I.Introduction

There are two opposite, conflicting forces found in every action. They symbolize the two polar energies that, by their fluctuation and interaction, are responsible for the dynamic universe. This notion means that reality consists of relationships between two opposite principles, upon the balance of which harmony results. However, it is also a fundamental principle that we cannot have one force is needed in order to induce the other; and it is by the interaction of these opposing forces that the dynamism of the world is produced.

STUDY RATIONALE

Ancient Malayan origins provide the stock for the Philippines' rich culture. Chinese and Arabian influences, along with three hundred years of Spanish dominance and fifty years of American imperialism contribute body to the mixture.

Philippine culture has always been a unique blend of East and West. The culture of the Philippines naturally being at polar opposites, this bipolarity is also manifested in architecture. In the post-war era, there was a significant shift to develop a modern Philippine architecture.

To date, studies and research on Philippine architecture have been limited to the study of social factors (function), constructional data (technics), decorative characteristics (plastic and pictorial elements). These contributions are unquestionably highly useful, but they are ineffectual in communicating the holistic value of architecture.

OBJECTIVES OF THE STUDY

The first part of the study seeks to define why polarity is a concept that relates closely to the development of Philippine architecture. Therefore, we shall describe how Philippine architecture developed into a natural mix of eastern and western principles and how this subsequently affected the development of the architecture of Leandro V. Locsin.

The main objective of this study is to explore the concept of bipolarity as a recurring characteristic in the architecture of Locsin through a thorough formal analysis of the forms and spaces of his buildings. We want to find out which bipolar characteristics best exemplify his work and how their manifestations in his designs have evolved over time. Through this we may be able to define the design development of his architectural style.

METHODOLOGY

In the first part of the study, the author made a wide sweep of the literature on architecture in the Philippines and on Locsin in order to determine the starting point of the research. The research on Folk architecture imparted that forms were borne from adaptation to the natural environment (Perez, Encarnacion and Dacanay 1989). And in most of the literature on Spanish colonial architecture, there was a constant emphasis on a blending of east and west (Zialcita and Tinio 1980, Alarcon 1998, Javellana 1997). The literature on American culture show the introduction of new values and ideas (Alcazaren 2000; Perez III 1994). The previous monograph on Locsin (Polites 1977) proved highly informative as to initial data on Locsin's works, as did the writings of Locsin on Philippine architecture (1964, 1966). The comments of Klassen (1986) on the need to further define the concept of bipolarity in the works of Locsin provided the basis for this research.

The research was supplemented by readings into visual perception (Arnheim 1969 and 1977, Giedion 1967, Norberg-Schulz 1966, Frankl 1962), art (Sedlmayr 1957, Wofflin 1950) and architectural theory (Venturi 1977, Zevi 1957 and 1978, Pelli 1999, Tafuri 1980). Review of literature on architectural analysis (Unwin 1997, Bachelard 1958, Evans 2000, Clark and Pause 2005) and semiotics (Preziosi 1978, Barthes 1968) were also done.

Also accomplished were extensive data-gathering trips to the Philippines. A total of seventy projects (Table 1) of Locsin were analyzed in this study, fifty-three of which, the author has been able to personally visit. Also included were interviews with Locsin's son, Leandro Jr., as well as with several of the partners at his firm, Leandro V. Locsin and Partners (LVLP).

In the analysis of the built works, the author was particularly interested in finding examples of polarity in both in the exterior and in the interior. Each manifestation of polarity was noted down, classified and analyzed to determine how the concept of polarity is architecturally manifested. From this analysis, we were able to ascertain how the design development of polarity evolved.

II.Development of architecture in the Philippines

Pre-Spanish constructions, like those prevalent in Southeast Asia were mainly wooden and built above the ground. The Spanish introduced building with stone, however, constant earthquakes prevented the practice of building wholly in stone. Thus, a hybrid dwelling was produced: roof trusses and floors were held up by wooden posts and together they formed a giant frame that shuddered freely during tremors, while stone was only used as a covering on the ground floor.

Whereas the Spanish mainly built fortifications and churches, the Americans set up basic infrastructure, and provided public facilities such as hospitals, schoolhouses, and town halls. Manila was laid out according to the Burnham plan and through the designs of Parsons, buildings of Neo-Classical and Revivalist styles, and later Art Nouveau and Art Deco styles abound. The Americans also set up training schools and introduced modern building techniques in the Philippines.

During World War II, there were no building projects to speak of and in the years following the war, architects were simply focused on rebuilding the ravaged cities. On July 4, 1946, the Philippines was declared an independent republic. It was at this time that questions of nationalism and of national identity arose. Perhaps it was the shock of newfound independence that prompted these soul-searching themes.

III.Leandro Locsin: the emergence of modern Philippine architecture

In a discussion about contemporary architecture in the Philippines, Leandro Locsin figures as one of the most significant movers. The sheer volume of his built work surpasses that of any other practicing architect in the country. However, it is not only the number of projects that he has built that has allowed him to carve a significant niche for himself, but the significance of these projects to the development of urbanization and of contemporary architecture in the Philippines. Locsin's architecture has been attributed to having a distinct Filipino character (Zobel 1977, Zialcita 1989, Rouda 1995), and his studies in Philippine archaeology, history, folk architecture, music and Philippine modern art all combine to produce a continuous striving, unconsciously and consciously, for an architecture which is truly Filipino.

