A Thesis Presented

Defining the Filipino Cultural Identity: Filipino Avant Garde in Performing Arts

Theater

A thesis presented to the faculty of the

Department of Fine Arts and Interior Design, School of Arts and Sciences

St. Scholastica’s College, Manila

In Partial Fulfillment of the Requirements of the course

Degree of Bachelor of Science in Interior Design

By:

Joanna April De Leon Lumbad

BSID4

March 2010

Approval Sheet

The thesis attached hereto, entitled “Defining the Filipino Cultural Identity: Filipino

Avant Garde in Performing Arts Theater”, prepared and submitted in partial fulfillment

of the requirement for the degree of Bachelor of Science Major in Interior Design is

hereby accepted.

_______________________________ _______________________________

Sir Don Amorsolo Ms. Maria Victoria Liboro

Chair, Department of the Fine Arts and Thesis Writing Adviser

Interior Design

______________________________ _______________________________

Ma. Asuncion Azcuna Date

Dean, School of Arts and Science

Approval Sheet

The thesis attatched which is the “Defining the Filipino Cultural Identity: Filipino Avant

Garde in Performing Arts Theater” is submitted by Joanna April Lumbad in partial

fulfillment of the requirements for the degree of Bachelor of Science Major in Interior

Design is hereby accepted after having been presented in oral defense.

______________________________ ______________________________

Sir Don Amorsolo Ms. Evangeline Kuizon

Panel Member Panel Member

______________________________ ______________________________

Ms. Helena Sharon B. Malinis Mrs. Belen Morey

Panel Member Panel Member

______________________________

Date

Acknowledgement

The researcher acknowledges to all the people who supported and helped in the

accomplishment of this thesis project.

Thanks To:

Renato Rastrollo (Culture and Arts Officer II and Technical Services Division) who

helped the researcher to understand the importance of the performing arts theaters here in

the Philippines, for checking my floor plans every time I visit to the theater and for

answering the interview questions of this thesis.

Mark Paulino the tour guide who explained the whole history and gave the standard size

and measurements of the Cultural Center of the Philippines and showed the entire theater.

Emma Viray (Interior Designer of Philippine International Convention Center) who

explained the big role of an interior designer in designing the performing arts theater, for

checking my floor plans every time I visit to the theater and for answering the interview

questions of this thesis.

Aldino Gamba (tour guide, information teller and theater booker of the University of the

Philippines Theater) who gave a recap overview of the historical theater inside the UP

Diliman campus and he showed everything inside the U.P Theater.

Professor Defeo (Head of the University of the Philippines Theater) who showed me

some of his works and experiences when he went to four Opera Houses from abroad and

he also told me the important details and differences of every theater from other

countries.

To all of the Professors in Interior Design who also became our mentors in all of the

Interior Design subjects, I want to give my gratitude of saying “thank you very much” for

all of your teachings and your guidance from first year to fourth year.

The librarians, who allowed us to research, borrow and request for new books.

To all of my classmates, thank you for sharing wonderful moments and experiences.

To my Family Members, thank you for all the love, support, and for always being there

for me.

To Vanessa Academia and Mary Joy Lopez thank you for becoming my mentors, for

all the help in correcting my thesis grammars, for spending time to teach me, and

correcting my mistakes in drafting.

To Saint Scholastica’s College Manila thank you for all the things that I have learned.

And Last but not the least… To God, Mama Mary and the Angels thank you for

listening to my prayers and guiding me all the way.

Abstract

Charles Caleb Colton once said, “imitation is the sincerest form of flattery.” That may be

so, but to a country that is best known to have a talent for imitation of the original - may

it be styles in art, music or fashion, it would seem that this nation is easily flattered by

any influences that come its way. This dilemma can be seen in Philippine Performing

Arts Theater design styles as the Filipino struggle for identity – a manifestation probably

acquired from long periods of colonization from various colonizers.

In this study, the researcher proposes to harness the chameleon-like adaptability of

Filipinos to influences and use it to make a new form of style. Hopefully, as this new

style is formed, a longstanding appreciation to the cultural arts will develop as well. This

study also sought to answer these questions: 1) Can the Avant Garde concept marry to the

functional aspect of planning a performing arts theater and apply Filipino idea through

space?

A study of the beginnings of performing arts theatre, the history of Philippine theatre, and

articles pertaining to the Avant-garde movement were methodically searched through

public libraries and also through visiting the country’s existing theatres. Qualitative data

from interviews from various theatre experts, interior designers and also regular people

(who enjoy watching shows in theatres once in a while) are also noted, as well as pictures

and observations taken during trips to various performing art theatres.

Qualitative results show that most interviewees placed importance on the following:

functionality of theatre departments, location, seating capacity, good acoustics, and of

course style. And as history revealed that the theater’s style evident in architectural

structures adapts the

design movement to the period it was built, it is also safe to assume that the Filipino style

adapts with the progress of any foreign influences. Thus, identification to a singular

Filipino style proved to be difficult as shown in questionnaire results.

How will the Avant-garde concept help in defining the Filipino identity? For a country

that hosts a melting pot of culture, influences from ex-colonizers can never be

disregarded as they were already deeply instilled in who we are as a Filipino. Example, a

foreign movement (i.e. Rococo, Baroque, Victorian) coupled with this country’s natural

materials (e.g. narra wood) is the norm (i.e.chairs of Betis Pampanga). However, a

concept that pushes the boundaries of what’s accepted as the norm will theoretically drive

Filipino designers into thinking out of the box and thus, making a design style that is

uniquely ours.

TABLE OF CONTENTS

TITLE PAGE ……………………………………………………………………………. i

APPROVAL SHEET …………………………………………………………………… ii

JURY’S APPROVAL SHEET ………………………………………………………….. iii

ACKNOWLEDGEMENT……………………………………………………………….. iv

ABSTRACT……………………………………………………………………………… vii

TABLE OF CONTENTS…………………………………………………………………. ix

CHAPTER 1: The Problem and a Review of Related Literature

Background of the Study …………………………………………………………… 1

Review of Related Literature (Historical & Empirical - site documentation

(image boards/observations, survey/interviews) ……………………………… 6

Conceptual Framework …………………………………………………………… 15

Scope and Limitations …………………………………………………………….. 17

Importance of the Study ………………………………………………………….. 19

Definition of Terms ………………………………………………………………….. 21

Problem Statement …………………………………………………………………… 25

CHAPTER 2: Methodology

Design Concept ……………………………………………………………………… 26

Data Gathering Procedures ……………………………………………………….. 28

Hypothesis/ Comparison and Contrast ………………………………………….. 40

Design Plan ……………………………………………………………………………. 42

Design Objectives…………………………………………………………………….. 75

Design Strategy/ies.………..…………………………………………………………. 76

Big Idea…..……………………………………………………………………………… 78

Target Audience………………………………………………………………………. 79

Design Tools…………………………………………………………………………….. 80

Communication/ Media Strategies…………………………………………………….. 82

CHAPTER 4: Discussion (expounded discussions, guiding philosophies, etc.) 83

CHAPTER 5: Recommendation (Synthesis/ Evaluation) 86

References……………………………………………………………………………. 87

Appendices……………………………………………………………………………, 92

Contract………………………………………………………………………………… 95

Designer’s Profile……………………………………………………………………… 101

CHAPTER I - The Problem and Review of Related Literature

The Role of Avant Garde Concept in Defining the Filipino Cultural Identity in

Performing Arts Theaters

BACKGROUND OF THE STUDY

A theater or theatre is a structure where theatrical works or plays are performed or other

performances such as musical concerts may be given. It originated in the cultures of

primitive societies of the classical Greek and Roman Theater in 4th century BC that

evolved up to this generation.

The theater serves to define the acting and audience spaces and organize the theater space

as well as provide facilities for the performers, and the audience. The first public Opera

House invented by a group of wealthy people in the city-state of Florence was the

Theatre San Cassiano in Venice Italy opened in 1637 near the Rialto. A time when artists,

writers and architects became interested in the cultures of the past, especially the ancient

Greeks, whose sculptures, architecture, and plays still exist. The building was made of

stone owned by the Venetian Tron family. But the original theater built in 1565 was

Andrea Palladio made of wooden structure succumbed to fire in 1629 until they replace

the wood structure into a stone. The original Opera house was invented in Italy, but its

popularity quickly spread to Germany, France, England, Russia, Spain, Portugal and

other countries. The Opera Houses in the 17th and 18th centuries were often financed by

nobles, rulers and wealthy people who patronage of the arts to endorse social positions or

prestige and political ambitions. The late 17th century in Venice became the opera capital

of the world then followed by the other ten opera houses. The last performances of the

Theatre San Cassiano were held in 1807 and it was demolished in 1812, mainly due to

recurring fires. In the 19th century, the rise of Bourgeois and capitalist social forms from

the European culture moved away from its patronage system to publicity supported

system. Modern Opera Houses in the 20th century raise funds from institutional grants, a

combination of government, smaller extent, ticket sales and private donations

(Wikipedia.org 9-18-09).

