Chapter 1.2 (Tobis)

MAPUA UNIVERSITY
School of Architecture, Industrial Design, and Built Environment
Ley-tle (Little Leyte):

A Proposed Leyte Cultural
Center Complex in
Tacloban City
A Research Study on Conservation through Adaptive Reuse of the
Leyte Provincial Capitol Building in Tacloban City
BY
TOBIS, IRA BEN L.

2015127206
2020
Ley-tle: A Proposed Leyte Cultural Center Complex in Tacloban City
A Research Study on Conservation through Adaptive Reuse of the Leyte Provincial Capitol Building in Tacloban
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CHAPTER I.2 REVIEW OF RELATED LITERATURE AND STUDIES
CHAPTER I.2.1 RELATED LITERATURE
Why Conserve?
Based on Burra Charter, a charter which heritage conservationists in the Philippines
follow, “Places of cultural significance enrich people’s lives, often providing a deep and
inspirational sense of connection to community and landscape, to the past and to lived
experiences (The Burra Charter: The Australia ICOMOS Charter for Places of Cultural
Significance, 2013).”
Furthermore, “Places of cultural significance reflect the diversity of our communities,
telling us about who we are and the past that has formed us and the landscape. They are
irreplaceable and precious. These places of cultural significance must be conserved for present
and future generations in accordance with the principle of inter-generational equity (The Burra
Charter: The Australia ICOMOS Charter for Places of Cultural Significance, 2013).”
There are principles regarding conservation as stated and quoted from (The Venice
Charter: International Charter for the Conservation and Restoration of Monuments and Sites,
1981):
Article 4: It is essential to the conservation of monuments that they be maintained on
a permanent basis.
Article 5: The conservation of monuments is always facilitated by making use of them
for some socially useful purpose. Such use is therefore desirable but it must not change
the lay-out or decoration of the building. It is within these limits only that modifications
demanded by a change of function should be envisaged and may be permitted.
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Article 6: The conservation of a monument implies preserving a setting which is not
out of scale. Wherever the traditional setting exists, it must be kept. No new
construction, demolition or modification which would alter the relations of mass and
color must be allowed.
Article 7: A monument is inseparable from the history to which it bears witness and
from the setting in which it occurs. The moving of all or part of a monument cannot be
allowed except where the safeguarding of that monument demands it or where it is
justified by national or international interest of paramount importance.
Article 8: Items of sculpture, painting or decoration which form an integral part of a
monument may only be removed from it if this is the sole means of ensuring their
preservation.
Degree of Intervention
According to (Chattaraj & Koner), retrofitting of historic buildings reflects a
challenging balance between the demands of structural engineering and the values of
conservation. Intervention ought to be reversible so as to give room for better solutions to be
implemented with future technologies. So intervention must be "as necessary as much as
possible, but as little as possible." Temporary measures must be performed to avoid
Catastrophic Collapse in the event of such a situation. Temporary interventions may ensure
safety against collapse such as during the post-earthquake investigation before the final retrofit
procedure is tested and arrived at.
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Furthermore, (Chattaraj & Koner) claimed that eight degrees of interference in the
ascending order of intrusion in a monumental building are possible:
1. Prevention of deterioration
2. Preservation of existing state
3. Consolidation of the fabric
4. Restoration
5. Rehabilitation
6. Reproduction
7. Reconstruction
8. Translocation
Conservation through Innovative Construction Technologies for Old and Historic
Buildings
According to (Traykova & Chardakova, 2014), technological advances provide several
contemporary retrofitting options for enhancing structural system behavior, global resilience,
rigidity or seismic hazard mitigation. Some lasting, innovative retrofitting techniques are:
1. Post Tensioning
 Provides a minimum penetration resistance and ductility to the overall
structure. This technique gives best results for gravity loads. Because of its
low tensile strength it is a very suitable solution for masonry structures. This
technique is very sustainable because it requires minimal materials, whilst
significantly increasing the structure's bearing capacity.
2. Base Isolation
 Are used to reduce damage to structures, mostly by shifting the natural
structural period. Elastomeric bearings (natural rubber or neoprene) and the
sliders (Teflon and stainless steel) are the most common base insulation
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systems. This approach makes the building much less vulnerable to seismic
activity, not only in terms of safety but also in terms of serviceability, which
after subsequent earthquakes will eliminate the need for repairs. It also
requires minimal amount of material, like the post-tensioning process. All of
these facts make the methodology very robust.
3. Micro-piling
 Are used to retrofit the foundations and their capacity to bear, and also to
reduce deflections. This method is considerably more energy saving than
enhancing existing foundations.
Adaptive Reuse as a Developing Trend for Safeguarding Timeworn and Historic
Structures
According to (Silva & Perera, 2016), the insufficiency of land along the constant and
accumulating demand for new structures, results to the pulling down of existing buildings.
Adaptive re-use may provide a new purpose to the existing building by altering its current
function, capacity, and performance.
Furthermore, (Silva & Perera, 2016) stated that these structures can be re-used to meet
the present building necessities. There are longstanding structures with high profitmaking worth
due to its locations and gives significantly to its country’s cultural and historical part. Therefore,
adaptively-reusing buildings can play a crucial role in the built environment by meeting the
growing demands for buildings while preserving historic building’s prestige.
In a study conducted by (Joglekar & Achliya, 2018), they were able to compile some
various examples of building typology, the characteristics which makes reuse suitable for the
said types, and its possible conversion options as shown in the table below:
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Possible
Category Typology Characteristics
Conversion
 Large built up area with

