view of art and culture.[7] [edit]Venues
The Main Theater, named after composer Nicanor Abelardo. On the extreme right is the house curtain based on Hernando Ocampo's Genesis.
Tanghalang Aurelio Tolentino The Tanghalang Nicanor Abelardo or the Main Theater is the largest performance venue inside the Tanghalang Pambansa. It can accommodate up to 1,817 people in four levels: Orchestra, Boxes and two Balconies. The stage is 25 m (82 feet) from the main curtain line to the back wall and 38.8 m (128 feet) from the left wall to the right wall. The proscenium opening has a height of 9 meters (25 feet) and width of 18 m (58 feet). An orchestra pitmeasuring 5.6 m (18 ft (5 m). 6 in.) in depth contains two elevators that can accommodate up to 62 musicians. The stage floor, unwaxed and painted matte-black (originally not stained), is made from a species of Philippine Mahogany.[25] The main stage curtain is patterned after the painting Genesis, a work of National ArtistHernando Ocampo. A variable acoustics hall designed by Bolt, Beranek and Newman, the Main Theater was planned for flexibility. It was built to accommodate sound requirements of various types of presentations, and can typically hold opera and orchestra performances without further amplification.[26] New York Timescritic Howard Taubman praised the theater's acoustical flexibility in his review of the center's opening night, writing that the architect and his team seem to have built a venue "that will be equally congenial for drama, instrumental and vocal music and dance."[27] Inaugurated a few years after the opening of the CCP, the Tanghalang Aurelio Tolentino, commonly known as the Little Theater is a conventional proscenium stage, designed for drama, chamber music, solo recitals, lectures, and film screenings. It seats 421 people in one orchestra section. From the main curtain line to the back wall, the stage measures 13.6 m (44 feet) with a proscenium width of 13.9 m (45 ft (14 m). 8 in.) and features the same Mahogany flooring as the larger Main Theater. A covered orchestra pit extends into the apron gives additional performance space, similar to athrust stage.[28] The stage curtain is a tapestry woven
in Kyoto, Japan, based on a painting of Roberto Chabet, visual artist and former director of the CCP Museum. When unfolded, the curtain acts as a natural sound reverberation medium. The Center has a lone black box theater named Tanghalang Huseng Batute, after the pseudonym of Filipino poet José Corazón de Jesús. Depending on the size of the stage or acting area, it can seat up to 240 people in two levels. The 100-seat Tanghalang Manuel Conde, a joint project of the CCP and Dream Broadcasting, is used as a venue for film screenings and lectures; and has the capability to receive and show films directly through satellite. [edit]Exhibit halls The Tanghalang Pambansa has three exhibit halls and another three hallways that can be used for displaying artwork. The largest exhibition space is the Bulwagang Juan Luna, which serves as the Main Gallery. Located at the third floor, it has a floor area of 440 sq. m. Two smaller galleries are named after Filipino painters Fernando Amorsolo andCarlos Francisco. The latter is usually used for large scale installations and is located at the lobby of the Little Theater. Hallways lining the Main Theater on the upper three storeys are also used for display and measure 2.4m high by 30.2m wide each. These spaces are named after visual artists Victorio Edades, Guillermo Tolentino and Vicente Manansala. Established in 1988 the Museo ng Kalinangang Pilipino, also the CCP Museum, is an integrated humanities museum that studies, collects and preserves Filipino artistic traditions. It has two permanent exhbitions: one on Filipino tradition, art and aesthetics; and the other showcasing the Center's collection of traditional Asian musical instruments. The museum also presents special changing exhibitions, provides curatorial assistance, and organizes workshops on indigenous art forms. [edit]Facilities and Performance Venues [edit]Cultural Center of the Philippines Complex The CCP Complex is an 88-hectare reclaimed property along Roxas Boulevard, most of which fall under the jurisdiction of the City of Pasay. It is part of the Boulevard 2000 property that spans 1,500 hectares of reclaimed land along Manila Bay. The Cultural Center owns 62 hectares of the land, with the rest being occupied by the Government Service Insurance System, the Bangko Sentral ng Pilipinas and the Privatization Management Office. Development of the complex was stalled until 2000, when the Philippine Supreme Court ruled with finality the Center's ownership of some 35 hectares of prime real estate in the complex. A comprehensive master plan for development of the complex was unveiled in 2003. The plan would divide the CCP complex into six clusters, each of which will be anchored by a major building. First, the Promenade, which will tentatively be named after Lucresia Reyes-Urtula, will include retail and other mixed-use facilities, as well as dock facilities. The second cluster will be the Arts Sanctuary, which will serve as the complex's cultural core. To be anchored by the Tanghalang Pambansa, it will contain a new performing arts theater, the artists' center, a bandstand, the Center's Production Design Center, as well as other open areas. The third cluster, the Green Zone will contain a mix of museums, parks with commercial and office spaces. Fourth, the Creative Hub cluster, containing spaces for creative industries. Fifth,