Obviously, the culture of Opera Houses which is now more appropriately called

Performing Arts Theaters is western in influence that reached our country’s shore through

an invasion from our first colonizers: the Spaniards. During those 300 years of

colonization, the Spaniards exerted their culture over ours and handed out their love for

plays (like senakulo and zarzuela) to us, thus replacing the local natives’ early form of

theatre (e.g. proto-dramas and dance conducted in open area to ensure bountiful harvest,

successful hunt, prowess in battle, or the transition to the afterlife).

Beyond entertainment, the religious orders were especially aware of the potential of

theater to assist their efforts to convert the indigenous population. During the Spanish era,

various forms of play, both religious and secular, were introduced and became part of the

culture. A popular form of play is the komedya, also known as the moro-moro plays that

invariably feature battles between Christian and Muslim adversaries in medieval Europe.

As theater became a way of life for the Filipinos that time, a need for theater houses

emerged to house these plays that the colonizers and the natives both enjoyed. The

first theatre, Manila Grand Opera House, which was built during the Spanish

colonization, naturally has Spanish influences with regards to its structure, layout, and

interior design. Same goes to those theatre houses that follow after it in the same era

like the Teatro de Binondo, Teatro Circo de Bilibid, Teatro Circo de Zorilla, Teatro

de Porvenir, and Teatro Guinol Chino.

In those 300 years of their stay, it is unavoidable that even the architecture and

interior design styles would be infused to the colonized by the colonizers.

During the American Period, another style came into action. Designed in 1931 by

National Artist for Architecture, Juan Arellano, the Metropolitan Theater is a primary

example in the Art Deco style prevails during those times. Nationalists may point out

that the Art Deco style of the Met was something foreign and forced upon by

American colonizers. But Edson Cabalfin, an Architecture scholar, said the

Metropolitan (and the other Art Deco buildings) served as expressions of the Filipino

struggle for identity – one that would blend Filipino, Asian, Spanish and American

influences. “As much as Art Deco is seen as the seeming ‘infiltration of a foreign

agent in another culture, the style can also be read as the means of an ‘infiltrated’

culture adapt and responds to an outside power.” Cabalfin explained. Bellevue

Theater and Lyric Theater were also constructed this time and displayed Philippine

Art Deco design.

And of course, the Tanghalang Pambansa (otherwise known as the Cultural Center of

the Philippines Main Building), Meralco Theater, and Folk Arts Theatre that were all

built during the late 60s to early 70s, have been done in a mixture of Filipino

Contemporary and International Style Movement.

As it can be observed from the history of theatre styles and designs in the Philippines, it

can be said that the styles and designs adapts itself to the current design movement that is

prevalent in the period the theater was built whether it was consciously forced by

colonizers or not.

In a similar observation, Nicanor Tiongson, the artistic director of the Cultural Center of

the Philippines in Manila, describes Filipino performers the same way; but refutes the

common compliments that Filipino actors are so versatile they can perform in major

production all over the world. He said that instead he envied the Indonesian performers

for their strong, unbroken classical tradition: whichever new idea or movement

Indonesian performers encountered their tradition effect and assimilated it into their own

stylistic structure and ideology. Therefore, everything the Indonesians came in contact

became their own, in contrast to the adaptability of Philippine performer whose talent lay

in the unconscious imitation of the original. This very talent, according to Tiongson,

reveals the Filipino’s own lack of cultural identity. The same can be also said to Filipino

designers who have been inspired by international influences yet unconsciously imitate

the original idea.

Of course, as a melting pot of cultural influences, it’s not really bad to display these

influences especially in designs because after all, the culmination of these is what defines

us as a Filipino. However, wouldn’t it be nice to have concocted something of our own?

Through the planning/building of this performing arts theater, the researcher wants to

apply the avant-garde concept in this theater’s design by thinking experimental and out of

the box ideas in conceptualizing the design of this entertainment venue. Hopefully, in

doing so, a prouder Filipino will be able to call something as their own in the interior

design world. Innovations and latest technology should also take part during the design

process as to enhance the viewing and listening capabilities of all theatergoers. Likewise

goes for an appropriate provision of places and facilities needed for suitable venue for

training and presentations that can enhance the performers skills and study their craft.

Natural materials and resources should also be utilize or creatively done in a way none of

the mass-produce products have been done before.

Lastly, albeit the design has been given free reign to percolate; the functionality of the

theater should never be compromised. After all, a design can never last as the need for it

runs out.

REVIEW OF RELATED LITERATURE

In this review of the literature for this study, the researcher will expound further all the

information that was given in the previous chapter. It will be divided into three categories

summing up the essence of this paper: Evidences of the Problem, Theorizing Postcolonial

Avant Garde, and Making an Effective Theater.

Evidences of the Problem

To course through the problem in this paper, it is important that we know even a bit of

the history of this country. In doing so, we will be able to understand certain Filipino

behavior and patterns of foreign influences richly imbedded in the country’s culture. One

thing that should be impressed upon in this study is the fact that this country has been

colonized for more than 300 years. More importantly, while most people know that June

12, 1898 is the country’s celebrated Independence Day, it should be noted that it wasn’t

technically the date where we found independence from foreign colonizers.

Guevara, Sulpicio, ed. (2005). The Laws of the First Philippine Republic (the laws of

Malolos) 1898-1899. Ann Arbor, Michigan: University of Michigan Library.

According to The Laws of the First Philippine Republic (the laws of Malolos) 1898-1899

which were compiled & edited by Sulpicio Guevara (2005), a public reading, done on

June 12, 1898, of the Act of the Declaration of Independence, Filipino revolutionary

forces under General Emilio Aguinaldo proclaimed the sovereignty and independence of

the Philippine Islands from the

colonial rule of Spain, which had been recently defeated at the Battle of Manila Bay

during the Spanish-American War.

The declaration, however, was not recognized by the United States or Spain. The Spanish

government later ceded the Philippines to the United States in the 1898 Treaty of Paris

that ended the Spanish-American War. The United States recognized Philippine

independence on July 4, 1946 in the Treaty of Manila. July 4 was observed in the

Philippines as Independence Day until August 4, 1964 when, upon the advice of

historians and the urging of nationalists, President Diosdado Macapagal signed into law

Republic Act No. 4166 designating June 12 as the country's Independence Day.

This goes to show that it was only during 1946 – only a mere 63 years away from today –

that we truly became on our own. And yet, since it was just a few decades away

compared to more than three centuries of under a colonizer’s rule, it wasn’t so surprising

that this country has yet to get its bearing to recognize its own uniqueness separate from

the influences it has acquired.

Diamond, Catherine. (Spring: MIT Press, 1988-1996, p. 141). Quest for the Elusive

Self: The Role of Contemporary Philippine Theatre in the Formation of Cultural

Identity. TDR, Vol. 40, No. 1

Catherine Diamond (1996) expressed that “the Philippines more than any other

Asian nation seems to have been plagued with doubts about its cultural identity from both

Asian and Western perspectives” (p.141), relating to Filipino theatre performances. In

1957, when the Cultural Foundation of the Philippines planned to send a troupe of

dancers, singers, and instrumentalists on tour abroad, one member of the council

expressed fears that since Philippine performing arts were so different from those in the

rest of Asia, their identity and authenticity might be questioned by Asian audiences.

Furthermore, western spectators might feel that they weren’t being offered anything

significantly different from what they themselves produced.

Eagerly trying to separate from the colonizers rule and influences, wouldn’t the

Filipino design aesthetics come off as hodgepodge and confused? Will a rejection of all

the foreign influences that we had be a solution in defining the Filipino cultural identity?

Miyawaki, Atsuko (2004) Contemporary Colonialism - A View from the East.

Democracy: Another Tool of the Western Colonialism, Case Study #2.

Atsuko Miyawaki (2004) said in her essay called, “ Contemporary Colonialism –

A view from the East”, that Colonialism often implies "finished project" in contemporary

world where the colonized has gained illusionary freedom in the discourses of "post-

colonialism."   In fact, colonialism has never finished. It continues to exist as a cultural

phenomenon. This depressing opinion made by Miyawaki was countered by Postcolonial

architectural critic Sibel Bozdogan (2001) who, while recognizing that rejection of

foreign influences is futile, said that it would be beneficial if we accept it and then adapt

to it. She said in her proposal in reconfiguring architectural historiography. She outlines,

“The first principle is not to lose sight of the provisional nature of identity politics if it is

not to be turned into a new orthodoxy... The second principle is not to lose sight of the

absence of any necessary and/or automatic connection between the work of

art/architecture and its politics… These principles thus give us the opportunity not to

totally reject the western canon and replace it with the marginalized “others,” but rather

to demonstrate the interaction, encounters, mediation and transformation between them

(p. 208-211).

Bozdogan, Sibel. 2001. Modernism and Nation Building: Turkish Architectural

Culture in the Early Republic. Seattle and London: University of Washington Press.

Bozdogan raises a good case since after all, what makes us Filipinos unique is the

fact that we are a melting pot of cultures as compared to our geographical Asian brothers.

That we are westernized can’t be avoided, and that we were seen as lacking in “Asian-

ness” except in location can’t be helped. A mixture of these unique traits and applying it

through contemporary designs enables us to express the struggle we’re having in finding

our own identity.

As we established that we couldn’t discount centuries of foreign influences in

finding our own cultural identity, what we really need now is a vision that will move us

beyond adapting and assimilating of other cultures we come across with.