Performing art
large spans – easy to add
Workshop center
partitions for new use
Industrial Warehouse Artist studio
 Large spans and large
Factory shed College
volume allows for design for
Exhibition centers
assembly areas
Orchestral hall
Art and cultural
 Good Location activities

Church
Religious  Conserving the cultural Libraries, Bookshop
Chapel
heritage Old age home
 Open structure allows for Academy of
spaces for public gathering performing arts
Semi-public Library
Town hall
Buildings Cafe
Shopping malls  Central location Schools
Shopping  Flexible partitions make it Office

Commercial
arcade easy for inserting new Hospital
Shop houses functions Restaurant and pubs
Hotel
 Existing services make it Museum

Residential Palaces
easier for certain new uses Boutique hotel and
restaurants
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 Converting a palace into College of art and
hotel is a challenge in terms design
of services required for
every room
 Adaptive reuse of a palace Headquarter of
into a museum is always a community

Houses
good option as there are movement
larger spaces or gardens Community center
around to accommodate
tourist activity
Table 1: Examples of building typology, the characteristics which makes reuse suitable for the said
types, and its possible conversion options according to (Joglekar & Achliya, 2018)
Principles for the Adaptive Reuse of Historic Buildings to New Uses (As quoted from
Heritage Council of New South Wales and the Royal Australian Institute of Architects)
According to (NSW, 2008), in order to achieve a successful adaptation, the proposed
new function must be suitable and in accordance with the following principles with its
corresponding explanation, derived from (The Burra Charter: The Australia ICOMOS Charter
for Places of Cultural Significance, 2013):
1. Understand the significance of the place.
The first stage of any adaptive reuse is to have a deep understanding of the
importance about the place. A strong statement of significance will be the result if a
thorough analysis will be done.
2. Find a use which is appropriate to the heritage significance of the place.
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2.1. When it is essential to the heritage significance, the present use should be retained:
 Association between the heritage place and its custom should be retained
or re-established.
 Practices or links that contribute to the cultural significance of the place
should carry on.
 Heritage places that have been historically accessible to the community
should carry on its access.
2.2. A fresh use should be consistent with the importance of the heritage and require
minimal changes in the content, format and environment:
 In the fresh use, reuse the heritage site and significant components of the
site preferably to build major new additions. Take into account
accommodating them in sympathetic modest additions where elements of
the new use would have an unacceptable impact on heritage.
 Remain in any new use, the important connections and meanings.
2.3. Unsuitable uses are those where:
 Accommodating the modern use, a substantial changes will occur, leading
to the loss of heritage value. In this situation, either it is necessary to limit
the operational specifications or it is necessary to find an alternate
application.
 Alterations of use require substantial architectural modifications that
adversely affect the value of heritage. Changes in use should be congruent
with the object's structural capacity.
 Alterations in use have a detrimental effect on the fabric's technical
performance and robustness.
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 Alterations in use require significant new services that have a detrimental
effect on the place's heritage importance.
3. Determine a level of change which is appropriate to the significance of the place.
3.1. Minimize effects on significant materials.
3.2. Minimize influence on significant interiors, interior design (circulation behaviors
and room usage) and ornamental systems and finishes.
 Situate new facilities and resource areas so that they do not damage large
spaces or materials.
 Alterations in use requires compliance and conformity with the existing
building code.
4. Provide for the change to be reversed and for the place’s future conservation.
4.1. Adaptation and growth should not hinder a heritage item from being preserved in
the future.
4.2. New features and similar or linked new construction should be done in such a
manner that the basic form and character of the historic site will not be
compromised if they are demolished in the future.
4.3. Only when there is no feasible way to retain the position as a viable property should
non-reversible improvements to a heritage site be accepted.
4.4. Before making changes, current materials, usage, connections and meanings
should be documented and stored.
5. Conserve the relationship between the settings and preserve significant views to
and from the heritage place.
The arrangement should be maintained where the interaction between the
heritage object and its context adds to its significance. It is also important to preserve
values that have been recognized as adding to the place's importance.
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6. Provide for the long-term management and viability of the heritage place.
6.1. Ensure continued support as part of the project to protect the heritage site in the
future. The project's gains will then outweigh the increase in use.
6.2. Connect preservation works and newly proposed projects through terms of
authorization, a heritage arrangement, or any other suitable process, so that the
conservation activities become central to the project.
6.3. Avoid degradation of heritage management in large-scale adjustments. When
property is divided by renting or sale, a legally enforceable statutory governance
structure (such as a heritage agreement) must be implemented. It will ensure
adequate management of the place's heritage values.
7. Reveal and interpret the heritage significance of the place as an integral and
meaningful part of the adaptation project.
Understanding conveys a building's history and past uses to its inhabitants and
visitors and helps explain how and why alterations have been made to adaptive reuse.
The retention of historical signs, the layout of internal spaces and the proof of past uses
add to a deeper awareness of the place's meaning.
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adaptSTAR Model: Tools for Adaptive Reuse Potential of Future Buildings
Figure 2: The adaptSTAR Model, formulated by Sheila Conejos
adaptSTAR, was developed by (Conejos, 2013). The aforementioned tool is a design
strategy checklist that assists in building development that can be reused successfully in the
future.
(Conejos, 2013), sent an email survey to selected Australian heritage restoration,
adaptive reuse and eco retrofitting architects. The participants were selected using a purposeful
sampling method based on their ability to evaluate the list of design criteria due to their
experience and knowledge, length of professional practice, project range and project turnover.
The selected participants were asked to assess the importance of the specified list of design
criteria and use the online questionnaire program Survey Monkey to measure the relative
importance of the seven categories.
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The list of design criteria identified was based on experts’ in-depth interviews. There
were 53 subcategories identified in the earlier stage of development, however some sub-
categories were paired together according to their relatedness to shorten the list of design
criteria and make it more suitable to a survey questionnaire format that can be answered within
eight to ten minutes. There was no need to discard any design criteria during this process, but
clearer definition of each criterion was necessary.