The Arts Living Room, envisioned to be a high-density, high-rise area that will house condominiums and similar residential projects. The final cluster, the Breezeway, will be located by low-rise, low-density commercial structures with seafront entertainment facilities. Covered walkways, plazas and bicycle lanes are planned to connect the various buildings and clusters to ensure a pedestrian-centered design. The master plan is envisioned to be completed in four phases, from 2004 to 2014; ₱5 billion will be needed for the plan's first five years, and another ₱8 billion for the plan's latter half.[29] A design contest was held in 2005 to design the first two clusters. Three firms won for their concepts; Syndicated Architects, Manalang-Tayag-Ilano Architects, and JPA Buensalido Design. The concepts of each winner will then be presented to prospective investors and stakeholders for approval.[30]
Syndicated Architects
JP Buensalido Designs Manalang-Tayag-Ilano Architects
In 2011, Leandro V. Locsin Partners, Architects won the design contest for the Artists' Center and Performing Arts Theater, the two buildings that will anchor the Promenade and Arts Sanctuary Clusters respectively.[31] The proposed Artists' Center will house offices and rehearsal spaces for the CCP's resident companies, a black box theater and rooms for educational programs.[1] The winning design is akin to a traditional Badjao village or a mangrove forest, with rooms and pavilions supported by slim pilotis. The proposed Performing Arts Theater will contain a 1,000 seat conventional proscenium theater and a black box that will seat 300-500 people.[1] In contrast with the Tanghalang Pambansa'smassive travertine block, the façade of the new theater will be dominated by its main seating bowl clad in reflective material, evoking a wave rising out of the sea. [edit]Tanghalang Fransico Balagtas The Tanghalang Francisco Balagtas, more commonly known by its original name of Folk Arts Theater, is a coveredproscenium amphitheater is where popular concerts are usually staged. It has a seating capacity of 8,458 in ten sections. The building was originally built to seat an audience of 10,000 and was commissioned by then First LadyImelda Marcos in 1974 for the Miss Universe Pageant, which was to be held in Manila. The theater was built in record time of seventy-seven days in time for the pageant and was designed by Leandro V. Locsin. It has played host to many popular music concerts such as those of the 1980s Puerto Rican group Menudo, British pop group 5ive, Janet Jackson,Gary Valenciano and Jay R. The Folk Arts Theater is also used as a site by different religious groups. The Day by Day Christian Ministries, a large international religious organization, has leased the area since 2005. They have dedicated the Theatre as Bulwagan ng Panginoon (English: The Hall of the Lord). The building is expected to be torn down in the future, subject to the development of the complex. [edit]Satellite Venues
In response to the need to widen its audience for the arts and to bring its programs closer to the people, the CCP has established a programmatic partnership with the Assumption Antipolo and De La Salle Santiago-Zobel School (DLSZ) inAlabang, Muntinlupa. As CCP's Satellite Venues in the East and in the South, these institutions commit to benefit from the exchange of goodwill and assistance through move-over productions, performances and artistic training workshops. Eventually, the center hopes to establish another satellite venue in the Northern part of Metro Manila. The Angelo King Center for the Performing Arts
The façade of the Angelo King Center for the Performing Arts The Assumpta Theater, Assumption Antipolo The Assumpta Theater was constructed in 1999 and inaugurated in 2001 and is located on the campus of Assumption Antipolo. It is envisioned to be a major cultural seat in the eastern part of Metro Manila and to serve as a venue for cultural education and development not only of its students, faculty and parents but also for members of the outside communities and schools neighboring municipalities of the Rizal Province. The Assumpta Theater is home to modern light and sound equipment, 17 manual fly battens, a manual curtain system, a spacious stage area, an orchestra pit, fully air-conditioned dressing rooms, a docking area, stage wings, three-level seating arrangements, a lobby, and comfort rooms. The house area can accommodate 2,001 guests. Why are we developing our own cultural centre? “Place is a key element in our identity. Who we are is reflected in the places we occupy and the spaces we control. These places range from nation to region, state, metropolitan area, community, neighbourhood block, and residential dwelling. Each location has profound social meaning for us, and in a literal sense defines not only who we are, but also how we live and die.” We need to voice our ideas and concerns and, more importantly, to assert our own
identity. A community cultural centre can be a powerful tool in establishing our community’s voice and identity. Why build a community cultural centre now?