Theorizing Postcolonial Avant-garde

IAN CHILVERS. "avant-garde." A Dictionary of Twentieth-Century Art. 1999.

Retrieved January 31, 2010 from Encyclopedia.com:

http://www.encyclopedia.com/doc/1O5-avantgarde.html

Referencing encyclopedia.com (2010), avant-garde refers to people or works that

are experimental or innovative, particularly with respect to art, culture, and politics. It

represents a pushing of the boundaries of what is accepted as the norm or the status quo,

primarily in the cultural realm. The notion of the existence of the avant-garde is

considered by some to be a hallmark of modernism, as distinct from postmodernism.

Many artists have aligned themselves

Cabalfin, Edson (2003). Intersections, Representations and Exoticism:

Reconfiguring the Historiography of Philippine Art Deco Architecture” .Bulawan,

Number 8: Journal on Philippine Culture and the Arts, (Manila: National

Commission for Culture and the Arts)

Similar doubts and fear are also evident in Philippine architecture and interior

design, yet Edson Cabalfin (2004) only puts this as the effect of “intermingling and

hybridization of culture” not only between the cultures of both “colonized” and

“colonizers”, but also to other culture’s influences that the Filipino architects and

designers tried to learn and absorb.

This hybridization resulted to attempts by Filipino designers to appropriate

imagery from cultures different from the experience of the Filipinos, thus falling to

stereotyping design evident in other bodabil theaters/cinema houses. Cabalfin cited a few

examples: the Bellevue Theater, built in the 1930s, distinctively features Mudejar

elements, a mixture of Moorish, Spanish and Muslim influences as reflected in the

minarets, the harem maiden figures at the lobby, and the domical structure at the top; on

the other hand, the Lyric Theater designed by Pablo Antonio in the 30s provides a

western Asiatic and Islamic atmosphere through pointed arch windows, pilasters topped

with finials and an onion-form pediment located at the middle bay of the façade.

with the avant-garde movement and still continue to do so, tracing a history from Dada

through the Situationists to postmodern artists such as the Language poets in the 1980s.

The term also refers to the promotion of radical social reforms. Over time, avant-garde

became associated with movements concerned with "art for art's sake", focusing

primarily on expanding the frontiers of aesthetic experience, rather than with wider social

reform.

The confluence of the term “postcolonial” as a cultural discourse and condition

and “avant-garde” as an appropriation of western aesthetic position foregrounds the

postcolonial avant-garde as a key category in constructing a history of texts, institutional

practices, material conditions of aesthetic production, and views on Philippine

architecture and interior design.

Wherein Filipino contemporary design only adapts and assimilates influences,

merging symbolism of Filipino to the Western designs, this study encourages adapting,

assimilating AND thinking out of the box. And while Avant-garde movement is usually

accompanied by having a social and political edge as vehicle to its inspiration, this study

will use the dilemma of “finding the Filipino cultural identity” as its inspiration. Finding

the Filipino self includes recognizing the people and tradition pre-colonial time,

identifying materials that naturally grow in this country, and noting the foreign influences

that we accumulated over the years. Touching on phenomenon that are very current to us

might spike on an inspiration that will result in a new design altogether. Plus, taking note

and utilizing all the technological advances and design innovation will help the researcher

in her goal.

Making an Effective Theater

Designing a theater isn’t just about envisioning its style or encapsulating a particular

design movement. Functionality is also important. According to Scarbrough and

Campbell (2001), one of the first issues a designer confronts in approaching the design of

any performing arts space is the issue of form – that is, the relationship between the

audience members in their seats and the performers on stage. Issues of form are

influenced by a number of forces, including the type of performance, seating capacity,

and historical precedents. It is therefore helpful for the designer to have a basic

understanding of the different forms of relationship between audience and performer.

The researcher chose the Hanamichi- thrust stage or the T-shaped stage -

reminiscent of the Kabuki-style Theater of the Japanese (The first performance was in

1603) - that also converts into a proscenium stage when certain stage performances calls

for it. This solution came from the idea that as years progress, architectural and interior

designs has to also accommodate modern innovation in theater arts performances. There

are also technical requirements in performing art spaces that is needed to be followed:

Front of house: Lobbies, foyers, circulation, box office, restrooms and other spaces

serving the theater-going public.

House: the audience chamber

Stage: Where the action happens

Backstage or back-of-house: dressing rooms, green rooms, performer and crew

lounges, shops, storage rooms, and other support spaces for the stage, performers, and

technical crew.

The quantity, size, location, and features associated with space in each of these categories

will vary depending on the unique requirements of the companies, ensembles, producers,

or presenters that use a particular performance room. These requirements are most

directly influenced by the types of performances and seating capacity. A good lighting

plan should also follow, since as Robert Dorsey (n.d.) described, “Lighting is the

powerful key to the unlocking of a bottomless treasury of dramatic visual effects. Good

choice of color should also be considered as it functions to attract attention to the theater

and create in the theatergoer a mood of expansiveness and readiness to enjoy the show.

Soundproofing materials are also vital in a theater to provide good acoustics.

Summary

In this review of related literature, the researcher is able to explain further the problem,

her vision to the problem, and the technical aspects in making a functional performing

arts theater. That, in the hopes of defining a more definite Filipino cultural identity

through a visionary and experimental movement like the (Postcolonial) Avant-garde

style, a functional and effective theater will emerge for the Filipino of this generation

(and the next) to enjoy.

PROBLEM: Can the “Avant Garde” concept marry to the functional aspect of planning a

performing arts theater and apply Filipino idea through space?

In order to create a design based on our own idea of style is to learn how to adopt the

foreign influences since the Filipino culture is already a mixture of pre-colonial, colonial

and post colonial packed in a single identity. We cannot separate the foreign influences

since it already became part of us for so many years.

This map shows how the researcher formulated a framework on how to systematically go

on with her study. Part of the plan includes a visionary idea on the location of the

envisioned theater. Such was chosen for the high rate of people density in the area. Also

include in the map is a plan on how to make the place look attractive and functional. And

of course, in the map, it is also included that as the basic needs of a theater is followed

and technical aspects are fulfilled, the Avant Garde concept must fall into cohesive mix

within Filipino context.

SCOPE AND LIMITATION

Scope of the study includes historical background of theater in general and also the

Philippine Performing Arts Theater in particular. This study also described the problem

of the study which circulates around the idea that the Filipino cultural identity needs

defining as it is accused of being an imitation to the culture of its once colonizers.

Evident to the history of the performing arts theater in this country, its structure follows

the style/ design movement of the period on which the theater was built. A proposal of

using an Avant garde style is also included in this paper. A technical basis in building a

theater is also included in this paper as stated in the book, “Time Saver Standards for

Building Types” by Joseph De Chiara and Michael Crosbie. In this study these areas are

researched to provide guidelines to the researcher on how to make the theater functional

as well:

Lobby setup - It affects the mood of the people, because this would be the initial

scenery that the clients would face upon entering the establishment. It serves as an

important role in preparing the patron for the performance experience. A lobby space

also invites people to socialize and create a sense of arrival and anticipation

Backstage - support spaces that include the wide variety of dressing rooms and

storage spaces needed to support what happens on stage.

Audience seats - affects their focus on how they feel while watching the program.

Design factors affecting this area are color and comfortability of the seats.

V.I.P Lounge/ Green Rooms - consist of café bar, living area, and dining area

provided for the cast and crew for lounging. It is a formal space that is used by the

artist to greet the public after a performance and exclusively considered as their

private place to socialize at the backstage.

Main Theater - It is designed for performing programs of activities to watch the artists

and perform live.

In this study, the researcher is hindered by the following limitations:

Limited sources of research for Philippine Performing Arts Theater and Philippine

Avant garde – although there is a vast literature available for researches in

Performing Arts Theater in general, public libraries hold little archive for studies of

the subject in Philippine context.

The same goes with looking for researches of Avant-garde architecture and interior

design in the Philippines.

Interviewing experts (theater manager and production design) proved to be

challenging since most does not have the time and interest to participate in the

interview that the researcher conducted.

Budgetary constraint is also a problem since some theater tours are quite expensive.

IMPORTANCE OF THE STUDY

The purpose of this study is to define the voice of the Filipino identity by promoting new

styles of interior design for the performing arts theater and to show all the people the

importance of bringing up something new and fresh for an entertainment venue. In doing

so, it will help promote a culture that is inherently unique, therefore deflecting the initial

notion that our culture is just a rehash of other influences. In doing so, a prouder Filipino

might also cultivate a popular demand for watching in performing arts theatre.

The interior designs will create a new theater culture in the country through promoting

the interest of the future to the general public. Another goal of this project is to address

the need for learning different aspects of the performing arts theater in the form of

showing the history of the theater designs.

The researcher is conducting this project hoping to:

1. Adhere to proper theater layout provided by the building codes, comfort

guidelines, floor design, and the overall form of a theater space that will play a

part in seating arrangements (Time-Saver Standards for Interior Design and Space

Planning: De Chiara, et al 2001, page 1402).

2. Successfully fit the design concept for the theater with the constraint of a small-

size floor plan and a limited budget.

3. Be able to properly use the elements of design and art that would harmoniously fit

the design concept being promoted.  

4. Show different approaches that emphasize modern “Avant-Garde” design in

dressing the theatre.