There were a total of 26 design criteria in the questionnaire for which weightings were
required. These design criteria were linked to the 7 factors of obsolescence (physical, economic,
functional, technological, social, legal and political) upon which the ARP model is based and
illustrate that the connection is possible.
With reference to the final list of design criteria, (Conejos, 2013) clearly defined each
criteria:
1. Physical (Long Life)
1.1. Structural Integrity and Foundation
It includes the structural design of the building and whether it has the power to
compensate for different future uses of the building and loading scenarios; allows for
the eventual vertical expansion of the building and guarantees the integrity of the
structure in relation to problems such as differential settling and displacement of the
substrates.
1.2. Material Durability and Workmanship
It refers to building materials that play a crucial role in their longevity (i.e. the more
robust the materials are, the longer the lifetime of the building is generally) and
involves the level of craftsmanship applied to the structure and finishes of the building.
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1.3. Maintainability
It includes improving building efficiency over its lifetime, where the maintenance
attributes are described as the building's capacity to preserve operating resources.
2. Economic (Location)
2.1. Density and Proximity
It corresponds to density of population and distance from major cities and/or CBD.
2.2. Transport and Accessibility
This relates to the place and connectivity to infrastructure, proximity to pedestrians
and vehicles and other transport services.
2.3. Plot Size and Site Plan
It encompasses site dimensions, land contours, views to and from the site,
percentage of site coverage, zoning criteria for adjacent buildings and site
development, which includes site visibility such as views and privacy, site selection
and design restrictions as well as built area, spatial proportions and enclosures (i.e.
parallel, vertical and visual enclosures).
3. Functional (Loose Fit)
3.1. Flexibility and Convertibility
It applies to the variety of spaces that can be modified to fit a number of different
applications and uses and requires the design of a building with future expansion in
mind and the building's ability to change according to new requirements in order to
achieve better functionality and efficiency compared to previous conditions; this
explores the ease with which a device or component can be adjusted for use in
applications or environments other than those for which it has been specifically
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designed, and requires adequate preparation and allocation of space to satisfy
anticipated future requirements (referring to the principles of divisibility, elasticity and
multi-functionality).
3.2. Disassembly
This includes the simplicity of demolition or deconstruction and the replacement
of elements and resources such as the reuse of building components and recycling of
construction materials, demountable structures, modularity and the like.
3.3. Spatial Flow and Atria
It applies to versatility, open space, flexible and continuous space, and the
provision of open spaces, indoor gardens, etc.
3.4. Structural Grid
It concerns the ideal and economic limits of the period in order to promote practical
interchangeability.
3.5. Service Ducts and Corridors
It applies to the vertical movement, utility components, elevated floors and other
building service characteristics.
4. Technological (Low Energy)
4.1. Orientation and Solar Access
It relates to microclimate location and nature, effective climate techniques,
prevailing winds, sunshine as well as summer and winter heat controls.
4.2. Glazing and Shading
It applies to the monitoring and regulation of internal temperatures, sunshades and
automatic blinds by sunlight glare.
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4.3. Insulation and Acoustics
It includes the correct use of insulation, thermal weight, sound insulation and noise
control.
4.4. Natural Lighting and Ventilation
It applies to natural daylight, effective lighting, controlled circulation, fresh air
quality, improved intake of ambient air and other lighting and ventilation attributes.
4.5. Energy Rating
It includes steps for environmental efficiency and the use of energy-efficient
facilities and machinery.
4.6. Learn and Obtain Feedback on Building Performance and Usage
It encompasses the organization of construction facilities, commissioning, churn
management, user guide and maintenance and housekeeping, as well as the monitoring
and supervision of construction activities and performance systems.
5. Social (Sense of Place)
5.1. Image and History
This conveys the concept of construction and it’s social and cultural values and
attributes relating to the authenticity of the building, its original fabric, its timelessness,
its socio-cultural traditions, its practices, its historical character or its fabric, and the
concept of universal design applied to the built environment.
5.2. Aesthetics and Townscape
It applies to the building's physical appearance and design approach in terms of
architectural elegance, good form, creativity, proportion, environment, visual
coherence and building object organization, which involves anthropometrics, human
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scale, and the conservation and development of natural ecological features and
structures as well as vegetation on and around the site.
5.3. Neighborhood and Amenity
It refers to local and social groups, offers convenience and comfort services,
amenities and ideas that relate to the public domain.
6. Legal (Quality Standard)
6.1. Standard of Finish
It relates to the elevated-standard workmanship requirement.
6.2. Fire Protection and Disability Access
It requires fire resistance scores for structural components, fire safety regulations
as well as disability relief, modifications and other fire and disability criteria for new
buildings.
6.3. Occupational Health, IEQ, Safety and Security
It represents the special needs of occupants with regard to health and safety threats,
convenience, hygiene and clean environment and requires requirements for non-
hazardous materials, natural fabrics, building hazards and risk management strategies,
including adequate levels of privacy, openness, physical and visual access and
protection of property, in position and active measures for building occupants
screening, video surveillance and application of situational awareness principles and
the provision of direct and passive monitoring designs.
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7. Political (Context)
7.1. Ecological Footprint and Conservation
It includes the correct assessment of human capacity and the standards and charters
regulating the defense of tangible and intangible heritage.
7.2. Community Support and Ownership
It includes community / public sector engagement and response and/or awareness
of the local social context, including the partnership and involvement of stakeholders,
mutual commitment and sense of ownership between communities.
7.3. Urban Masterplan and Zoning
This relates to land use planning and development control / instruments like
integrated skyline, urban landscape, built environment design, management / practice,
land use and patterns, height regulation, and other mechanisms / methods used to
determine the pattern of land use and urban / area development.
Category (7) Sub-category (26)
 Structural integrity and foundation
Physical  Material durability and workmanship
 Maintainability
 Density and proximity
Economic  Transport and access
 Plot size and site plan
 Flexibility and convertibility
Functional  Disassembly
 Spatial flow and atria
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 Structural grid
 Service ducts and corridors
 Orientation and solar access
 Glazing and shading
 Insulation and acoustics