“The places in which we live, work, and play are fundamental resources, like time or money. The access we have to these resources dramatically affects our well-being.” 3 A community cultural centre gives us a chance to work with many members of our community and, the sooner we get started, the better we can help ourselves. Why build one in our community? Currently, there is a trend among various museums and researchers to look for greater involvement from the aboriginal population for the interpretation of native history, practices, beliefs, and material culture. In return, museums and researchers are striving to give native groups greater access to their collections and, in some cases, repatriate sacred objects to the community. Who better to tell our story than ourselves? Our community could act as the frontrunner for our history, stories, interests and values, responding to outside inquiries and, in some cases, hosting the repatriated objects in our cultural centre. We could provide more in-depth reconstruction of significant moments of our community’s past. One of the most beneficial reasons to build a centre in our community is to showcase strengths and talents through employment opportunities within our community. Why a community cultural centre? For many years, outside institutions and museums have controlled how native-made objects were purchased, sold, displayed, and valued, with little consultation with producers. “To control a museum means precisely to control the representation of a community and its highest values.” 4 In our own community cultural centre, we could determine for ourselves which ideas and objects are valued and showcased. We could collect, categorize, and display objects and programs in our native-run centre based on our community’s values and needs. What can you do with the centre? For us to have a strong and healthy community, we need many interlocking and interconnected programs and services. At a community-run cultural centre, the choices and opportunities are numerous. The most important starting point for the centre’s action plan would be discussions with friends and neighbours in our community to determine needs and interests. We can have any number of programs and services to serve the community. For example, a research centre, museum, library, meeting hall, and/or a theatre space would be useful in that we can house community social programs and benefit our community. Something else to consider is the establishment of a boutique for local artists to show and sell their work. Most importantly, our community can determine for itself what programs and services are needed to help foster a healthy community environment. What would a community cultural centre accomplish? First of all, our contacts and knowledge of our community, with its ideas and needs mixed with a desire to act, is a form of empowerment. “Neighbourhood context can promote a form of protection against risk and source of empowerment for the community to take action against the
hazards they face.” 5 Our hometowns can now develop greater social, political and ideological presence with a community-run centre. People from within and without our communities need to know about our history-past, present and future. Our cultural centre can help provide that information. One of the most significant benefits of building a cultural centre will be our ability to foster an environment with greater levels of understanding for both our community and the larger society that surrounds us. In our own cultural centre, ideas and interpretations of our people can be housed in an open and straightforward manner. What are some of our cultural centre’s advantages? We can determine what our community needs and see that we develop programs to address those needs more directly. Working towards self-help will assist in building a strong and healthy community. Of course, with a cultural centre we can create a more meaningful, dynamic and organic relationship with both our audience and community members through our outreach programs, displays and exhibitions. Our facilities can “take the visitors on a kind of mental journey, a stepping out of the present into a universe of timeless values.” Re-establishing contextual references for the ideas and objects that they meet in our centre will help to clear up misunderstandings. This is a major advantage in developing a community cultural centre.
Batangas State University College of Engineering, Architecture, Fine Arts and Computing Sciences Main Campus II, Alangilan, Batangas City
Research (ARD 204 – Architectural Design 4 Space Planning 1)
Prepared for: Instr. Weng P. Medina
Prepared by: Bicol, Meryll Mae G. (ARC – 2201)