5. Know more about the history of a performing arts theater having significant

information about building a theater. Generally, people see Performing Arts Theater

as the most appropriate venue for expressing musical and performing arts talents.

6. Educate and remind the Filipino society that we have a culture in performing arts

that needs to sustain up to the future generation.

7. Bring education, literature, history, as well as entertainment to the Filipino

community brought about by an exceptional and first-rate performing arts theater.

8. Allow future researchers to benefit from this research.

DEFINITION OF TERMS

Here are some definitions of terms that are used from this chapter:

Acoustics- In a room: it defines some factors that determine its character with respect to

the quality of the received sound.

Adopt- to choose as a standard or required in a course; to take and follow by choice or

assent.

Albeit- Although; even if.

Art Deco- It is a characterized geographical patterns, stylized motif often depicted by

sunburst patterns and pyramidal shapes.

Avant Garde- Means "advance guard" or "vanguard” to refer to people or works that are

experimental or innovative, particularly with respect to art, culture, and politics.

Balance- means a harmonious proportion, as in the design or arrangement of parts.

Balcony- a seating area raised entirely above the ground level in a theater.

Benefit- It means that a theatrical performance or other public entertainment to raise

money for a charitable organization or cause.

Character- Is the combination of qualities or features that distinguishes things from

another.

Concept- An idea of something formed by mentally combining all its characteristics or

particulars; a construct.

Concoct- Means to digest; to cook; to plot; to invent.

Contemporary- Modern style or designs applied within the performing arts theater.

Cultivate- Means to improve, to refine, to study.

Culminate- Means to reach the highest point.

Culture- is defined with beliefs, customs, practices and social behavior of a particular

nation or people through arts, music, literature, and intellectual activities.

Dilemma- It’s a choice of unpleasant alternatives.

Features- Something offered as a special attraction; a prominent or conspicuous part.

Functions- The kind of action or activity proper to a person, thing or institution, the

purpose for which something is designed or exists; role.

Form- Is a specific structure, condition, appearance, style, and counterpart of space.

Green Room- it’s a formal space area (V.I.P lounge area) that is used by the artist to

greet the public after a performance.

House- refers to the performance experience that is fundamentally about the relationship

between the performers and the audience.

Identity- To make prove, or considered as the same; identifying.

Ideology- The body of ideas reflecting the social needs and aspirations of an individual,

group, class, or culture.

Innovative- Is to make alterations or changes in something already established.

Illustration- The comparison or examples that explain or collaborate; picture to elucidate

or adorn text.

Norm- Is a rule; standard; type; model; average score.

Opera- consists of songs, music, action/ acting, singing, dancing, and spectacle on a live

stage.

Perspective- The art of representing objects on a plane surface as they appear to the eye.

Practicability- Is a theater designed or constructed for actual use; capable of being done,

effected, or put into practice, with the available means; feasible.

Prevalent- It means “wide-spread”.

Percolate- Is to pass through small spaces.

Proscenium stage/s- It is a stage configuration in which the viewers watch a certain play

through a rectangular opening (the proscenium arch) that resembles a picture frame it is

arrange differently compared to Arena and Open/ Thrust stage.

Rationale- The fundamental reason or reasons serving to account for something.

Revive- To bring back to life; to restore the use, currency, activity or notice (validity or

effectiveness).

Senakulo- It is a Philippine traditional process every holy week from the month of

March-April, when a person who is sinful would do the same as what Jesus Christ did

when he was crucified on the cross.

Spacious- Occupying much space of great extent area; containing much space as a house

and room.

Theater- a setting for a plays or a wide room for dramatic presentations are performed

inside the building.

Tradition- The handing down of statements, beliefs, legends, customs, information, etc.

from generation to generation, especially by practice.

Zarsuela- Is a spread to Spanish colonies and many Hispanic countries. (Has two main

forms: Baroque Zarsuela and Romantic Zarsuela).

PROBLEM STATEMENT

Mimicry and imitation might have been second nature to the Filipinos that even during

the time of American colonialism, Maj. Frank S. Bourns of the US colonial army

declares: “They are natural imitators; it is a racial characteristic.” Whether this is an

absolute truth or not, this Filipino talent for mimicry and imitation might be seen by

foreigners and fellow Asian brothers that we are a nation that is confused about their own

cultural identity. Such characteristics can be also attributed to the fact that the Philippines

have been colonized for more than 300 years and have only been truly independent for

just a mere 63 years. Thus, Filipinos may have been unconsciously imbibing the

colonizers influences and gradually adapting to it through the years. This case is seen

throughout the Philippine history of architectural and interior design, specifically in

Performing Art Theaters’ history of structural design. It can be noted that the Philippine’s

performing arts theatre structures were designed following the design movement of the

period it was built. In this study, the researcher is aiming to not only understand the true

meaning of being a Filipino, but also to help define a definite Filipino cultural identity. In

the end, the researcher also hopes to create a new design (using the Philippine Performing

Arts Theatre as a medium) that we Filipinos can truly call uniquely ours.

“Hopefully, at the end of this study, this specific question will be answered:

1. Can the “Avant Garde” concept marry to the functional aspect of planning a

performing arts theater and apply Filipino idea through space?

CHAPTER II- Methodology

DESIGN CONCEPT

The research design is finding out on how will the researcher will introduce the Avant

Garde design and apply the Filipino identity with the ideal space through the performing

Arts Theater:

The concept of avant-garde refers exclusively to marginalized artists, writers, composers

and thinkers whose work is not only opposed to mainstream commercial values, but often

has an abrasive social or political edge, to refer to people or works that are experimental

or innovative, particularly with respect to art, culture, and politics. Avant-garde

represents a pushing of the boundaries of what is accepted as the norm or the status quo,

primarily in the cultural realm. The notion of the existence of the avant-garde is

considered by some to be a hallmark of modernism, as distinct from postmodernism. For

this study, the researcher decided on finding the voice of the Filipino identity as the social

edge that this application of concept should hold on to. Also, this concept, if applied in

Philippine setting, promotes finding a way to utilize and apply this country’s natural

resources and materials (like bamboo, narra, abaca, rattan) in a new and innovative way

other than what is produced for mass consumption.

The researcher, while likewise proposing concept that is highly experimental and

encourages thinking out of the box, will still take in consideration of the past influences

in the history of Philippine’s theater designs. After all, they are part of what created the

Filipino identity.

And of course, the researcher will also take in consideration the important elements a

performing arts theater should have like having complete facilities and departments,

functional allocation of space, adequate seating capacity, and most importantly, good

acoustics. A structure built for function cannot stand with just a theme and a style after

all.

DATA GATHERING PROCEDURES

To test the validity of the study, the researcher plans to create an “Avant Garde” design

concept that will be used for this performing arts theater and present it through the use of

visual aids. A study may be conducted by the researcher to come up with a solution to of

how the implementation and construction of a performing arts theater in the Philippines

will be financially supported by the government and NGO stakeholders. Through this, the

researcher may use the results of the ocular inspection, tour, and interview of the

professionals and experts of historical performing arts theater in form of convenience

sampling. The following are the methods performed:

1) Research Design- The researcher used the method of researching the importance of

having a performing arts theatre in the Philippines through the procedure of finding the

answers that could bring the final results of the thesis studies.

1.1 Archival Data- The researcher gathers all data that are used in different forms of

literature such as books, journals, magazines, newspapers, chronicles, records of local

and foreign performing arts theaters and a trusted website. These references are used

to understand clearly the purpose needed for this project.

1.1.1 Library research:

1.1.1.1 Saint Scholastica’s College Manila: 2560 Leon Guinto St. Malate

Manila, Philippines

1.1.1.2 Cultural center of the Philippines: CCP Complex, 1300 Roxas Blvd.

Pasay City, Manila, Philippines

1.1.1.3 Central library: University of Santo Tomas, España Blvd., Manila,

Philippines

1.1.1.4 The National Library: T.M. Kalaw St. Manila, Philippines

1.1.1.5 De La Salle College of Saint Benilde: Taft Manila, Philippines

1.1.2 Other Sources of Literature

1.1.2.1 Material sources from personal collections

1.1.2.2 World Wide Websites

1.2 Site Visits- The researcher used the process of making a request letter of having

permission to the representative to make an ocular inspection of the site with a

documented approval.

1.3 Observation- The process whereby the researcher observes a certain situation,

behavioral patterns apparent in the theatre environment, and patrons’ interaction

toward the theater.

1.4 Interview- The researcher gathers data through series of questions addressed to

experts on the field who can discuss about some issues regarding the theatre. They

are the following:

Renato S. Rastrollo (Culture and Arts Officer II and Technical Services

Division)

Mark Paulino (tour guide of the Cultural Center of the Philippines)

Emma Viray (Interior Designer of Philippine International Convention Center)

Aldino Gamba (tour guide, information teller & theater booker of the U.P.

Diliman theater)

Professor Defeo (Head of the U.P. Diliman theater)

2. Research Instruments- The researcher used some tools for collecting and gathering

data needed for materials that will support the use of method to make possible for this

topic.