Technological
 Natural lighting and ventilation
 Energy rating
 Feedback on building performance and usage
 Image and history
Social  Aesthetics and townscape
 Neighborhood and amenity
 Standard of finish
Legal  Fire protection and disability access
 Occupational health, IEO, safety and security
 Ecological footprint and conservation
Political  Community support and ownership
 Urban masterplan and zoning
Table 2: The adaptSTAR design criteria, formulated by Sheila Conejos with ARP Model as her
foundation
Adaptive Reuse and Sustainable Development for Existing Historic Buildings
According to (Gražulevičiūtė, 2006), Sustainable development can be defined as the
development assimilating environmental, economic, social and cultural aims.
Adaptively re-using historic buildings is deliberated as central significance to
comprehensive state stratagem and sustainable development in different nations. Through the
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adaptive re-use development of the built heritage, countries can respect and conserve the
prominence of the historic buildings while integrating economic value both for the current and
the future (Ragheb, Ragheb, & Ragheb, 2017).
Several studies and researches that were implemented around the world have validated
that the preservation of cultural heritage can significantly contribute in the direction of attaining
the goals of sustainable development (Gražulevičiūtė, 2006).
The Benefits of Adaptively Reusing Heritage Buildings
Based on research by (DEH, 2004), in adaptively reusing heritage buildings, there are
three kinds of benefits, namely, environmental, social and economic.
In environmental benefit, the “embodied energy” of the original buildings is retained.
It is the energy used in the whole processes linked with the construction of a building. From the
purchase of natural resources to transportation of product, as well as removal, development of
equipment and materials, transference and managerial purposes. By recycling structures, its
embodied energy is retained, making the development much more environmentally bearable
than totally new erection (DEH, 2004).
In social benefit, adaptively reusing historic buildings has long-term benefits for the
communities that giving value to it. If well executed, it can restore and maintain the heritage
signiﬁcance of a building and its survival is ensured. Instead of falling into disrepair through
neglect or being rendered unrecognizable, heritage buildings that are sympathetically recycled
can continue to be used and appreciated (DEH, 2004).
Economic benefit, which is the third and last type, displayed that the amalgamation of
ﬁnancial incentives and the commercially oriented nature of the adaptive re-use schemes
outweighed any extra heritage related costs and project risks. (DEH, 2004) also concluded that
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sympathetic adaptive re-use schemes have generated commercially practical investment assets
for the owners.
Furthermore, the adaptation of heritage buildings serves as an open challenge to
architects and designers to search for innovative solutions. As development continue in cities,
producing some excellent examples of creative designs that retain heritage significance is
possible thru reusing heritage buildings (DEH, 2004).
Challenges of Adaptive Reuse of Heritage Building
In the context of a heritage of a particular place, preserving the image and character of
a building is a challenge because the existing space must be utilized in innovative ways without
compromising its character and its significance to the place where it is situated (Joglekar &
Achliya, 2018). Based on studies conducted by (Silva & Perera, 2016), the most significant
barriers and challenges of adaptive reuse with a corresponding description as indicated in the
table below are the following:
Barriers of Adaptive Re-use Brief Description
Existing floor layouts, the number of columns/walls