IV.Polarity in the works of Leandro V. Locsin

Polarity is manifested in the works of Locsin in the following ways:

1.FLOATING EFFECT (Figure 1)

The floating quality pertains to the idea of buoyancy and gravity. The analysis of Buoyant Mass (apparent mass of the suspended object) shows that we may divide the samples into two basic groups: singular floating masses and multiple floating planes. Both are rectangular in nature although those of the former are more massive than the latter. Also, the analysis of the samples by Buoyant Force (strength and quality of the supports of the buoyant mass) yielded three classifications of the forces applied to the buoyant masses. The first is upright vertical support, which mostly caters to multiple floating planes and is used to impart even, distributed support. Next are the slanted forces, which seem to be precursors of the final classification, curved forces. Slanted and curved forces are usually employed in singular floating masses.

2.GROUNDED FLIGHT (Figure 2)

Grounding relates to the anchoring pull of gravity to the ground, and Flight denotes movement and a detachment from the ground plane. In order to analyze the quality of Grounded Flight, we took into consideration the qualities of the Anchored Mass and the Anchor Supports. Unlike the buoyant masses of the Floating quality, anchored masses generally are not rectangular blocks. They are characterized by their connection to the ground, unlike the buoyant masses that are completely separated by the area of displacement composed of their supports. In the matter of anchor supports, we see an evolution from slanted supports to footed bases. These footed bases articulate the separation of the anchored mass from the ground and prevent the vertical movement from seeming to continue beyond the ground plane.

3.ENCLOSED OPENNESS (Figure 3)

This pertains to the quality of Locsin's work that involves the multiple enclosures around a central core. Though visibly open, the core space is enclosed by several levels of permeable residual space that impedes the direct access of the core space. These permeable residual spaces surround the core space with different levels of tangible or implied barriers. For example, in the Church of the Holy Sacrifice, there are concentric layers that surround the altar and provide different levels of interaction. Though from within, the space seems very open, light and airy, however by the approach from the exterior into the chapel, one may feel the different levels of enclosure that surrounds the core space. Thus the space is layered; the residual spaces enclose the core space within several layers of space.

4.ALTERNATION OF OPPOSITE SPATIAL CHARACTERS (Figure 4)

The alternation of opposite spatial character is evident in how larger dominant spaces and narrow residual spaces alternate in Locsin's work. There is a visible pattern of separation and re-integration in the passage from residual space to the dominant spaces. One enters a building through a low, cantilevered canopy that seems to propel movement into the inner space, upon entering one is greeted by the wide open expanse of the lobby, however, to get to the other dominant spaces, one has to pass through narrow residual spaces. Often, there are no tangible barriers that segregate one dominant space from another, but because residual spaces are scaled to the human height, they seem to induce a separation from the dominant spaces. The dominant spaces in turn, usually allow for easy integration because of their high ceiling height. In some cases, the ceiling plane of the dominant space is curved at the sides and visually defines its edges.

V.Conclusion

We have used the concept of bipolarity as a starting point for our inquiry, as it abstractly represents the dilemma of the Filipino, caught as he is between two very different worlds. In our analysis of Locsin's architecture, we have found an incorporation of bipolar elements in both exterior form and interior space.

One underlying theme apparent in the bipolar qualities of both form and space of Locsin is an inclination towards detachment leading towards later reintegration.

In the manifestations of bipolarity in the exterior form, there seems to be an underlying connection between the floating quality and grounded flight. If we follow the progression of the floating quality from upward vertical forces towards slanted and then finally to the curved forces in the support of the buoyant mass, we may situate the Theater of Performing Arts at the pinnacle of its design development. From this point we may make a connection to the aspect of grounded flight.

This tendency towards lightness may stem from the early concept of traditional folk houses on stilts. Early developments of floating are of light construction and tend to use upright vertical supports much like traditional folk architecture. Later developments show the supports evolve into slanted and then curved forms that blend strength with grace. However it should be emphasized that though later forms represent an abstraction of local forms, they are now evolved into symbols of power1.

1 Locsin's public buildings were commissioned by the late Philippine president Marcos and his wife Imelda, who bade him expressly to build forms that echo local traditions.

Bipolar qualities exist in the conception of Asian and Western space. Whereas western space is divided, Asian space is separated simply by a time-space continuum that is understood by its users. The qualities of enclosed openness and alternating spaces of opposite spatial character both stem from the bipolar need to segregate space while maintaining a continuous flow throughout the rooms.

Locsin said, "[The Philippines is] a hybrid culture. This is both our weakness and our strength." It is by an understanding and acceptance of bipolarities in culture as is pertains to the production of new forms that we are able to harness bipolarity as a tool to develop and further communicate architecture and culture.