2.1 Photo Documentary taken from the visited sites

2.2 Hardbound books, journals, articles, and magazines

Site documentations during the site visits from July 30, 2009 - September 26, 2009

CULTURAL CENTER OF THE PHILIPPINES

BUILDING STRUCTURE OF THE CCP DURING DAY TIME AND NIGHT TIME

Exhibit Hall Exhibit Hall 2

The researcher got this from Google images

Tanghalang Nicanor Abelardo (Main Theater) Tanghalang Aurelio V. Tolentino (Little Theater)

Tanghalang Manuel Conde (Dream Theater) Dressing Room

DURING THE TOUR FROM THE MAIN THEATER

Site documentations during the site visits from July 25, 2009 – August 29, 2009

Philippine International Convention Center

Building Structure of PICC Plenary Hall

THE MAIN THEATER

RECEPTION/ LOBBY AREA

Waiting Area Main Entrance

University of the Philippines Diliman (UP Theater)

LOBBY AND EXHIBIT HALL/ ART GALLERIES

Theater Seats from UP Theater

National Library(T.M. Kalaw, Manila Philippines)During Research of Related Topics to Performing Arts Theater

EMPIRICAL: Site documentations with evidence based on the observations and

interviews of the visited sites in Manila:

Cultural Center of the Philippines

CCP is located to Roxas Boulevard Pasay City Metro Manila. The guided tour provided a

lecture on how a theater works during inspections of the theater departments and rooms.

Also provided are copies of floor plans which will aid to the study of the traffic flow in a

theater, and a souvenir source booklet. After the tour, the researcher made an interview

with Sir. Renato S. Rastrollo, who is the Culture and Arts Officer II in the Technical

Services Division of the Theater Operation Department (TOD) in CCP. In his interview,

he lectured on certain theater structures, and design principles that should be followed to

make a functional theater. He even mentioned that a color scheme will make a favorable

impact to theatergoers. Although preferring earthen colors to depict the feel of nature, Sit

Rastrollo also reminded the researcher that for technical reasons, the colors black and

white should be considered to lessen distraction for both viewers and the performers. In

connection to the Filipino culture and identity, Rastrollo said that the Filipino culture is

rich enough (“to provide a source of natural pattern as design”) and that the Philippines

have ample natural resources for materials. Its how one utilizes these culture, materials,

and creativity that will enable the Filipinos to create a design of their own, he said. Based

from the observations, so far this theater looks more presentable compared from other

theaters in Manila.

Philippine International Convention Center

PICC is also part of CCP. The researcher interviewed one of the interior designers in

PICC, Ms. Emma Viray. She discussed the history of the PICC, and the

measurement/dimensions of the theater. Ms. Emma showed the researcher their main

theater and explained how interior

designers should design a theater; that a designer should take the location, seating

capacity, good acoustics, style, materials, and budget in consideration. While having an

ocular inspection, the researcher had also observed that most of the theaters inside the

PICC are uniformly designed with almost no design motif/details. Nevertheless, they

were designed with practicality and functionality as its primary motive.

University of the Philippines Theater

The researcher made an ocular inspection inside the UP Theater and interviewed the

Head of UP Theater professor Defeo. Based from the interview, professor Defeo shared

his experience with the researcher about his visits from other countries to see Opera

Houses like Broadway, Royal Opera House, NNT Tokyo, and Grand Theatre. His relayed

experiences gave an idea to the researcher about the different design styles of these

various theaters, thus exposing her to design influences abroad.

HYPOTHESIS/ COMPARISON AND CONTRAST

The Philippines more than any other Asian nation seems to have been plagued with

doubts about its cultural identity from both Asian and Western perspectives. In the

previous chapters, it was explained how being under long periods of western colonization

took a major part in influencing the Filipino identity as manifested in arts, music, fashion

and most especially in architecture and interior design. However, even today’s

postcolonial times, we still lack a homogenized identity.

This paper discusses how the Avant-garde concept in the Philippine contemporary setting

may help define what makes up a Filipino cultural identity by pushing through the

boundaries of design norms and applying it to a dying structure called the performing arts

theater. This paper will attempt to map historical evidences of identity confusion through

the study of theater building design and subsequently prove on how avant-garde can help

define the Filipino identity and make a design uniquely our own.

Compared to the idea introduced that the Philippine-ness is a confused mix of all colonial

influences thus reflected in past and even today’s design, avant garde done in Philippine

setting will articulate aesthetic newness and innovation foregrounded within the condition

of postcoloniality or past foreign (western) influences. Possible results will create a

design that discourses in modernity, nationalism, nativism, hybridity and

“internationalism”. Contrast to following the contemporary design, avant-garde concept

roguishly veers outside the boundaries of what is currently “in” and mainstream.

Hopefully, through this study, an end result should not only be that of finding a uniquely

Filipino voice in terms of design/interior design, but to also help cultivate an appreciation

of the performing arts and the theater culture as well.

CHAPTER III – The Creative Design

DESIGN PLAN

The researcher applied the Post-Modern Avant Garde style to all of the six floors in the

Performing Arts Theater and the design plan includes:

1. 6 Floor Plans (Furniture Layout) with Floor Pattern Layout

2. 3 Rendered Perspectives- Major Areas

3. 1 Elevation- Four walls of the theater from 2nd-5th Floors

4. 6 Reflected Ceiling Plans

5. Itemized Drawings- Major Furniture

6. Construction Detailing

7. Image/ Swatch Boards

8. Scale Model- Final Exhibit (showing 2nd floor-5th floors)

First Floor of Filipino Avant Garde Performing Arts Theater

Lobby/ Reception Area

Waiting Area

Art Galleries/ Exhibit Hall

Cafeteria with Kitchen Area

Souvenir Shop

Business Office

Manager’s Office

AHU Room

Fire Exit

Female and Male Restrooms

As you will enter the Performing Arts Theater, first thing you will see is the

Reception Area designed as new style of chameleon-like which originally came from

Filipino influences that we already adopted. (A Chameleon design means it’s like

adopting the colors to its environment and blends within.) Then a Cafeteria is placed

behind the Reception Area, it provides a public eating area not just for the

theatergoers but also for everyone coming inside theater.

On the right side of the Reception Area, you will see the Art Gallery or Exhibit Hall

were paintings are the most commonly displayed art objects however, sculpture,

decorative arts, furniture, textiles, costume, drawings, pastels, watercolors, collages,

prints, books of artist’s, photographs, and installation art are also regularly shown.

The Souvenir Shop display window most likely in the malls designs because of the

Avant Garde concept. The materials that are used more on tapered glass and up lights

and down lights. The walls are more silver leaf accent design.

While the Business Office and Manager’s Office is connected area, the front desk

with window counter design before entering the Business Office. The designs are

individual modern partition to give enough privacy to their staff. The flooring used is

wall to wall carpet because of acoustic purposes (Less noise, warm feeling and

continuous pattern design).

The last room you will find is the AHU (for Air conditioner control area) just a plain

but safe stock room to provide supply of air-conditioning of all area. The ceiling

provides centralized air-con installed.

Second Floor of Filipino Avant Garde Performing Arts Theater

2nd -3rd Floor Theater

Female and Male Dressing Rooms

Backstage Area

Female (with Powder Room) and Male Restrooms

The Main Theater starts on the second floor up to the fifth floor containing all the

amenities needed for the Main Theater like: dressing rooms for the artists, costume area

available only in the theater, Music room for the opera singers/ players for the orchestra,

Dance Hall for all kinds of performers that would be for ballet/ acting/ dancing, and

technical equipment area for sound and lights also for the control of everything including

the curtains and the stage.

Third Floor of Filipino Avant Garde Performing Arts Theater

Costume Area for Men and Women

Female (with Powder Room) and Male Restrooms

3rd Floor and 4th Floor Upper-box Balcony

Starting from second to fifth floor, the flooring used outside the theater (the hallway)

would be square shaped tiles with octagon pattern at the center of each tile. Then the red

carpet was used as the flooring for the whole theater. Every floor has a cutting line which

means “the half of the theater is a continuation from another floor”, and then the “x” sign

shows that it is open below or extended to fifth floor. The material used from wall

treatment, all furniture piece, floor treatment and the ceiling designs came from

Philippine natural resources (made of: abaca, narra wood, and bamboo finishes). Avant

Garde is also applied through Interior Designs).

Fourth Floor of Filipino Avant Garde Performing Arts Theater

Music Room

Dance Studio/ Rehearsal Hall

Female (with Powder Room) and Male Restrooms

4th-5th Floor Upper-box Balconies

Same design were used from second to fifth floor but the only differences is per floor the

dressing rooms, costume area, music room, dance hall, technical booth and equipment

area are located according to technical requirements in design issues and for the people

safety that should also be taken in consideration especially in performing art spaces that

needs to be followed. The Interior designs and Architectural structures is a combination

of Pre-Colonial, Colonial and Post-Colonial Period (adaptation of foreign influences like

Spanish, American and Japanese Period) transformed into modern designs of Post-

Modern Filipino Avant-Garde theater design per floors.

Fifth Floor of Filipino Avant Garde Performing Arts Theater

Technical Booth

5th floor Balcony

Female (with Powder Room) and Male Restrooms

Equipment Area

Sound System Area

Lighting Projection Room

In this floor, every control rooms are placed on the top floor of the main theater. The

control rooms must be located on the top floor for some purpose or reason in making the

theater effective. Most of the lights and sound system attached from the ceiling to wall

acoustics and it is very important for the technical booth to see everything projecting

from below while on top.