Physical restrictions,
and structural system layouts
Economic considerations
Direct and indirect costs of conservation
Intangible and non-economic perspectives of
Social considerations maintaining day-to-day lives of people who are
attached to the place
Requirement of complying with current building codes,

Building codes and
regulations, conservation guidelines, licensing and
regulations/legal constraints
planning requirements
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Incompatibility of new materials with existing

Non-availability of materials and
materials, as well as the shortage of local workers
lack of skilled tradesmen
skilled in conservation work
Limited support received from building owners and

Limited response to
commercial property markets to make buildings
sustainability agenda
sustainable
Complexity and technical Refurbishment techniques, technical installations and
difficulties innovative solutions required
The high cost of maintenance and repair due to physical

Maintenance Issues
deterioration and defects
Lack of awareness and misconceptions about the

Lack of awareness of the
adaptive re-use
adaptive-use opportunities
Notion that adaptive reuse being expensive ,demolition
Financial and technical
only will provide reasonable profits,
perceptions
Lengthy and difficult renovation or reuse often leading
Commercial risk and uncertainty
to reduced profits.
High re-mediation costs and
Contamination caused by hazardous materials in
construction delays
buildings resulting in additional costs and time delays
Lack of accurate information on defects or dimensional

Inaccuracy of information and
and material inconsistencies and drawings of heritage
drawings
buildings
Scope and classification changes of buildings requiring

Classification (zoning change)
building code and zoning compliance
Inertia of production and Challenges posed by developmental criteria of cities on
development criteria urban regeneration or re-development approaches
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Creative value compared to Creative outside appearance and finishing of the
redevelopment building
Table 3: Barriers and Challenges of Adaptively Reusing Buildings according to (Silva & Perera, 2016)
In addition, (Silva & Perera, 2016), pointed out that barrier and encounters are joint in
some new circumstances, and the vital part of adaptive reuse of buildings is to classify them
appropriately and find the finest means of overwhelming them and to propagate the adaptive
reuse of building internationally by enhancing its benefits.
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CHAPTER I.2.2 LOCALLY RELATED STUDIES / PROJECTS
1. National Museum of Natural History (formerly known as Agriculture and Commerce
Building and Department of Tourism Building), Manila
Figure 3 (left): The Department of Tourism Building, before it was retrofitted and repurposed into
a museum. | Image courtesy of Popovych Ali
Figure 4 (right): The winning design entry for the National Museum of Natural History by Ar.
Dominic Galicia. | Image courtesy of Dominic Galicia Architects
Built in 1939, the Department of Tourism Building, originally the Department of
Agriculture Building, designed by Antonio Toledo, Consulting Architect of the Bureau of
Public Work during the Commonwealth Era, in a Neo-classical style, went through a
retrofitting and was repurposed as the National Museum of Natural History after the
Department of Tourism moved its offices to Makati. Together with its twin across the
Agrifina Rotunda, the Museum of the Filipino People (formerly the Department of Finance
Building), and the National Gallery of Art (formerly the Senate Building), they formed the
Museum Cluster of Manila (Ramos, 2017).
The winning design entry by the design team of Dominic Galicia and Tina Periquet,
while providing stimulating and new spaces, was able to pay respect to the existing design
/ feature of the landmark. The primary theme of the concept was the tree of life metaphor,
which denotes mankind’s primeval quest in understanding his environment, a quest that
was perhaps ignited by man’s first act of inquisitiveness (Galicia, 2013). The tree in the
context of a museum draws reference to Charles Darwin’s sketch, the Tree of Life, which
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exhibit that all species on Earth are linked and came from a common antecedent (Ramos,
2017). Galicia was able to retain the Neo-classical features of the building’s façade while
adding some innovations. They proposed a circular glass-and-metal canopy with the
support of a four steel box-section “tree trunk segments” that arc upward from a stepped
base in the central courtyard of the building, providing a sheltered space for public.
A steel double helix coils around a central scenic lift shaft. Rising six storeys above the
courtyard’s floor, the double helix signifies the shared DNA of all living things and is the
dynamic sculptural focus of the schemes (Ramos, 2017).
Figure 5 (left): The central courtyard of the Department of Tourism Building, during its retrofitting.
| Image courtesy of BluPrint
Figure 6 (right): The tree of life integrated with the courtyard of the National Museum of Natural
History. | Image courtesy of Dominic Galicia Architects
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Figure 7 (left): Interior of the Department of Tourism Building, before it was retrofitted and
repurposed. Reinforcement was introduced in order for the structure to comply with the current
code for museum complaint and to carry more loads. | Image courtesy of BluPrint
Figure 8 (right): Original interior stairs were retained. | Image courtesy of BluPrint
Figure 9 (left): Artist’s rendering of the entrance lobby. | Image courtesy of Dominic Galicia
Architects
Figure 10 (right): Artist’s rendering of the entrance hall for VIPs. Interior motifs are based on
various indigenous designs and serves as an assistance in finding the different collections inside
the museum. | Image courtesy of Dominic Galicia Architects
Figure 11: Artist rendering of a display hall where the skeleton of lolong, the largest saltwater
crocodile known, is displayed. | Image courtesy of Dominic Galicia Architects
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2. National Museum of Fine Arts (former Legislative Building), Manila
Figure 12 (left): The Legislative Building, Manila. | Image courtesy of United States Army in
World War II: The War in the Pacific, Victory in the Philippines by U.S. military historian
Robert Ross Smith
Figure 13 (right): The National Museum of Fine Arts. | Image courtesy of Florentino Floro
In Daniel Burnham’s master plan for Manila, the neoclassical style building was
originally intended as a public library. It was designed by Ralph Harrington Doane,
American consulting architect of the Bureau of Public Works, and Antonio Toledo, his
assistant. The building’s construction began in 1918. When the building was decided to be
used by the Government’s Legislative branch, the revisions of the plans was entrusted to
Juan Arellano, the supervising architect of the Bureau. The building was inaugurated on
July 26, 1926. The Senate and House of Representative occupied the second, third, and
fourth floors while the ground floor was occupied by the National Library. The Legislative
building was one of the casualties during the 1945 liberation of Manila. In 1946,
reconstruction was done but with some revisions in designs. The Senate of the Philippines
moved out in mid-1996. Renovation started in 2003, transforming the building into
National Museum of Fine Arts (The National Museum, 2012).
The exhibits starts on Level 2 (House Floor) at the main visitor entrance facing the
Padre Burgos Drive, which displays 17th to 20th centuries Philippine Arts; continues on
Level 3 (Senate Floor), which displays 20th to 21st centuries Philippine Arts.
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Figure 14 (left): Pre-war central facade of the Legislative Building. | Image courtesy of Paulo
Alcazaren
Figure 15 (right): Central facade of the former Legislative Building, removing the ornaments
during its 1949 reconstruction. | Image courtesy of SunStar Philippines
Figure 16 (left): The pre-war Senate Session Hall as it appeared soon after the Senate moved
in, circa 1926. | Image courtesy of Manuel L. Quezon III Collection
Figure 17 (right): The restored Old Senate Session Hall, currently displays National Artist for
Painting, Carlos “Botong” Francisco’s work, Filipino Struggles through History. | Image
courtesy of National Museum of the Philippines
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Figure 18 (left): The Old House of Representatives Session Hall, currently houses Juan Luna Y
Novicio’s famous masterpiece, Spoliarlium. | Image courtesy of National Museum of the Philippines
Figure 19 (right): Together with Spoliarlium, Félix Resurrección Hidalgo’s masterpiece, El