この論文は、フィリピンの代表的な建築家レアンドロ・ロクシンの作品をとりあげ、二極性を軸に展開したそのデザインの特異性を明らかにするとともに、作品が担った歴史的、社会的意味を考察することによってフィリピンの文化と建築に関する基本的かつ包括的な知見を得ることを目的としている。

本論文は、五つの章で構成される。

第1章では、研究の目的や背景、研究方法、論文の構成について説明するほか、既往研究について概観している。

フィリピンが長期にわたって東洋と西洋の融合的な文化をはぐくんできたこと、建築にもそれが反映されていること、フィリピン近代建築が発展したのは戦後であることなどを確認したうえで、研究の目的として、1)フィリピン建築の展開には多様な諸因子-極性が影響してきたこと、2)ロクシンの作品では物体、空間形態の両面において対立する二つの極性-二極性が繰返される際立った特質であること、の二つを解明することとされる。研究の手順として既往研究の踏査、建築を視知覚的特徴から理解する意味と方法の検討、フィリピンにおける現地調査と資料収集、分析と考察へと進むこと、また、建築は形態を軸として様々な意味を総合するものという認識から、分析は作品の視覚的特徴の形態分析を軸に進められることが説明される。

第2章では、フィリピン建築の歴史が概観され、その展開が大きく四つの時期に分かれることが示される。第一のプレスペイン土着建築期はワンルームの高床式住居によって特徴付けられる。第二のスペイン植民期には、土着の技術とヨーロッパの伝統が融合され、それに続くアメリカ植民期には社会の近代化、インフラの整備が進んだ。最期の戦後期に至ってフィリピンにおける近代建築の展開が始まった。

第3章では、ロクシンが建築の創作活動開始前に研究した諸分野を確認し、それらが彼の作品形成に与えた影響を検討する。研究はフィリピンの考古、歴史、土着建築、音楽、フィリピン近代芸術など多岐にわたり、それら全てがロクシンのFilipino(フィリピン的な)建築の探究につながったことをが示される。

第4章では、初期から最晩期にいたるまでの代表的なロクシンの作品70をとりあげ、作品の外観と内部空間について形態分析を行なっている。外観は物体形態として、内部は空間形態としてそれぞれの基本的なまとまりと構成、視覚的力動感を表現する図を作成、特徴を整理している。

分析の結果、ロクシンの作品ではいくつかの特徴的な二極性が一つのデザインの中に統合され、デザインの最も強い特質となっていること、その二極性には四つタイプが存在することなどが明らかにされる。すなわち、第一の二極性は「浮きあがる効果(floating effect)」。第二は「地上に縛られた離陸(grounded flight)」。第三は「閉じられた開放性(enclosed openness)」。そして第四に「対立する空間的特徴の交替(alternation of opposite spatial characters)」である。第一のものは、浮き上がる量塊が、視覚的な浮力と重力の葛藤を示す。量塊は単一な塊と複数の面があり、浮力には垂直方向、斜方向、そして曲線的方向に働く三つがある。第二のものは、大地に繋ぎ止めようとする力と大地から離れようとする力の葛藤である。つなぎ止められる量塊は「浮き上がる効果」のケースと異なり単純な矩形とはならず、また地上と視覚的に連続していること等が特徴である。第三のものは、空間の中の中心における視覚的開放性と囲繞性の葛藤である。視覚的に外部とつながる空間的中心のまわりに、多重に用意される透過性のある囲みのデザインが中心への直接的なアクセスを妨げるとともに、内部性の反復的表現をもたらす。第四のものは広い主空間と狭い残余的空間の対比である。両者が交替しながら継起的に配列され、相互の分離が際立ち、同時に統合されるとする。

第5章では、4章までの分析を踏まえ、結論としての考察が示される。一つはロクシンのデザインを特徴づけるダイナミズムが、二極性の統合形態によって生み出されていること、ことに内部空間における二極性の統合、継起的連続には、連続的な空間統合と明確な空間分節という洋の東西で異なる空間的伝統が融合されていること、こうした二極性が全体としてロクシンやフィリピンの建築が背負ってきた土着的伝統と近代性、東洋と西洋といった二つの世界にまたがる文化的背景を映していたこと、そして、ロクシンのデザインにおける軽い表現から重い表現への変遷が、フィリピンの政治的状況の変化、ことに戦後発展期の社会的対立に対応し、それを引き受けるものであったことなどの見解が示される。

最期にこれらを総括し、ロクシンはデザインに二極性を導入し、それを利用することによってフィリピンの土着的な形の本質を近代的な方法で解釈し直すことができたこと、それ故にまた、ロクシンの作品は単にフィリピンの文化や伝統のシンボルというだけでなく、フィリピン人が自らの伝統について考える際の、思考の基点となりうるシンボルとして位置付けられる。

以上のように、本論文は、フィリピンの代表的建築家でありながらこれまで明確にされていなかったレアンドロ・ロクシンの作品の具体的特質を綿密な調査と実証的な分析に基づき解明するとともに、それらを広くフィリピンの特異な歴史的、社会的、文化的背景の中に位置付けることによって、文化的なコンテクストの中に生きる建築家が導き生成させる建築デザインの実相を理解するための基本的な知見を示し、建築デザイン論研究の分野に大きな寄与をなしたものである。

よって本論文は博士(工学)の学位請求論文として合格と認められる。