Sixth Floor of the Filipino Avant Garde PerformingArts Theater

President’s Office

Vice President’s Office

Board Room

Main Office

2 Drawing tables for Draftsman and Layout

2 desks for Writers

2 desks for computers

Theater Library

Female and Male Restrooms

Pantry- for the Employees

On the sixth floor, the Library Area is more on American federal design. The furniture

designs are Scandinavian chairs, a Swan chair design, and the tables are Ghost glass table

by Philip Stark. The bookshelves design more on wenge finish edging and light

mahogany varnish finish that makes two tone color scheme (Complementary Color

Scheme). Design itself adora concept with a little carvings accent. For the center area

bookshelves are circular design with dark brown and wenge combination finish. The

pendant light used are circular with wrought iron wrapped shaped. The flooring used is

carpet tile with abstract design two color combination dark and light beige. The windows

are octagonal design as an Art Deco concept with a roll-up window treatment. The wall-

treatments are painted with pastel color. (The library is designed for public and private

people).

Next is the Boardroom Area design with high-end materials like the projector screen and

the window treatment is remote control mechanism for the heavy drapes curtain attached

block-out materials. The long oval table is made of tanguile wood with veneer laminated.

The chairs are high-back light upholstery material.

Finally the Main Office consists of staff, President, and Vice President’s office. Then the

concept designs are Post-modern Filipino Avant Garde table’s combination of steel and

glass. The staff office chairs are made of fiber glass, the table’s combination of wood and

stainless bar. The flooring is bamboo strips laminated flooring for the Main Office area.

While the flooring used inside the President’s and Vice President’s office are loop pile

wall to wall carpet with dainty design. The President’s table L-shaped design with back

working table that makes very important person area. The visitor’s chairs are made of

fiber glass material transparent color. The walls combination of wall paper and glass

material most likely the same as the Vice President’s

office. The small Pantry Area is the stock room (used by the staff) of food and coffee

drinking and eating area with a modular cabinet and glass door. The flooring used is

decorative tiles.

The Hallway area is clean and neat octagonal design flooring blended with white and

cream color scheme that makes continuous pattern to make it look wider and bigger.

Perspectives

Filipino Avant Garde Performing Arts Theater

Lobby/ Reception Area

Theater Library

Elevations

Materials used: wall acoustics wood cork-“Wenge”, Stage Frame-Bone Inlay: Tangile-

Pintados Ifugao (Philippine Mahogany), Curtains-Suade fabric (Blur color-remote control

mechanism), Stage-Poly Uratain Finish: Engineer Wood, Theater seats: Belvie fabric and

Catfile carpet.

Reflected Ceiling Plans

FIRST FLOOR It has geometrical patterns in the recessed ceiling areas with centralized air-conditioner,

heat detector, sprinklers, and air-ventilation in the hallway.

Lights included: pin lights, fluorescent light, chandeliers, halogen lights, and spot

lights.

SECOND FLOOR Same in the second floor up to the fifth floor, inside and outside the theater room

and the hallway has centralized air-conditioner, air-ventilation, sprinklers, and

heat detectors.

Fluorescent lights, pin-lights, and halogen lights are applied in this floor.

THIRD FLOOR Lights included: pin-lights, halogen lights, and fluorescent lights.

This floor has centralized air-conditioner, air-ventilation, heat detector and

sprinklers.

FOURTH FLOOR

Lights included: pin-lights, halogen lights, and fluorescent lights.

It also has centralized air-conditioner, air-ventilation, heat detector and sprinklers.

SIXTH FLOOR Lights included inside the theater room: (lighting instruments) strand patt, etc

source, selection, spot lights, frensel spots, and dimmers.

The theater ceiling has: floods and batten type-shape “E”, cyclorama, par lanterns,

and scene /effects projector. Has warm mesh for sound absorption.

Lights used in the hallway and rooms: fluorescent lights, pin-lights and halogen

lights.

It also has: centralized air-conditioner, air ventilation, sprinklers and heat detector.

Itemized drawings

Scale Model

Swatch Boards

Actual Furniture Design Used

FIRST FLOOR

Reception/Lobby Desk Sofa used in Art Gallery L-Shaped Sofa used in Lobby

Window Treatment Wall Treatment Floor Treatment Lights w/Ceiling Design

Reception Chair Bar Stools Chairs used inside the Cafeteria

Dining Tables used inside the Cafeteria

Business Office Visitor’s Chairs Business Office Chair

Manager’s chair and desk Souvenir Shop

Art Gallery/ Exhibit Hall

SECOND-FIFTH FLOOR Theater Lightings

Spot lights Strand Patt ETC Source Light PAR 64 WFL

Theater Seats

(Silver Color) Theater Seats Theater Seat Design

Dressing Room Music Room

Dance Hall/ Rehearsal Studio Control Area/ Equipment Room

SIXTH FLOORTheater Library

Bookshelves inside the Library

Chairs and Tables used inside the library

Main Office and Boardroom Area

President’s/ Vice President’s office Main Office Area

BoardRoom

Visitor’s Chairs

DESIGN OBJECTIVES

It is possible and effective for the theater to create new designs of Avant Garde style with

a mixture of Filipino cultural identity that will show the different kinds of influences

came from the Spanish, American and a little bit of the Japanese Period (packed in a

single identity) that we have already adopted in our culture and apply this through interior

designs.

The furniture mostly used inside the theater is post-modern Avant Garde, the designs

applied in the floor plans hasn’t done before in any Performing Arts Theaters in the

Philippines. It is uniquely fresh since there are various elements that haven’t been thought

of to be put together in design history. The designs that would be brought up to the

theater could maximize the effect of experimental and innovative designs that could

upgrade the audience participation and interaction. Avant Garde style could also be seen

not just in the choice of materials used in the furniture but in colors as well can build up

an atmosphere that attracts attention from the people creating theatergoer or inviting

mood to the people.

DESIGN STRATEGY

The researcher focused on what designs were used before during Spanish, American and

Japanese Period which it already became part of the Philippine culture, art and politics by

transforming the designs into modern style. The theme used in the theater is Avant Garde

but to make it Filipino in style, the researcher will use a mixture of different designs of

the colonizers like roman style (from Spain), art deco, art noveau (from America), and

minimalist (from Japan). It would be like eclectic but since the Filipino cultural identity

is unknown because of what happened 300 years ago during the colonization period and

we’ve been independent for 64 years only, the researcher searched that it is possible to

combine the Spanish, American Japanese style since the Filipino’s experienced to be part

of colonization rule for so long we cannot separate foreign influences from our culture it

already became part of us.

The final design applied in the theater is Post Modern-Filipino Avant Garde theme, it will

show the Spanish, American and Japanese style packed in a single identity which defines

the Filipino cultural identity that could be seen in interior designs of the theater.

Inside the building, you could see the main areas like in the first floor: Exhibit Hall/ Art

Galleries, Reception Area, and Cafeteria. These areas will provide something they would

need in order to have satisfaction, amusement, and comfortability before and after

watching inside the theater room. Same goes to the sixth floor: Theater Library, Board

Room Area, and The Main Office Rooms. The office rooms are mainly exclusive for the

employees and for the president together with the vice president. But for the library, it is

open for the public everyone can use the library for research purposes.

THE BIG IDEA

Defining the Filipino Identity: Filipino Avant Garde Performing Arts Theater is a design

concept creating a Filipino identity by thinking new ideas of designs and change it into

our own style without imitating or copying all the time like in: music, fashion, movies,

and etc. But since the Filipinos has been colonized for more than 300 year by the

Spaniards, Americans and the Japanese the Filipino identity is already a mixture of these

influences packed in a single identity would bring up different kinds of trends and styles

to design the Performing Arts Theater. But not just in style and trends, it will also

consider how to make an effective theater in spaces, accessibility, color scheme, and

lighting issues inside the theater. Designs that were used can be a national landmark

someday and instill a culture and appreciation of theater in this country.

Parameters that needed to consider while putting Avant Garde concept in Filipino design

context:

1. Recognizing the people and tradition pre-colonial time

2. Identifying materials that naturally grow in this country

3. Noting the foreign influences that we accumulated over the years is also part of

our own self.

TARGET AUDIENCE

To promote the Filipino Post-Modern Avant Garde Concept of the Performing Arts

Theater to the people and take considerations of the past influences that already became

the Filipino identity by showing the new innovative and experimental designs of the

theater. Filipino style adapts as foreign influences progress or change. This is a result

incurred by being colonized for so long and through adaptation it can be seen as

“hybridization” of culture.

People who would benefit the theater are the theatergoers and by creating an ambiance

that would look different and unique which gives a positive energy to encourage more

people to come.

DESIGN TOOLS

The researcher used some of these materials for finishing the Floor Plans, Reflected

Ceiling Plans, Perspectives, Elevations, Itemized Drawings, and Swatch Boards:

1. 0.2 Tech. Pen (Staedtler)- It is used for the furniture, accessories, lightings and

flooring.

2. 0.4 Tech. Pen (Staedtler)- - This was used for lining the walls and some of the

architectural structures in the elevations, ceiling, and floor plans.