Asesinato del Gobernador Bustamante (The Assassination of Governor Bustamante) is also
displayed. | Image courtesy of National Museum of the Philippines
Figure 20 (left): The GSIS Northeast Hall houses Interior d'un Café (Parisian Life) by Juan Luna
Y Novicio. | Image courtesy of National Museum of the Philippines
Figure 21 (right): Together with Parisian Life, several paintings of the first National Artist,
Fernando Amorsolo, are also displayed. | Image courtesy of National Museum of the Philippines
Figure 22: The GSIS Northwest Hall houses modern Philippine Arts, it’s also dedicated to modern
painter Vicente Manansala, National Artist for Painting, displaying his several works. | Image
courtesy of National Museum of the Philippines
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CHAPTER I.2.3 INTERNATIONALLY RELATED STUDIES / PROJECTS
1. National Gallery Singapore (formerly known as the City Hall and Supreme Court of
Singapore), Singapore
Figure 23 (left): Municipal Building (right) and Supreme Court (with dome) at St. Andrew’s
Road, Singapore circa 1950’s. | Image courtesy of National Archives of Singapore
Figure 24 (right): Former City Hall (left) and Supreme Court of Singapore (with dome), were
repurposed as an Art Gallery. | Image courtesy of National Gallery Singapore
The former Supreme Court, which was built between 1937 and 1939, following the
design of Frank Dorrington Ward, the Chief Architect of the Public Works, opened its doors
in 1939 and was vacated in 2005. While the former City Hall, which construction began in
1926 and was completed in 1929, originally known as the Municipal Building, was planned
and designed by Municipal Architects, F.D. Meadows and later on, by Alexander Gordon
in a Neo-classical style (Monuments, n.d.). From 1963 to 1991, the building housed several
government offices and courtrooms. On 2006, the building was vacated.
Both building were adaptively reused as the National Gallery of Singapore, known as
the country’s largest museum, which centers on the 19th century to the present day Asian
and Singaporean arts (Monuments, n.d.).
StudioMilou Architecture, a Paris-based Architectural firm which specializes in
museum designs, and adaptive reuse of heritage and historical buildings, led by Jean-
Francois Milou, was the one behind the adaptive reuse of the former City Hall and Supreme
Court. They fused the two buildings to create a new art gallery, with a sculptural entry
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protected by a bent canopy made up of golden filigree and glass. They also preserved the
original details while adding some new elements with a limited color in order to unify the
interior of both buildings (Mairs, 2015).
Modern building codes and utilities were integrated to the building by installing
sprinklers, air conditioning, dehumidifiers and high-tech lighting without compromising its
historical integrity. The walls along its façade were expanded in order to accommodate new
utilities, yet the façade could not be changed (Vasko, 2014).
Figure 25 (left): A concave canopy over the entrance which is made from glass and gold filigree
metal and is supported by a steel. | Image courtesy of Fernando Javier Urquijo
Figure 26 (right): Two bridges linking the former City Hall and Supreme Court. | Image
courtesy of National Gallery Singapore
Figure 27 (left): Garden, café, and water features located on the rooftop of the art gallery. |
Image courtesy of Fernando Javier Urquijo
Figure 28 (right): Part of the interior of the art gallery which was modified. | Image courtesy
of Fernando Javier Urquijo
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Figure 29 (left): The perforations on the roof creates a dappled light effect across the gallery’s
floor, shielding the visitors and artworks from severe sunlight. | Image courtesy of Fernando Javier
Urquijo
Figure 30 (right): Part of the interior of the art gallery which are still intact. | Image courtesy of
Fernando Javier Urquijo
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2. Apple Carnegie Library (formerly known as the Carnegie library of Washington
D.C.), Washington D.C.
Figure 31 (left): The Beaux-art style Carnegie Library at Mount Vernon Square, Washington D.C.,
named after the person who funded the construction of the building, philanthropist Andrew
Carnegie, who was fond of books and libraries, circa 1950. | Image courtesy of DC History Center
Figure 32 (right): The present Carnegie Library, repurposed as Apple’s retail store. | Image
courtesy of Apple Newsroom
Also known as the Central Public Library, the construction begun on April 24, 1901,
and officially inaugurated on January 27, 1903. The library was named after Andrew
Carnegie, a Scottish immigrant who offered funds for the construction in 1899, given that
the library will uphold a free service (Taylor, 1969). In 1969, the building was listed on the
National Register of Historic Places. It served as the central public library for almost 70
years until it became congested. The central library was then moved, which results to the
building to be shut down for 10 years. It went through a lot of renovations and different