3. 0.6 Tech. Pen (Staedtler)- - The 0.6 is for shading the walls, lining the boarders of

the 20x30 tracing papers and for writing the names.

4. Felt tip (Uni-Pin)- It is for making an outlines for the perspectives, it can also be

erased easily if the researcher commit a mistake in making the 3 perspectives.

(water proof).

5. Tracing papers (Best Buy)- To draft all of the elevations, perspectives, itemized

drawings, ceiling and floor plans.

6. Drafting table- Used for placing all of the plans and to start drafting all of the

requirements needed for this project.

7. 1:100 m Furniture template (Rotring)- To use it for scratch using mechanical

pencils and finalizing all of the plans by using ink pens.

8. Circular Templates (Rotring)- Used for the lights, curved accessories and etc.

9. T-square (Rotring)- For guiding and to make sure that everything is aligned.

10. 60 and 30 degree Triangles- To make the right angles.

11. Metric Scale (Rotring)- It is used for measuring every detailed drawings of

1:100m interiors, walls, windows, doors and spaces.

12. Tape Measure- To measure the actual size of real furniture, ceiling, floors and

etc.

13. Markers/ Water Color pencils (Faber Castle)- It used for coloring the

perspectives.

COMMUNICATION/ MEDIA PLANS (STRATEGIES)

The researcher presents all of the finished works of Filipino Post-Modern Avant Garde

Performing Arts Theater through:

1) Power point Presentation

-Summarized recap of the history presented last December 2009 on Mock

Defense

-Solutions on making the theater effective

-Discussions

2) Image/ Swatch Boards

-Samples used for designing the theater

3) Scale Model- on the exhibit event

-Presentation of exhibit will be held at Mall of Asia south wing

CHAPTER IV- DISCUSSION (expounded discussions, guiding philosophies, etc.)

History of Architecture and Interior Design

Post-modernism is applied in designing the theater which means by combining Spanish

and American style through accessories and designs. Art Deco is characterized by

straight lines, right angles, geometric and stylized patterns. It can be seen through the

windows and floor designs.

Furniture Design

Most of the Furniture used came from the Twentieth Century furniture designs like: De

Stijl- Geritt Reitveld “zigzag chairs” was used in the library and cafeteria, Scandinavian

Designer- Arne Jacobsen “egg chair” was used inside the office rooms, American

Designers- Charles Eames “calf skin laminated plywood chairs” was used for waiting

areas inside the office rooms, Verner Panton- “panton chair” was also used inside the

library, and Philipp Stark- “ghost table”. This furniture designs mostly came from the

influences of the American Period.

Color Theory

Earth tones are applied from exterior and interior wall treatment. This colors combining

light and dark combination with a mixture of white and dark brown is something that

creates a nature type of “Filipino-ness” which makes modernity, and it give a positive

out-look in bringing up the Avant Garde style into the theater. With this color it will

create something that would look more spacious, interesting, and fresh in the eyes of the

people coming inside the theater. The color will create minimalism inside the theater that

will show continuity and makes the room look bigger (“Minimalist” originally came from

influences of the Japanese colonizers).

Materials of Decor

Considerations in selecting materials used for the main theater room:

The Carpet will create beauty or aesthetic in relation to a tremendous choice of color,

texture and design, applying sound absorption to prevent acoustical floor covering

lessening airborne and impact noise, lastly by making the carpet comfortable for

reduction of floor fatigue. The theater carpet construction for the main theater room used

is cut-pile and it has a sculptured textures combination of carving and multi-level

embossing. The velvet texture of carpet will make it more elegant and luxurious look.

The Wall Coverings gives a feeling of extraordinary because if it’s texture and design.

The materials used for the theater room is more on natural materials like cork and moiré

finish similar with water silk or taffeta silk equivalent look of Avant Garde concept.

The Ceiling Treatment are raised with acoustic function, lights are more on task lights,

strand patt, etc source, selection, spot lights, frensel spots and direct lighting with

dimmers.

The theater seats used soft fully upholstered materials fabric are hand woven material

combination of molded metal frame and floor mounted.

Heavy drapes used for theater curtains, designs are balloon shades with remote control

mechanism. And the second layer drapes are French pleats designs that draw side by side.

Fabrics are velvet materials with lining sophisticated appearance.

CHAPTER V – Recommendation (Synthesis/ Evaluation)

This is a recommendation for the people who would benefit this study:

Through understanding our culture is a way to preserve historically and show educational

aspects of the Filipino designs in every art form. Therefore in this thesis project, the

researcher will recommend this study for the people who will benefit this Post-Modern

Filipino Avant Garde Theater especially for the students who will be reading this in the

future. It will help them learn and understand how different ideas could be possible to

bring up everything that will make the theater effective.

The researcher studied the ancient theaters and historical Opera Houses from other

countries to compare the differences between the theaters from western countries, Asian

countries and the Performing Arts Theaters here in the Philippines. Then through

discoveries of Avant Garde plus Post-Modernism is something different that hasn’t used

in any other theaters in the Philippines. By finding ways and solution in making the

theater lively according to the interview questions that answered the papers from CCP,

PICC, and UP Theater seems that most of the Performing Arts Theaters are already dying

all because most of the people prefer to watch in the cinema for movies rather than

watching a cultural live performance. The researcher explored latest trends and styles on

how to design a theater with a combination of Spanish, American and Japanese

influences that are packed in a single identity and create a futuristic theater to introduce

here in the Philippines that will attract and encourage the people to come.

REFERENCES

I. Books

De Chiara, Joseph and Crosby, Micheal. (January 1992, p. 713) published by Hill,

McGraw: Time-Saver Standards for Building Types. New York Society of Architects,

Book list (April 9, 2001)

De Chiara, Joseph; Panero, Julius and Zelnik, Martin (1992) published by Hill, McGraw:

Time-Saver Standards for Interior Design and Space Planning. New York American

Reference Book Annual, 1992 (June 13, 2001).

Dorsey, Robert T: Engineering Division, Lamp Department, General Electric Company

and Cook, Richard K: Chief, Sound Section, National Bureau of Standards (USA,

General Electric Company, 1973): Theater Catalogue Book. (No specific date and author,

publisher and place published).

J.G Ferguson Encyclopedic Edition publishing company; Editor in Chief: Landau, Sidney

I. (1982-1988). Webster Illustrated Contemporary Dictionary. Chicago Illinois.

Lexicon Publications (1992). Lexicon Universal Encyclopedia, Inc., New York.

Garber, Robert C Professional Trade Publishing Wiley, John & Sons. Inc. (Theater

Design Criteria, Theater Sightlines and Auditorium Seating by Frank, Peter H. and

Beuchat; Architects; Philadelphia, Pennsylvania), (Stage Lighting Systems by Dachs,

Joshua; Fisher, Jules Associates Inc., Theater Consultants; New York). Architectural

Graphic Standards (APA and John Wiley and Sons Team for New Reference Book).

Steele, James (1996): Theater Builders Book. Academy editions.

Yanagisawa, Takahiko (1995): Theaters and Halls (New concepts in architecture and

designs) . Representative, and TAK Associated Architects Inc. Meisei publications.

Kliment, Stephen: Series Founder and Editor (Ibid. 2006, p.720): Building Type Basic

for Performing Arts Theater. Hugh Hardy Collabotation Architecture.

Theater Operations Department (2005): Cultural Center of the Philippines Source Book

by T.O.D-CCP Roxas Boulevard Metro Manila, Philippines.

UP Diliman Landmarks (2000): Sites and Symbols, by Office of the Chancellor, UP

Theater.

Baroque Period Louis XIV, 1643-1700: The Historical Environment

Mehrabia, Albert (1976): Public Spaces and Private Spaces- The Psychology of Work,

Play, and Living Environments, USA

Rodell, Paul A. (Connecticut: Greenwood Press 2002, p. 149): Culture and Customs of

the Philippines.

Nguyen, Viet Thanh (New York: Oxford University Press Inc 2002, p. 132). “Race and

Resistance: Literature & Politics in Asian America”.

II. Electronic Sources

Opera House. Wikipedia, The Free Encyclopedia from

http://en.wikipedia.org/wiki/Opera_House

Defunct Theater and Movie Houses in the Philippines from (http://en.wikipilipinas.org)

History of Opera from http://www.historyworld.net/wrldhis/PlainTextHistories.asp?

historyid=ab36

DICTIONARY ONLINE from http;//dictionary.referrence.com

Teatro San Cassiano from Wikipedia, The Free Encyclopedia:

http://en.wikipedia.org/wiki/Teatro_San_Cassiano

Manila Grand Opera House from Wikipedia, The Free Encyclopedia:

http://en.wikipedia.org/wiki/Manila_Grand_Opera_House

Cultural Center of the Philippines from Wikipedia, The Free Encyclopedia:

http://en.wikipedia.org/wiki/Cultural_Center_of_the_Philippines

Guidelines on writing a research proposal from

http://www2.hawaii.edu/~matt/proposal.html

Theater (structure) from Wikipedia, the free encyclopedia:

http://en.wikipedia.org/wiki/Theater_%28structure%29

Theatre from Wikipedia, the free encyclopedia: http://en.wikipedia.org/wiki/Theatre

Philippine International Convention Center from

(http://en.wikipedia.org/wiki/Philippine_International_Convention_Center)

Avant Garde from Wikipedia, the free encyclopedia from

http://en.wikipedia.org/wiki/Avant-garde

Ayazuki Miyawaki, “Contemporary Colonialism - A View from the East” Democracy:

Another Tool of Western Colonialism from

(http://www.hemisphericinstitute.org/cuaderno/politicalperformance2004/

colonialism/atsuko.html)

Cabalfin, Edson. Intersections, Representations & Exoticism: National Commission for

Culture and Arts 2004 March 01 (http://www.ncca.gov.ph/about-culture-and-arts)

III. Articles

Diamond, Catherine. (Spring: MIT Press, 1988-1996, p. 141) from Quest for the Elusive

Self: The Role of Contemporary Philippine Theatre in the Formation of Cultural Identity.

TDR, Vol. 40, No. 1

Santos, Tina. (August 15-16 2008), Philippine Daily Inquirer newspaper. (One

Historical… Hysterical Landmark) The Manila Grand Opera House is the stage for a new

hotel.

Pakendorff J, Lindgren M. (On-line Thesis Article: Performing Arts Theater) Database:

Emerald

Management Review: PERFORMING ARTS AND THE ART OF PERFORMING ON

CO-

CONSTRUCTION OF PROJECT WORK AND PROFESSIONAL IDENTITIES IN

THEATERS

Journal: International Journal of Project Management (UK);

http: // www.emeraldinsight.com/Insight/viewContentItem.do;jsessionid=4C17

JOANNA APRIL LUMBAD#40 Geneva Street B.F. HomesPhase 3, corner Dallas Parañaque Metro Manila825-0524; (0906) 574-4267lumbad2010@gmail.com

OBJECTIVE              To work on a business company related to Interior Design and obtain a position where I can demonstrate and develop my skills in design.

 EDUCATION             

 2006 – 2010                  ST. SCHOLASTICA’S COLLEGE MANILA Bachelor of Science degree in Interior Design, March 2010

2002-2006                        ST. PAUL COLLEGE PARAÑAQUE    High School Diploma, March 2006  

WORK EXPERIENCE

April- August 2008 PRACTICUM TRAINEE, SVA HOME & OFFICE FURNITURE

Work as assistant to senior interior designer, acquired the knowledge of drafting, attendance to the clients, purchasing materials and supervising quality furniture (production dept.)

 April – May 2009 PRACTICUM TRAINEE, ASSAN MUIGEL ARCHITECTS

Going to the job site, practicing Intericad, drafting floor plans and perspectives.

EXTRA-CURRICULAR ACTIVITIES

2007 – 2010 MEMBER, PIID-SAB

Philippine Institute of Interior Designers, Student Auxiliary BodyBrainstorming how to arrange and fix the interior booths, and practicing how to draw free hand perspectives.

2006 – 2010 MEMBER, ARTSOCParticipating with the team building and joining the acquaintance party of the art society.

SEMINARS ATTENDED

February 2009 CAREER ORIENTATIONCareer and Placement Office, St. Scholastica’s College Manila

January 2009 INTERICAD 6000FAID Department, St. Scholastica’s College Manila

September 2008 BOYSEN PAINTSBrgy. Hugo Perez, Trece Martires City, Cavite 4109.

November 2007 URATEXKm. 23 East Service Road, South Superhighway, Muntinlupa City

THIRD PIID-SAB CONGRESSPRISM: “Design Spectrum of Light, Color and

Culture”RL Interior Depot, HK Sunplaza, Macapagal Avenue, Pasay City

August 2007 INTERICAD FAID Department, St. Scholastica’s College Manila

March 2007 SECOND PIID-SAB CONGRESS“Acoustics Analysis, LED Lighting and Rendering”University Hotel, UP Diliman, Quezon City

RESEARCH PAPERS PREPARED

                    March 2009 - February 2010 DEFINING ТHE FILIPINO IDENТIТY: FILIPINO

AVANТ GARDE IN PERFORMING ARTS THEATER Thesis research (Method of Research in Interior Design) and Interior Design 7-8 studied the performing arts theater in its eloquent design for modern style, modern day performing arts theater in its stimulating qualities.

 

EXHIBITS HELD

February 2009 SIT&FLAIRFurniture Exhibit inspired by the ever changing

fashion trends.MC Home Depot Fort Bonifacio Global City Taguig

COMPETITIONS JOINED

January 2008 WILCON BUILDERS COMPETITIONInterior Design Creativity in the 21st Century90 E. Rodriguez Jr. Ave., Ugong Norte Libis, Q.C.

PERSONAL BACKGROUND 

Born on April 1, 1989 in Mandaluyong City. Knowledgeable in computer background (AutoCAD). Better in manual perspective & drafting, hardworking and fashion oriented.

 REFERENCES Available upon request.

Date:To:Attention:Quantity No: 09-

The JODI INTERIORS proposes the articles described and specified herein below to the above mention clients who accepted bided to the specifications of the materials with terms and conditions herein offered:

Qty: ITEM DESCRIPTION: U/PRICE AMOUNTNote: VA T exclusiveDelivery: thirty (30) to forty five (45) working days upon receipt payment & P.O.Terms: fifty percent (50%) down payment balance upon final inspection.Conditions:

1) Goods will remain the property of JODi INTERIORS until the total payment of invoice.2) Cancellation of the order for customized or made to order will not be accepted.3) Any claim or not contestation must be communicated in writing within 7 days from

receipt orders.4) Any modification in designs and specifications automatically extend the delivery.5) JODI INTERIORS shall not be liable for any loss or damage of the items ordered that

have been turned over to the owner or his representative project manager.

Should not meet with your approval, please indicate your acceptance by signing and returning to us one copy, which will serve as our contact with you.

Very truly yours,

Ms. Dina Lazam and Joanna April LumbadProprietor

Approved and accepted:By:_____________________Date: ___________________

Date:To:Attention:Quantity No: 09-

The JODI INTERIORS proposes the articles described and specified herein below to the above mention clients who accepted bided to the specifications of the materials with terms and conditions herein offered: Qty: ITEM DESCRIPTION: U/PRICE AMOUNT

OPTION 1:1 unit- CONFERENCE TABLE- size: 1mx2m

23,000.00 P23,000.00x.740mm Ht. laminated top, same specs as existing conference table.

OPTION 2:1 unit CONFERENCE TABLE- size: 1mx4mx 85,000.00

P85,000.00.740mm Ht. ¾ thk glass top, wooden base in solid tanguile & Narra ply wood combination in lacquer varnih finish & ½ diameter pipe in epoxy black finish.

Note: VA T exclusiveDelivery: thirty (30) to forty five (45) working days upon receipt payment & P.O.Terms: fifty percent (50%) down payment balance upon final inspection.Conditions:

1) Goods will remain the property of JODi INTERIORS until the total payment of invoice.2) Cancellation of the order for customized or made to order will not be accepted.3) Any claim or not contestation must be communicated in writing within 7 days from

receipt orders.4) Any modification in designs and specifications automatically extend the delivery.5) JODI INTERIORS shall not be liable for any loss or damage of the items ordered that

have been turned over to the owner or his representative project manager.

Should not meet with your approval, please indicate your acceptance by signing and returning to us one copy, which will serve as our contact with you.

Very truly yours,

Ms. Dina Lazam and Joanna April LumbadProprietor

Approved and accepted:By:_____________________Date: ___________________/mrc

JODI INTERIORS INCOME STATEMENT

For the month ending (Aug.31 2008 and Oct. 31 2009)

REVENUE 2008 2009Sales revenue(Less sales return and allowances)Service revenueInterest revenueOther revenue

Total revenues 180,000.00 157,000.00

EXPENSES AdvertisingBad debtCommissionsCost of goods soldDepreciationEmployee benefitsFurniture & equipmentsInsuranceInterest expense Maintenance & repairsOffice suppliesPayroll taxesRentResearch & developmentSalaries & wagesSoftwareTravelUtilitiesWeb hosting & domains

110,000.00 95,000.00

70,000.00 62,000.00

1,000.00 1,000.00

65,000.00 63,000.00

10,000.00

4,200.00 5,200.00

55,000.00 55,000.00

17,460.00

Others

Total expenses P142,660.00 p134,200.00

Net income before taxesIncome tax expense

Income from continuing operations 22,404.0014,880.00

Below-the-line items

Income from discontinues operations

Effect of accounting changesExtraordinary items

Net income 22,404.00 14,880.00

DESIGNER’S PROFILE

April, giving a chance to know her she has a very deep personality, simple, hardworking,

creative, and has a good potential to be a good interior designer. After four years in

college being an interior design student, she never missed any single moment of doing

creative design to her studies. She loves new innovation, new trends in today’s design.

April is someone proven to herself that she has an “IT” to become a good designer and

good stylist when it comes to art. In her stayed in design course paying tribute to great

artist personal inspiration and creative affiances.

37,340.00 24,800.0014,936.00 9,920.00

After all she discovers that she has a lot of interest of cultivating her knowledge being an

interior designer, because her personality is fashionable and good student. The best thing

about her she is God fearing person never leaved bitterness to her heart being a good

designer her determination, in work makes her unique and sensible designer.

That’s “Joanna April “you can rely on her ability in her interior design with out second

thought.