purposes. It became a part of University of District of Columbia. It also became a
headquarters for the Historical Society of Washington D.C. (Hong, 2019).
In 2016, Apple Inc. in collaboration with Foster + Partners, worked with preservation
experts for the renovation and restoration of the building to house their retail store. The
new design for the Apple Store presented a grand staircase that cascades out onto the street,
removed later additions to the building, and restored the facade. They also reintroduce
natural ventilation and bringing more daylight into the building. The retail space can be
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accessed by entrances on both side of the building’s north-south access, allowing for a route
through the building (Hong, 2019).
Figure 33 (left): Reading room of Carnegie Library, located at the first floor of the building, circa
1908. | Image courtesy of Apple Newsroom
Figure 34 (right): The present Carnegie Library’s first floor, repurposed as Apple’s retail store. |
Image courtesy of Apple Newsroom
Figure 35 (left): The library’s original circulation desk, which opened in 1903. - Apple
Newsroom. | Image courtesy of Apple Newsroom
Figure 36 (right): Circulation desk and skylight area has been converted into an atrium and
gathering space called the Forum, which is dedicated for the company’s workshop and host
performances. | Image courtesy of Apple Newsroom
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BIBLIOGRAPHY
Apple Carnegie Library opens Saturday in Washington, D.C. (2019, May 9). Retrieved from Newsroom
- Apple: https://www.apple.com/newsroom/2019/05/apple-carnegie-library-opens-saturday-in-
washington-dc/
Chattaraj, R., & Koner, B. (n.d.). Retrofit of the Structures of Historic and Heritage Importance.
Conejos, S. (2013, April 12). Designing for Future Building Adaptive Reuse. Gold Coast, Queensland,
Australia.
DEH. (2004). Adaptive Reuse Preserving our past, building our future. Melbourne: Commonwealth of
Australia-Department of the Environment and Heritage.
Galicia, D. (2013, March 29). National Museum of Natural History. Retrieved from Dominic Galicia
Architects:
http://www.domgalicia.com/search/label/National%20Museum%20of%20Natural%20History
Gražulevičiūtė, I. (2006). Cultural Heritage in the Context of Sustainable Development . Environmental
research, engineering and management, , 74-79.
Hong, S. (2019, May 14). Apple takes over Washington, D.C.'s historic Carnegie Library. Retrieved
from The Architect's Newspaper: https://archpaper.com/2019/05/apple-carnegie-library-
washington-dc/#gallery-0-slide-0
Joglekar, D. S., & Achliya, N. (2018). Adaptive Reuse as an Emerging Trend for Conservation of
Structures . International Journal of Engineering Research, Volume No.7, Issue Special 2, 118-
120.
Mairs, J. (2015, August 26). StudioMilou Converts Singapore City Hall into National Art Gallery.
Retrieved from dezeen: https://www.dezeen.com/2015/08/26/studiomilou-converts-singapore-
city-hall-courthouse-national-art-gallery-cpg-consultants/
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Monuments, P. o. (n.d.). Former City Hall. Retrieved from singaporeinfopedia:
https://eresources.nlb.gov.sg/infopedia/articles/SIP_849_2004-12-17.html
NSW. (2008). New Uses for Heritage Places. Parramatta: Heritage Council of New South Wales and
the Royal Australian Institute of Architects NSW Chapter.
Ragheb, G., Ragheb, A. A., & Ragheb, R. A. (2017). Adaptive Re-Use and Sustainable Development
for Existing Historic Buildings – Case Study: Buildings of Racetrack Horses in Sporting Club,
Alexandria, Egypt. International Journal of Engineering and Technology, 8.
Ramos, N. (2017, October 1). The National Museum of Natural History – How it began. Retrieved from
BluPrint: https://bluprint.onemega.com/begin-national-museum-of-natural-history/
Silva, D. D., & Perera, K. K. (2016). Barriers and Challenges of Adaptive Reuse of Buildings. Institute
of Quantity Surveyors Sri Lanka Annual Technical Sessions 2016 - “Social Responsibility of
Young Quantity Surveyors” (p. 9). Colombo: Department of Building Economics, University
of Moratuwa.
Taylor, N. (1969). National Register of Historical Places Inventory - Nomination Form. Washington:
United States Department of the Interior National Park Sevice.
The Burra Charter: The Australia ICOMOS Charter for Places of Cultural Significance. (2013).
Australia: Australia ICOMOS Incorporated International Council on Monuments and Sites.
Retrieved from https://australia.icomos.org/
The National Museum. (2012, November 30). Retrieved from Official Gazette:
https://www.officialgazette.gov.ph/the-the-national-museum/
The Venice Charter: International Charter for the Conservation and Restoration of Monuments and
Sites. (1981). Venice.
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Traykova, M., & Chardakova, T. (2014). Sustainable Retrofitting of Existing and Historic Building.
Sofia.
Vasko, L. (2014, August 9). Going for Gold: National Gallery Singapore approaches final stages of
construction. Retrieved from The Straits Times:
https://www.straitstimes.com/singapore/going-for-gold-national-gallery-singapore-
approaches-final-stages-of-construction
36

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MAPUA UNIVERSITY

School of Architecture, Industrial Design, and Built Environment

Ley-tle (Little Leyte):

TOBIS, IRA BEN L.

CHAPTER I.2 REVIEW OF RELATED LITERATURE AND STUDIES

CHAPTER I.2.1 RELATED LITERATURE

Based on Burra Charter, a charter which heritage conservationists in the Philippines

Furthermore, “Places of cultural significance reflect the diversity of our communities,

Article 4: It is essential to the conservation of monuments that they be maintained on

Article 5: The conservation of monuments is always facilitated by making use of them

demanded by a change of function should be envisaged and may be permitted.

Article 6: The conservation of a monument implies preserving a setting which is not

color must be allowed.

allowed except where the safeguarding of that monument demands it or where it is

justified by national or international interest of paramount importance.

Article 8: Items of sculpture, painting or decoration which form an integral part of a

According to (Chattaraj & Koner), retrofitting of historic buildings reflects a

conservation. Intervention ought to be reversible so as to give room for better solutions to be

implemented with future technologies. So intervention must be "as necessary as much as

possible, but as little as possible." Temporary measures must be performed to avoid

procedure is tested and arrived at.

ascending order of intrusion in a monumental building are possible:

2. Preservation of existing state

3. Consolidation of the fabric

Conservation through Innovative Construction Technologies for Old and Historic

According to (Traykova & Chardakova, 2014), technological advances provide several

 Provides a minimum penetration resistance and ductility to the overall

technique is very sustainable because it requires minimal materials, whilst

significantly increasing the structure's bearing capacity.

 Are used to reduce damage to structures, mostly by shifting the natural

structural period. Elastomeric bearings (natural rubber or neoprene) and the

requires minimal amount of material, like the post-tensioning process. All of

these facts make the methodology very robust.

reduce deflections. This method is considerably more energy saving than

enhancing existing foundations.

Adaptive Reuse as a Developing Trend for Safeguarding Timeworn and Historic

function, capacity, and performance.

growing demands for buildings while preserving historic building’s prestige.

 Large built up area with

Art and cultural

 Good Location activities

 Open structure allows for Academy of

spaces for public gathering performing arts

Shopping malls  Central location Schools

Shopping  Flexible partitions make it Office

Shop houses functions Restaurant and pubs

 Existing services make it Museum

 Converting a palace into College of art and

hotel is a challenge in terms design

of services required for

 Adaptive reuse of a palace Headquarter of

into a museum is always a community

larger spaces or gardens Community center

According to (NSW, 2008), in order to achieve a successful adaptation, the proposed

for Places of Cultural Significance, 2013):

1. Understand the significance of the place.

thorough analysis will be done.

2. Find a use which is appropriate to the heritage significance of the place.

 Practices or links that contribute to the cultural significance of the place

should carry on.

 Heritage places that have been historically accessible to the community

should carry on its access.

minimal changes in the content, format and environment: