Interior Design
Highlights
of the Judging
Architecture
Painting & Sculpture
“To the winners of the MADE
competition, you are now
vanguards of our cultural
heritage. May you continue
in this never ending journey
towards excellence, continue
to give aesthetic forms to our
living spaces and continue to
create art which inspires and
defines the Filipino nation.”
A
warm congratulations to the winners of the 2013 Metrobank Art & Design Excellence. It is my pride and joy
to see young artists and designers continue to excel and promote Filipino culture. We at the Metrobank Group
believe that arts and culture are the soul of our nation. And as we move towards national development, our artists,
as agents of culture, act as pillars of this development ensuring that our unique cultural identity and heritage remains
intact and will continuously grow hand in hand as we progress as a nation. Culture is the backbone of any society.
Should we want social progress, we need to continue enriching this unique cultural identity. That is why for 29 years we
commit to continuously support and uphold a culture of excellence. To the winners of the MADE competition, you are
now vanguards of our cultural heritage. May you continue in this never ending journey towards excellence, continue to
give aesthetic forms to our living spaces and continue to create art which inspires and defines the Filipino nation.
Let me recognize the invaluable role of our distinguished board of judges and institutional partners, the United Architects
of the Philippines, the Philippine Institute of Interior Designers as well as the special participation of Manila Doctors
Hospital and the Cultural Center of the Philippines for this year’s design competitions. This joint effort to recognize
Filipino artists and designers strengthens the impact of MADE to uplift the standards of artistic excellence and preserve
cultural heritage. Our work towards this common goal continues to intensify as the need to support culture continuously
grows.
With much pride, I congratulate you all!
“Just like precious jewels
valued for their rarity,
you have outshone your
contemporaries and proved
to us that you are the new
gems in Philippine art and
design. It is our honor to
present you and your winning
pieces to the public through
this awarding ceremony.”
Y
ielding diamonds from carbon is truly a rigorous process but the results are gems which value is priceless. We are honored
that the Metrobank Art & Design Excellence (MADE) is now known as one of the most prestigious art competitions in the
country bore out of 29 years of meticulous selection process in order to discover the best gems every year. Together with our
partners and our judges we continuously refine our competition process in order to ensure that the highest standards of artistic
excellence are always met. This year, we celebrate our winners’ as the gems that the competition process has yielded.
First, a warm congratulations to this year’s winners in Painting, Sculpture, Architecture and Interior Design. Just like precious jewels
valued for their rarity, you have outshone your contemporaries and proved to us that you are the new gems in Philippine art and
design. It is our honor to present you and your winning pieces to the public through this awarding ceremony. As MADE winners,
this marks the start of your journey with us towards launching your careers and engaging the rest of society through your alumni
organization the MADE-Network Of Winners.
To our judges in all four art and design competitions this year, our deepest gratitude for sharing with us your expertise and
passion in your specific field. Your inputs greatly contribute to shaping our art & design program. It is always a pleasure working
with such passionate individuals. And to our partners, the United Architects of the Philippines, Philippine Institute of Interior
Designers as well as our special competition sponsors namely the Manila Doctors Hospital and the Cultural Center of the
Philippines – your participation and cooperation in this years competition enabled us to set higher standards. We take pride for
having like-minded institutions as pillars of integrity of our search. Together may we continue promoting Philippine culture in
this global economy.
As we conclude the 2013 competition, we are looking forward to a new beginning. We are closing our 29th year and welcoming
another milestone – our 30 years. Three decades of commitment to Philippine Art & Culture through excellence, education,
exhibition and public exposure. 2014 is a year the art and design industry should watch out for.
DR. GEORGE S.K. TY
Chairman
Metrobank Group and Metrobank Foundation
Mabuhay!
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2013 METROBANK ART & DESIGN EXCELLENCE
ANICETO M. SOBREPENA
President
Metrobank Foundation, Inc.
METROBANK FOUNDATION, INC.
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Painting & Sculpture
Chairperson’s Message:
Painting & Sculpture
Only One Can Be Number One
“Philippine culture owes much
to the strong encouragement
and support given by
Metrobank Foundation, Inc.
to emerging painters and
sculptors.”
By Cid Reyes
A
mode of thinking protests that the world must not be divided between winners
and losers, to which the idea of competition is anathema. To quote: “Competition
is the death of art.” (Dana Gould)
An opposing view, nonetheless, asserts that winners must be recognized and rewarded.
A hopeful reality is that many now-proclaimed winners were once losers who were
inspired to improve themselves and their works. To quote: “Competition is as much as
respecting your opponent’s work as introspecting on your own.” (Faraaz Kazi)
Since ancient times, competitions such as the Greek Olympics for sports, or the
European salon competitions for the visual arts, drew the interest and participation
of many brave-hearted individuals. These competitions were the fiery smithy within
which they submitted their physical or artistic prowess to be forged in order to attain
the purity of their true excellence.
Philippine art history revels in the proud accomplishments of two of our country’s
supreme artists. In the nineteenth century, Juan Luna and Felix Resurreccion Hidalgo,
denigrated as mere indios, proved that they were the equals of European painters,
besting their fair-skinned rivals. It was through art competitions that they proved their
ultimate artistic worth. Indeed, artistic genius must not be decided by the color of
one’s skin.
Credit then must rightfully be given to the institutions that sponsor and conduct art
competitions. Foremost among these is the Metrobank Art and Design Excellence
Awards (MADE) which, impressively, is now on its 29th year.
The recently launched coffeetable book titled “Made of Gold”, and authored by noted
art critic Cid Reyes, is a visible testament to the sustained commitment of Metrobank
Foundation (MBFI) to the visual arts, sculpture, architecture and interior design.
To give reassurance to the next generation of Filipino artists, Chairman George S.K.
Ty – whose vision it was in 1986 to inspire the Filipino youth to rise from the despair
of those uncertain times – categorically stated: “I look forward to the next 25 years of
MADE to show Metrobank Foundation’s unwavering commitment to promote and preserve
Philippine culture and the arts.”
What do we expect then from MADE in the coming years? Reassures MBFI president,
Aniceto M. Sobrepeña: “Metrobank Foundation takes appreciation to the next level,
bringing form and function into a seamless whole and thus creating a while new experience
of the visual arts.”
Many of MADE’s previous prize-winners have made names for themselves, going from
strength to strength, gaining renown they themselves never expected at the beginning
of their career.
F
or close to three decades now, the Metrobank Art & Design Excellence (MADE) National Competition has been at the forefront
in raising the bar of excellence in the Philippine visual arts.
The Competition’s success is clear in the vibrancy of Philippine contemporary art, the remarkable imagination and skill of our
painters and sculptors, the leading role Filipino artists play in regional artistic creation. Philippine culture owes much to the
strong encouragement and support given by Metrobank Foundation, Inc. to emerging painters and sculptors.
The Foundation and its publics like to think that competition winners set an example to their contemporaries in terms of the
heights to which creativity can rise; metaphors and imagery that more effectively convey ideas; and techniques that deliver what
the artist imagines. This year’s competition continues in this tradition. It sought to identify works that stand out in concept,
meaning, communication, and beauty.
It was an honor to again be invited by Metrobank Foundation, Inc. to assist in identifying this year’s most outstanding works.
It was a pleasure to work with such distinguished and committed luminaries, my colleagues on the 2013 Board of Judges for
Painting and Sculpture. Their work has served as exemplar to generations of Philippine artists, just as 29 years of MADE winners
have raised the aspirations of their younger colleagues.
On behalf of the Board of Judges, I wish to felicitate Metrobank Foundation, Inc. on its leadership in the development of Philippine
art and to congratulate the awardees and finalists of the Painting and Sculpture Competitions. May the prize winners’ success
inspire them to even greater success and may their accomplishments serve as example and challenge to Philippine artists
everywhere.
It is a wrong notion to think that artists compete against their fellow artists.
The truth, of course, is that an artist competes, not with others, but with himself, rising
to the challenge and heeding the call of artistic excellence.
And yes: “How can they all be number one? Only one can be number one!” (Jarod Kintz).
Bravo to all the 2013 MADE prizewinners!
DR. JAIME C. LAYA
Chairperson
Take a bow!
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2013 METROBANK ART & DESIGN EXCELLENCE
METROBANK FOUNDATION, INC.
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Grand Prize
PA I N T I N G
ACRYLIC BASED MEDIUM
O N C A N VA S
“Nilay-Nilay”
Alvin D. Florentino
Acrylic on Canvas
48” X 36”
“T
our de force,” meaning a feat of strength, skill
or ingenuity, is the impact generated by “NilayNilay,” a work that seems to have been conceived as
a mystical convergence of conflicting mythical and
Biblical beliefs: the fusion of the masculine and feminine,
the human and the divine, the sacred and the preface.
Indeed, the image detonates in the face of the viewer:
a single solitary figure submerged in a bathtub is in fact
a conflation, a bilateral merging of a male and female
figure. The male figure is undeniably, the crucified Christ,
ironically crowned with a ring of thorns, a nail-pierced
hand emerging, uplifted from the water. The female
figure is a barebreasted woman, sensually depicting
Eve, as evinced by the repetitive images of apples and,
more slyly, the serpent slithering stealthily into the water,
edging towards the Christ-figure, thence colluding
strongly with the suggestion that the man is Adam.
The bathtub is lined with guttering candles, casting
a lambent, purplish glow, evoking Lent, the season of
repentance, while ringlets of rippling water turn into
roses.
As the introspective title suggests, the moment is one
of stillness and contemplation, the ruminating figure/s
assaulting us with questions unanswerable by our
deeply seated tenets. Rich and lavish with low relief
effects verging on excess, the painting disturbs our
thoughts, now provoked and riddled with doubts and
anxieties. Still, the viewer is seduced by its over-the-top
aestheticism.
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Grand Prize
PA I N T I N G
ACRYLIC BASED MEDIUM
O N C A N VA S
“Intercession”
Herbert J. Pajarito
Acrylic on Canvas
48” X 36”
D
riven to abstraction, the artist is possessed of a
genius to intervene between reality and perception,
letting the eye play tricks with the mind. Da Vinci
exhorted artists to study the mysterious stains on ruined
moss-ridden walls, thereby discovering hidden figures
and images. The characters in Shakespeare’s Hamlet
argued over the configurations of the passing clouds, the
massy cumulus suggesting beasts and monsters. In the
emotive drips and ecstatic splatters of Jackson Pollock’s
monumental canvases, the viewer beholds an entire
galaxy and cosmos.
“Intercession” advances the notion that what you see
is what you get, proposed by the celebrated American
abstractionist Frank Stella. The work is as meaningless,
or as meaningful, depending on the fertility or vacuity
of the viewer’s mind. You see things you’ve never seen
before, or you simply draw, literally, a blank. At the outset,
what the viewer perceives is a multitudinous fluttering
of tiny rectangular leaflets, wingless in their delirious
conquering of space, a spangle of confetti irredeemably
charged by the velocity of some unseen force. Only
when the eye scans the entire field does the viewer
perceive the presence of a rectangular shape, curiously
suggesting an altar, almost wispy and apologetic in its
presence.
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Grand Prize
PA I N T I N G
WAT E R B A S E D M E D I U M
O N PA P E R
“Perseverance”
Darby Vincent Alcoseba
Watercolor on Paper
30” X 22”
T
he essential challenge to any artist competing in the
water-based category is easily made known to him:
the medium must, above all else, be served. Indeed, the
qualities of the medium must be made manifest: water
as the abiding element that propels the modulation
of colors and the delineation of forms. Most of all, the
work must never be mistaken for, or could have been
better rendered, as an oil painting. Unlike oils, which are
enriched by opaque layering, watercolor, a transparent
medium, is a demanding, unforgiving material, instantly
revealing an errant or confused wavering brushstroke or
hue.
Indeed, from a variety of water-based works calculated
with dazzling effects, “Perseverance” was not an
immediate, obvious choice. True to the nature of
watercolor, the qualities of the work emerged slowly,
made luminous and transparent not least through the
jury’s astute and perspicacious analysis of the competing
short-listed works.
The subject of “Perseverance” itself was nearly effaced
by its uncompromising abstract quality. Truly unexpected
was the subject of a window-cleaner hanging
vertiginously from the dizzying heights of a glass and
concrete edifice. Masterfully, the artist orchestrated the
various gradations: reflections of skies against glass
panes, and the image of the anonymous windowcleaner, submerged in the play of light, verily like the
pop hero Spiderman.
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2013 METROBANK ART & DESIGN EXCELLENCE
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11
Grand Prize
SCULPTURE
“Bulalas”
Merlito V. Gepte
Clear Resin, fiber glass
22” X 15” X 22”
T
echnically a sculptural bust “Bulalas” turns sculpture
on its head, if not quite literally, at least in intent.
The countenance is that of a specific person, but in
the manic intensity of the moment of portrayal – of its
physical molding – a depersonalized, but archetypal and
universal quality is communicated. One can regard it,
by turns, as a mockery, or as homage to Edvard Munch’s
“The Scream.” The sense of reality is intensified by the
three-dimensional nature of sculpture. In “Bulalas”, one
is confronted, in immobile state, by the visage of a man
suggestively corpulent, driven to a hysterical state of
anguish and pain. The veins, fairly pulsing against tautly
stretched skin, are brought to a near bursting point.
The ferocity of the scream can be gleaned from the
harrowed grimace and the folds of facial muscles puffed
out and overloading the visage.
The surprise of “Bulalas” goes beyond its hostile
appearance. At the press of a button, the visage splits
wide open, revealing a glass bulb within which contains
the image of an atomic explosion mushroomed into
a crown of tree, its roots burrowing deep down into
sempiternal earth. Thus, the sculpture partakes of a
theatrical drama, hinting at the eventual apocalyptic
destruction of humanity. To be sure, it is a novel decision
on the part of the sculptor, in a way pandering to the
viewer’s morbid curiosity at both the nature of sculpture
and of man.
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2013 METROBANK ART & DESIGN EXCELLENCE
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13
Board of
Judges
Painting &
Sculpture
Dr. Jaime C. Laya (Chairperson)
is Chairman and President of
Philtrust Bank, Independent Director of Ayala Land, Inc., GMA Network, Inc.,
Philippine AXA Life Insurance Co., Inc., Philippine Ratings Services Corporation,
and other corporations, and Trustee of the Cultural Center of the Philippines,
De la Salle University, St. Paul University - Quezon City, Ayala Foundation,
Inc., Fundación Santiago, Museo de la Salle, Metropolitan Museum of Manila,
Yuchengco Museum, and other educational, charitable and cultural institutions.
He writes a weekly column on Philippine life and culture in the Manila Bulletin.
His career has been in academe, the public service, and professional practice.
Among others, he has served as Minister of the Budget; Minister of Education,
Culture and Sports; Chairman of the Monetary Board and Governor of the
Central Bank of the Philippines; Dean of the College of Business Administration,
University of the Philippines. After he left government, he founded the
accounting and auditing firm that was the country’s third largest upon his
retirement in 2004.
He maintains an interest in culture and the arts and concurrently with other
responsibilities, was Action Officer of the Intramuros Administration (197986) and Chairman of the National Commission for Culture and the Arts (19962001).
He holds a B.S.B.A. (magna cum laude) from the University of the Philippines,
M.S. from Georgia Institute of Technology, and Ph.D. (financial management)
from Stanford University.
Julie Lluch
Cid Reyes
The transformation of a lowly and ignored raw material into emotionally breathtaking
works of art can only be accomplished by an artist of formidable determination and talent.
Julie Lluch brought the Philippine indigenous clay, terracotta, to the level of unexpected
artistry.
How does one find the time to do all the things one needs to do? Definitely a multi-tasker
Cid Reyes is an artist-critic with an impressive body of works in both fields. As an artist,
he has held 18 solo exhibitions. A prolific writer, he has produced over 500 reviews and
essays, notably for his decade-running art column, Gallery-Hopping. Reyes is the author
of a book of interviews, Conversations on Philippine Art, published by the Cultural Center
of the Philippines. He has written coffeetable books on four National Artists, namely
Arturo Luz, J. ELizalde Navarro, Bencab (co-authored with Krip Yuson), Napoleon Abueva
and other prominent artists such as Augusto Albor, Charito Bitanga, Valeria Cavestany, Lao
Lianben, Dr. Gregorio Lim, Malang, Romulo Olazo. He also co-authored Herencia: The BPI
ART Collection and Tanaw: The Central Bank Art Collection.
Her ideologically informed works of sculptured women performing various domestic chores,
mostly auto-biographical in origin, are sharp feminist commentary on the circumstances of
women’s lives. Her later works deal with spiritual themes, particularly the Christian paradox
of death and rebirth, faith and vulnerability as depicted in her praying women series.
Julie has represented the Philippines in important exhibitions abroad such as: the First
Asia-Pacific Triennial in Brisbane, Australia; the Third Asian Art Show in Fukuoka, Japan;
Asian Modernism in Indonesia, Malaysia, Tokyo; Clay and Fire International Clay Sculpture
Exhibition in Korea, and Federation of Asian and Latin American Countries (FEALAC) Show
in Manila.
In the recent past, Julie Lluch has been occupied with public sculpture commissions among
which are the monuments in bronze of Carlos P. Romulo on UN Avenue, Manila; of Arsenio
Lacson, Ninoy Aquino, and Emilio Javier, Plaridel monuments on Roxas Blvd., Manila,
commissioned by the city of Manila, and the monuments of Chief Justices Jose Abad-Santos
and Cayetano Arellano, commissioned by the Supreme Court of the Philippines on Padre
Faura St., Manila, Pres. Manuel L. Quezon monument in Quezon Province and others.
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2013 METROBANK ART & DESIGN EXCELLENCE
His “Abueva” book won the 2011 “Anvil” Award of Excellence, presented by the Public
Relations Soceity of the Philippines. “The Life and Art of Lee Aguinaldo” which Reyes coauthored, won the Alfonso T. Ongpin Best Art Book, awarded in 2012 by the Manila Critics
Circle and the National Book Development Board (NBDB).
Reyes is also the author of “Made of Gold,” which celebrates 28 years of the Metrobank Art
and Design Excellence Awards (MADE).
He studied Painting at the Academia di Belle Arti in Rome as an Italian government
scholar. He took up courses in Art History at City Lit Institute, London.
For two consecutive years (2002-2003) Reyes was chosen Art Critic of the Year by the
Manila Art Quarterly. In 2004, he was a Hall Fame Awardee in Art Crticism. Reyes has also
received a Best in Art Criticism Award from the Art Association of the Philippines (AAP).
Reyes is also Chief Operations Officer and Partner at Well Brand Communications, Inc.
He received a Lifetime Achievement Award for Creativity from the Creative Guild of the
Phils.
Elmer Borlongan
As a young man he idolized many admirable figures – his father, a chemist
who was interested in sculpture; artist and inspiring teacher Fernando B.
Sena; painter–illustrator Danny Dalena; expressionist Onib Olmedo; painterprintmaker Nestor O. Vinluan – and now he has become an idol himself,
admired by painters younger that he.
Joe Datuin
With his now instantly distinguishable style, Elmer Borlongan previously won
twice in the Metrobank National Painting Competition, placing second in
both (1988, 1992). In 1993, Borlongan had his first solo exhibition, entitled “Aki”
(Bicolano for “child”) at Boston Gallery in Quezon City. A volunteer teacher to
street children in Palanan, Makati at that time, Borlongan drew their world.
Right across the Rizal Monument thousands of vehicles, park strollers and tourists
daily pass and notice two large stainless steel sculpture gleaming in the sun. They
are entitled “Dancing Rings” and “Ang Bagong Pinoy.” They are the works of Jose
Datuin,
contemporary Filipino sculptor.
Other exhibitions followed: “Mauway” (1999), “Teritoryo” (2002), and “Joyride”
(2005) at Boston Gallery, “God Bless Our Trip” (1994) and “Deboto” (2003) at West
Gallery in Mandaluyong City, “Barangay” (1995) and “A Decade of Drawing”
(2001) at Anita Gallery at CASA San Miguel in Zambales (1995), “Tagapagmana”
at Hiraya Gallery in Manila (1995), “Lifeline” at Drawing Room in Makati City
(2000), “Rocking Horse” at 1/of Gallery at Taguig City (2006), “Ordinary People”
at Orange Gallery in Bacolod City, Negros Occidental (2009), “Ditoy Ili Mi (My
Town)” at Sitio Remedios in Currimao, Ilocos Norte (2009).
In the last decade, Borlongan ventured into photography, shooting in film and
digital.
Eghai Roxas
Like a true, compliant artist, Eghai Roxas is a man of many talents. He is a painter,
percussionist and performance artist. He is a product of the University of the Philippines,
College of Fine Arts, major in Painting. A founding member of Kaisahan, a social realist
movement in 1970’s, Roxas painted in a vigorous proletarian manner, while privately
forming his aesthetic idiom and gestural abstraction. After a period of reflection and
travel abroad, he reemerged in the 1990’s as an active champion of abstract illusion.
Roxas represented the Philippines in the 22nd International Art Biennale held at Sao
Paolo, Brazil, selected by the National Commission for Culture and the Arts. He received
citations from several award-giving bodies. The 1994 Diwa ng Sining Awards named him
as one of the Ten Outstanding Artists; Juror’s Choice at the 1994 Philip Morris Art Awards;
an award winner for the non-representational painting category at the prestigious 1997
Art Association of the Philippines Annual Art Competition. He held several series of solo
exhibitions and participated in many group shows mounted in the Philippines; GSIS
Museum, National Museum, Vargas Museum and the Cultural Center of the Philippines
and also in the United States and the European Union. He served for eight years as a
member of the Board of Directors of the Art Association of the Philippines (AAP).
Roxas also expresses his art through performance and music. An environmentalist by
heart, he heads the Visual Art Department of Dakila’s Climate School Project. He also
works as an art consultant and curator of selected art events and exhibitions. Roxas lives
and work in Quezon City, Philippines.
Datuin is known for his abstract works in metal, one of which won the grand prize
in a contest sponsored by the International Olympic Committee. Some of his
works are displayed in the National Museum of the Philippines, the GSIS Museo
Ng Sining, and in different Philippine embassies and consulates throughout
the world. He specializes in stainless steel sculpture created mainly from simple
forms like rings and spheres. He considers the arrangement of the rings from all
points
of view carefully before finalizing the design of a piece.
His prize-winning piece for the Olympic Committee is composed of five rings, in
allusion to the Olympic symbol. These are arranged dynamically around a sphere.
The fluid arrangement of the rings suggested the form of a dragon, appropriate
to the Beijing Olympics.
Ronaldo Ventura
If any Filipino artist can be said to have put Philippine art on the global map,
there is no question that credit must go to Ronald Ventura. Proudly a Metrobank
winner, Ventura is a phenomenal success in the Asian auction houses a fact that
undeniably confirm his exalted stature.
Maximizing the vast exposure he received as a Metrobank awardee. Mr. Ventura
chalked up one award after another on the heels of achievement in the
professional circuit. Aside from being the Juror’s choice in the Winsor and Newton
Painting Competition, he was a finalist in the Taiwan International Biennial Print
and Drawing Competition in 1999, was honored as the Juror’s Choice in the Philip
Morris Philippine Arts Awards in 2002, and was conferred the prestigious Thirteen
Artists Award by the Cultural Center of the Philippines in 2003. On top of these,
he received a Studio Residency grant to Sydney, Australia from the Ateneo Art
Gallery.
Aside from Ronald Ventura, Metrobank Foundation has recognized and assisted
two of his brothers: Rolando Ventura (3rd prize winner for Watermedia on Paper,
“Couple” in 2000) and Roldan Ventura (2nd price winner for Watermedia on Paper,
“Wired” in 2003).
METROBANK FOUNDATION, INC.
15
Architecture &
Interior Design
Chairperson’s Message:
Interior Design
“As I looked at the entries
during the judging, as an
Architect, I was reminded
of a statement I usually tell
my architecture staff when
reviewing their work, “Let the
Interior Designer figure that
out because they are better
at this than architects” and
indeed they are.”
Crafting Icons
By Dr. Gerard Rey Lico
T
he Metrobank Art & Design Excellence (MADE) competition in the field of architecture
and interior design this year seeks to reshape the Filipino built environment by
engaging young designers in conceptual design inquiry that solicits solutions drawn
from the understanding of both culture and tourism.
The architectural design problem required participants to conceive an international
cruise port terminal at the Cultural Center of the Philippines as a cultural gateway within
the bayfront development that will promote Philippine arts and culture and catalyze
urban transformation and economic productivity through an iconic and sustainable
architecture that is distinctly Filipino. The architecture competition was open to a team
composed of two to four licensed Filipino architects, who are members of the United
Architects of the Philippines with ages 25 to 50.
The interior design competition springboards from healthcare design and medical
tourism with emphasis on the application of the 5R design principles – restore, respect,
reduce, reuse, and recover – to craft an innovative, creative, and functional interior. For
this interior design intervention, the Manila Doctors Hospital’s lobby and its auxiliary
public spaces were identified to create an ambience “that exude a pleasant and
peaceful atmosphere in the interior design setting, but strongly project the business
and services of the establishment.” The competition welcomed entries from individuals
who are registered Filipino interior designers with ages 25 to 45.
The thematic route taken by the competitors for architecture and interior design was
paved with site-specific constraints and the dilemma of threading the elusive path
of Filipino identity, which necessitated a range of design manoeuvres and modes of
analysis: from adaptive reuse to contextualism, from biomorphism to geomorphism,
from water allusions to weaving metaphors, among others. The resulting conceptual
strategies for the built environment are cunning and provocative, envisioning a Filipino
designed space that are not aesthetically pleasing but are theoretically grounded as
well.
A
s the profession of building and designing gets more complex and as projects and clients begin to demand the
highest level of service, expertise and integrity, Interior Design has continued to advance and progress to a point where
it should soon be considered a science. This complexity calls for the development of multi-faceted Interior Designers who
are not only purveyors of good taste and style, but who are also behaviorists, theoreticians, business men and sometimes
engineers.
This is most evident in the entries for this year’s MADE Interior Design Competition this year. The problem was complex to say
the least and yet instead of ignoring the different design parameters, the entries showed solutions that were both innovative
yet maintain a level comfort and safety that is appropriate in hospitals. To those who submitted and to the winner, I offer my
heartfelt congratulations.
As I looked at the entries during the judging, as an Architect, I was reminded of a statement I usually tell my architecture staff
when reviewing their work, “Let the Interior Designer figure that out because they are better at this than architects” and indeed
they are.
Congratulations to the winners of this years MADE Interior Design Competition!
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2013 METROBANK ART & DESIGN EXCELLENCE
ARCH. DAN LICHAUCO, UAP
Chairperson
METROBANK FOUNDATION, INC.
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Grand Prize
INTERIOR DESIGN
“Habi”
IDr. Anne Astrid Sangil
Interlacing the Fibers of Healthcare and Culture
T
he interior design winning entry “Habi: Weaving the Best of the Philippines” threads the matrices of
healthcare tourism and cultural advocacy in its neovernacular approach to remodelling and rebrand the
public spaces of the Manila Doctor’s Hospital (MDH), a tertiary medical institution established in 1956.The Manila
Doctor’s Hospital now caters not only to medical needs of local residents but serves international clientele as
well. Positioning itself as a global healthcare provider, MDH plays a key role in the active promotion of the
Philippines as a destination for medical tourism. This orientation necessitates the appropriate design aesthetics
and corporate image for the hospital as an institution that elevates medical care and cultural promotion in
the realm of interior design, a transformative intervention akin to designing hospitality architecture and hotellike environments. The area involved in the design makeover are the public spaces at the ground floor of the
hospital, primarily two lobbies which can be accessed either from United Nations Avenue or T.M. Kalaw Street.
The lobbies are linked by the long axial double-loaded corridor and auxiliary spaces.
“Habi”pays homage to the Filipino tradition of weaving in the manner of executing interior design intervention.
Here, the materiality, techniques, and processes of fibroconstructive technology of weaving–– the primeval
origin of architecture and construction -- is revisited as a fountainhead of design inspiration and analogic
trajectory. Patterns and techniques of weaving in varying degrees of interpretation and internal application
endeavour to animate the sterile hospital lobby and hallways by transforming it into soothing and elegantly
austere environment that maintains the clinical efficiency.
UN Avenue Lobby Perspective, Manila Doctors’ Hospital
The motifs of weaving are explored and appropriated to its fullest extent with liberal evocation of native fibrous
material: the vibrant hues and formal arrangements found in multi-colored glass inserts are applied on the
stair railing and wall detailing; Customized wall sconce are covered with indigenous textile and clusters of the
same colored glass dangle; floor tiles are cut and configured to simulate the cheveron and diamond pattern
of traditional ikat weaving; the patterns from rattan-weave interlacings or solihiya are embellish the laser-cut
permeable dividers and woven perforated aluminium panels; custom-made sofa and chair have cushioned
seats that are upholstered leatherette and fabric with stylized print of indigenous textile, while chairbacks are
structured with rows of randomly angled bamboo pole; radiating lines emulating the radial venation of anahaw
palms (Livistona rotundifolia) become cunning articulations for the accent walls; vertical rows of wood strips,
alluding to the series of threads being woven in a loom, add dimensionality to the lower segment of window
counters.
Efficiency of layout that ensures the uninterrupted traffic flow of hospital staff and patients is given primacy
by providing more waiting areas to avoid overflow of visitors in critical areas. Improved way-finding system
accomplished through evenly distributed color-coded signage allows patients to independently navigate
through the various spaces of the hospital. The maintenance of hygienic is warranted with interior finishes
that are low maintenance, easy to clean, and readily replaceable. Instead of standard wall paints and tiles,
durable polished natural stone and aluminium cladding are the material of choice in the quest for sanitary
maintenance. Carpet tiles, employed for small areas, are preferred over broadloom carpets. Coved surfaces are
avoided so that dust and dirt will not accumulate. The design is committed to dispense an aesthetic aura
within the hospital environment that facilities mental relaxation and physical recuperation by considering the
psychological effects of color, texture, and illumination vital in the healing process.
The introduction of radiant illumination and airy ambiance to create overall Filipino sense of transparency
known as “maaliwas” in the otherwise grim and claustrophobic hallway is attained by the placement of mirrors
strategically near the source of natural light to deflect light within the enclosed space. Perforated panels
with solihiya pattern not only allows the partial penetration of light but cast distinct formation of shadows.
Endowing the space with organic presence, indoor plantscaping primarily of palmera and sanseveria types are
incorporated to soften and give life the confined space.
Overall, the orchestration and distribution of interior elements over the spatial given coalesce, contributing
to an air of calm and serenity. The atmosphere summoned by this aesthetic manipulation may hold special
healing properties and soothing effect to calm the shaken spirits of the sick especially as one walks through the
halls to face the ordeal of surgery, or even just to visit a confined relative.“Habi”has successfully woven together
a strand of design solutions to craft of an indoor spatial fabric that rejuvenates the body and concurrently
celebrates Filipino culture.
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2013 METROBANK ART & DESIGN EXCELLENCE
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Board of
Judges
Interior Design
IDr. Antonio Adriano, fpiid
Arch. Dan Lichauco, uap (Chairperson)
Arch. Daniel A. Lichauco completed his Bachelor of Science in
Architecture at the University of Santo Tomas. He holds a Master’s
Degree in Architecture focusing on Architectural Design and Theory,
as well as a Master’s in Urban Planning, major in Urban Design both
from the University of Michigan. He also has a Master’s Degree in
Architecture specializing in Classical Architecture and Classical Urban
Design. Arch. Lichauco has been involved in numerous educational,
healthcare, institutional and commercial projects, among them are
the Aquino Center in Tarlac, The Medical City Hospital in Ortigas,
and the Ateneo Professional School in Rockwell Center. Many of
these projects were featured in various publications, attesting to his
excellence in design. He has received numerous awards and citations
recognizing his works and advocacies. Arch. Lichauco is the principal
of Archion Architects, a firm he founded in 2000.
Arch.-IDr. Kathryn Abaño, uap, piid
Arch. Kathryn Abaño comes from a background of both architecture
and fine arts, obtaining a degree on BS Architecture from the University
of the Philippines-Diliman and a Bachelor of Fine Arts in Painting from
the same university. Currently a member of the PRC Board of Interior
Design and Chairperson of the CPE Council for Interior Design, Arch.
Abaño is an architect and interior designer by profession, placing 7th
on the Architect’s Licensure Exam of her batch. As principal architect
and interior designer for Ambience Design Services Studio, she has
numerous residential, commercial and retail projects under her
auspices.
IDr. Antonio Adriano graduated from the University of Santo Tomas
with a degree in Interior Design. Coming from a furniture business
owning family pioneered by his grandfather, IDr. Adriano began
his affinity with Interior Design at a young age when his parents
taught him, along with his other siblings the rudiments of furniture
craftsmanship. On becoming the head of his own atelier, he soon
expanded his horizon to become one of the country’s foremost
interior designer with works ranging from exclusive clientele like the
hand carved papal chair used by Pope John Paul II in his visit in the
country in 1981 and 1995, the king of Malaysia, Ambassador of the UAE
and the Vice President of the Philippines at the Coconut Palace. He is
also an active convenor of trade shows and conventions that promote
Filipino furniture, especially for the Philippine Institute of Interior
Design, Product Development Center of the Philippines and The
Center for International Trade Exposition and Missions, Inc. He is also a
furniture consultant appointed by the United Nations for determining
improvements in world trade relations among member countries. He
was awarded the Most Outstanding Professional of the year, in the
field of Interior Design in 2011 by the PRC.
IDr. Jie Pambid, piid
Arch. Rogelio Caringal, uap, piid
20
2013 METROBANK ART & DESIGN EXCELLENCE
Arch. Rogelio D. Caringal is a holder of BS Architecture degree from
the University of Santo Tomas College of Architecture and Fine Arts
and a Master’s Degree in Management major in Public Administration
from the Philippine Christian University. His career ranges from a
building manager, educator, curator, architect and interior designer.
As a building manager, he is the Division Chief for the Allied Services
Division for the Philippine Heart Center for 16 years. Also in the
Philippine Heart Center, Caringal also chairs the Philippine Heart
Center Art Gallery Committee. As an educator, he is an Assistant
Professor from the College of Architecture of the University of Santo
Tomas since 1997. In his spare time, he practices privately as an
Architect and Interior Designer, since 1984 and 1994, respectively.
At present, he is the President of the Philippine Institute of Interior
Designers and the Executive Director of the Sentro ng Arkiteturang
Filipino of the United Architects of the Philippines.
After receiving his degree in Psychology from the University of Santo
Tomas, IDr. Jie Pambid studied interior design at the Philippine School
of Interior Design, where he graduated in 1993 with highest honors.
He then took the National Licensure Examinations in Interior Design
in 1994 and placed 1st in the ranking. He embarked on a teaching
career that same year and two years after, in 1996, he established
his own design office, the JPLake and Associates, with partners from
PSID. While the firm prospered, concentrating mostly on residential
and commercial projects, Pambid ascended the academic ladder
by becoming the Assistant Dean of the Philippine School of Interior
Design in 1997. After serving as Dean of Students Affairs of PSID
(2000 – 2006), he currently holds office as the Academic Director and
Director for External Affairs of the same institution and the Academic
Head of the Ahlen Institute – PSID. He is now the Creative Director
of his own firm, JPLake and Associates Interior Designers and Space
Planners. On his spare time, he conducts interior design seminars
for the Ayala, the Philippine Daily Inquirer and the Mega Publishing
Group, Jollibee and among others. From 2010 to May 2013, he served
as the Editor- in-Chief of My Home Magazine.
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“This year’s entries reflect
current design trends
but respond to social
undercurrents that make
architecture more humane
and relevant to the 21st
century Philippines. It is
encouraging to see from
the 2013 entries that indeed
architecture is among the
pillars of nation building.”
N
ew directions and new thinking are what the Metrobank Art and Design Excellence National Competition (MADE)
seeks to bring out among young practitioners, and the 2013 entries did not disappoint. Entries were inspiring
examples that the architecture profession in the Philippines looks squarely into the 21st century while keeping its roots
planted in our national culture. Each entry approached the design problem in a different manner, marrying technology
with sustainability, and above all, showing a sensibility in planning that allows the expression of Philippine culture – in the
sequencing of spaces, provision waiting areas large enough to accommodate groups of well-wishers, areas with dining
and refreshment amenities, and re-interpreting traditional Philippine influences within contemporary architectural
vocabulary.
Each entry went beyond solutions that were stand-alone structures disconnected to culture, lifestyle, and urban context.
A few entries acknowledged the need to preserve national architectural heritage by adaptively re-using rather than
demolishing an existing heritage structure on the assigned project site. Outstanding was the fact that many entries
went beyond the parameters of the given program to design a cruise ship and ferry terminal by opening parts of
the structure for public use, providing needed open space to decongest Manila, a gesture that integrates, rather than
isolates, architecture from the people.
Not only does the MADE National Competition search out the new architectural consciousness, the 2013 entries
illustrate changes happening in architectural thinking. This year’s entries reflect current design trends but respond to
social undercurrents that make architecture more humane and relevant to the 21st century Philippines. It is encouraging
to see from the 2013 entries that indeed architecture is among the pillars of nation building.
“Agos”
Arch. Jason Romeo Abustan Main Entrant
Arch. Anne Lorraine Caban
Arch. Jonathan Sadorra
Navigating Currents of Filipino Culture
I
n a design brief that endeavors to reprogram and reinvigorate the harbor front of the Cultural Center of the Philippines
Complex as gateway for tourism with an iconic architecture that celebrates Filipino identity, the design schema of
architects Jason Romeo Abustan, Anne Lorraine Caban and Jonathan Sadorra is generated from the conceptual lynchpin
“Agos.” A departure from the angular and monumental rectilinear volumes characteristic of the Bagong Lipunan modernism
prevalent in the CCP Complex, Agos embraces the future with a fluid and seamless geometry. Agos seemed to maneuver
itself to dispense the “Bilbao effect”– that would render the reclaimed landscape fronting Manila Bay with splashy centerpiece
architecture and scenographic manipulation directed towards urban regeneration through cultural tourism and creative
industries.
Due to the topography of the site and the requirements for the use of the building, the solution was to use water as a
design principle. By observing its characteristics and qualities, it was seen as a conceptual basis in developing the form of the
building. After numerous experiments and surveys of the features and attributes of water, it was determined that it is possible
to develop a design principle based upon its inherent qualities. The overall architectural form is generated from the concept
of “agos” or the fluid and hydraulic motion of water that translate into a sinuous and uninterrupted flowing geometry. The
notion of “agos” also implicates and transoceanic movement and water navigation that brought many settlers and colonialist
to the Philippine archipelago via the sea vessels -- Austronesian balanghai and colonial galleons -- thus, shaping historical
development and cultural plurality of the Filipino nation.
Working with water as a conceptual basis is a challenge in this respect -- the landscape, form, circulation, and interior
space were designed as a result of the characteristics and fluid behavior of the water. Waved walls and serpentine roofs are
asymmetrically arranged to visually simulate fluidity and viscosity in non-Cartesian solids. Despite the apparent simplicity,
the building would be fiendishly complicated to erect – necessitating the construction of long and thin
ribbons of undulating forms with its seamless expanse of concrete.
The elevation is created from a complex agglomeration of soft non-Euclidean forms rising and
falling to create public spaces beneath the structure and concave park-like setting above ground.
Remarkably, the building envelope is formed from interlocking and interweaving thin strips of
curving concrete, in which holes of varying sizes form courtyards and light wells. From afar, the
gracefully ascending and descending planes looks like pieces of delicate fabric that has been laid
upon the site, buoyantly levitating and billowing as it settles. Green roofs, overlaid on filter
membranes, are placed on the wavy forms that provide opportunity to enmesh the structure
with an environmental filter and create verdant landscaped promenade.
The smooth fluctuating planes formed by walls, roof, and operable transom windows lend
the building with aerodynamic properties appropriate to coastline context and allows for
better internal ventilation, indoor illumination, and the projection of shades and shadows
which effectively naturally cools the building.
The vertical planes are clad in synthetic limestone build while wall openings are sealed with
tinted glass panes secured by grey powder-coated aluminum cladding. To mitigate the vast
and monotonous expanse of concrete walls, ornamental geometricized patterns culled from
indigenous motifs of traditional tattoo and autochthonous folk textiles such as binakol and ikat
are incorporated as accents via skylights, columns, walls, and landscaping elements to pay tribute
to Filipino culture.
The interior is bathed in light penetrating from the skylights and laterally from the slits created
by amplitude of the curvilinear roof system. Lighting fixtures of graduated heights are clustered
to form sharply truncated rectangular mass reminiscent of the interior volumetry of neighboring
buildings within the complex.
The building programs goes beyond the predictable bend of cultural facilities extant in the country
composed primarily of a catalogue of galleries and offices to include a philosophical prerequisite to
engage the community -- making the architecture a vessel for an ever-evolving cultural transformation
and striving to craft the physical setting and spatial arena that will accommodate and inspire Filipinos
from all social stations. If fully realized, the building is destined to be a source of immense civic pride -- a
vibrant catalyst in rebranding Manila as a cultural destination in Asia and sustaining the cultural life and
memory of the “City of Man.”
ARCH. AUGUSTO VILLALON, FUAP
Chairperson
22
ARCHITECTURE
Grand Prize
Chairperson’s Message:
Architecture Competition
2013 METROBANK ART & DESIGN EXCELLENCE
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Grand Prize
24
2013 METROBANK ART & DESIGN EXCELLENCE
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25
Finalist
“Exodus”
Arch. Laurence Angelo Angeles
Arch. Norbert Cornelius Batangan
Main Entrant
Arch. Jaycee Gopez
“Pearl of the Orient” Arch.
Arch. Don Quintin Lino III
Leandro Jose Magat
Main Entrant
Arch. Ronald Romero
An Exit Strategy to Embrace the Future
Extracting the Cultural Core
T
I
he pivotal role of architecture to jumpstart the urban regeneration process of a once gritty foreshore landscape is
explored and experimented on by a team of young architects composed of Norbert Cornelius Batangan, Lawrence
Angeles, and Jaycee Gopez through their bold design stratagem entitled “Exodus” that juxtapose the adaptive reuse with
architectural iconography derived from rock formations. This provocative juxtaposition of unrelated forms is generated from
a profound philosophical reflection and morphological investigation of the existing conditions of site in both architectural
and non-architectural parameters. Exodus was not borne out of physical references, of metaphors, or symbols. Instead,
provide novel modes of understanding iconic references; dispense a new interpretation of metaphors; and, crafting new
manifestations of symbols. Exodus interconnects and integrates, binding idea to stitch unrelated parameter to maintain
coherence of design in all scales.
The extant structure of the Folk Arts Theater is a springboard of an exit strategy, where it becomes an artefact of
adaptive reuse that will introduce a new civic life to the underutilized area of the complex. The resulting architectural
composition engulfs and grafts series of surfaces borrowed from existing historic building in order to interface the
past with the present. The design team’s fascination with raised volume typology of the vernacular Filipino house
has maintained the essential buoyant properties of the cantilevered mass elevated by series of triangulated
columns of the Folk Arts Theater. All the partitions inside the Folk Arts Theater was levelled to ground create
an open plan that will encourage public congregation and at the same time enhance pedestrian circulation
with a sequence of cultural promenade leading to the terminal building of the cruise port. Originally
possessing a grim and cavernous atmosphere, the interior metamorphosed into space that evoked the
aura of a lush tropical forest through a combination of indoor trees and a series of slim pilotis supporting
the mass of the buoyant roof which have been punctured with a circular atrium at the center to allow the
penetration natural illumination and a sense of transparency within. Through the adaptive re-appropriation
of the existing Folk Arts Theater, the programmatic requirement for a new terminal building is remarkably
reduced. The optimization of spaces to maintain the intimate and compact arrangement of spaces within
the structure also reduces unessential spaces. Operational expenses for utilities are at the minimum since
concessionaires will rely mostly on daylight and natural ventilation.
The terminal building is an intriguing structure that professes allegiance to the natural world by alluding
to topographic structures expressed explicitly in the furrowed and striated surfaces that mimicked the
random grooves and angles formed by the unpredictable forces of plate tectonics. The terminal building is
composed of a textured concrete and contoured stratification that appear as if it were sculpted by nature.
The external articulation of building skin, especially its texture, transcends the conventional not only for it use
of recycled materials but also its potential to be a didactic and intuitive architecture empowering the users
to engage and interact with the building through spatial improvisation within the whimsical voids and niches
carve into the overall massing. Here, guests can have a rather unique experience while they look out through the
setback windows, and feel like they are inside a very bright and well-lit primeval cave. Externally, the set-backs of
the windows and passageways resemble giant rock formation with random interior cavities and deep recessions,
which may become inviting nooks or intimate caverns for private conversations or self-reflection.
26
ARCHITECTURE
The design proposal expounds on the potential and audacity of interfacing adaptive reuse strategies with the
complex geometries energized by the metaphor of randomness of nature and the captivating unpredictability of
geologic forces. The architecture becomes an agent for urban amelioration, reinvigorating a once overlooked urban
landscape into a much sought-after destination for cultural tourism.
2013 METROBANK ART & DESIGN EXCELLENCE
n the quest to extract the essence of Philippine culture and icons of modernity at site, the team of architects constituted
by Don Lino, Leandro Jose Magat and Ronald Romero prescribed for the Cultural Center of the Philippines cruise port and
waterfront development an architecture that took inspiration from the oyster concealing a beautiful pearl within.
Finalist
ARCHITECTURE
Rejecting the predictable allure of rectilinear modernist architecture and Euclidean symmetries, the morphogenesis of the
edifice is based on the contours and internal arrangement of pearl-producing oysters. The biomorphic design trajectory
emanates from the judicious methodical inquiry of the oyster’s physical morphology, its potential to animate the building
with a narrative of spatial sequences while at the same time adopting the familiar architectural idiom of existing structures
within the site. Aptly named “Pearl of the Orient,” the resulting building is a single-minded statement to efficient solution
generated from explicit evocation of nature.
The design is an iridescent architectural gem yielding to the biomimetic approach. Imaginatively, in the
pursuit of urban renewal and cultural tourism, the team dissected the bi-valve mollusk to understand the
intricacies of its morphology and cunningly transcoded these properties into built form. The iconographic
distillation are made to manifest beyond the mere visual but preoccupies the visceral experience through the
accretion of layered spaces and routes of circulation that terminates to a spatial climax – a sequential
process akin to how the series of nacre lines accumulates through time within the interior of the
shell to produce the precious pearl. The structure’s overall massing appears warped with edgeless
transitions between surfaces and interior and exterior surfaces irregularly articulated segmented
lines, asymptotic tilts and torquing forms.
The building assembles two non-rectilinear concave planes that envelopes a core – an open plaza
for public congregation and urban civility. The designers developed the warped and irregular
surfaces seen in the canted and seriated forms resulting in a series of structures that posses a
distinctive figuration, a counterpoint yet contextual in the overall Cultural Center landscape that
are replete with modernist boxes. The building is bent and twisted to take advantage of the vistas,
reflect topographic conditions, and made to conform to the prevailing wind patterns. The solidity
of elevation facing the neighboring cubic buildings is reinforced for contextual consistency, while
the elevation oriented towards the sea is made permeable to offer tantalizing glimpse of the interior
space to the arriving sea vessels.
The crisscrossing of the dual concave form and the intertwining of landscape, light, and harbor view
establish multiple routes of exploration that engages the body to experience the space and the parallax
of unfolding space at every turn. The interior spaces convey a spiraling route – conveying the idea of
fluidity and mobility.The dynamic space is designed to pull the visitors through the space that culminates
into the galleries where artifacts of culture are showcased. Working against the rigid imaginary grid, the
visitor’s meandering circulation and pace are undeniably well-orchestrated yet not overemphasizing
the strict museological story line. White walls unify the surfaces but produce different tones depending
on the type of light: translucent and transparent glass and direct and indirect natural light provide a
variety of illumination necessary for the display of cultural artifacts.
The “Pearl of the Orient,” imbued with attention-grabbing imagery, holds the seductive power that
will help fuel the aspiration of the Philippines towards architourism. Its spectacular biologic presence
and inventive ways of rethinking critical architecture will surely reinvent the identity of the country in the
cultural tourism circuit.
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27
Board of
Judges
Architecture
Arch. Augusto Villalon, fuap (Chairperson)
Arch. Augusto Villalón graduated from the University of Notre Dame with a BA
Sociology/History of Art and Yale University with a M. Architecture degree. In
recognition of his lifetime professional achievements, he received a Ph.D in
Humanities from the Far Eastern University in Manila. His firm Villalon Architects
undertakes architecture, heritage conservation, and cultural tourism planning
in the Philippines and abroad, with completed work in Europe, Asia, the United
States, and Latin America. Two of his architectural conservation projects in
Manila were awardees of the UNESCO Asia-Pacific Cultural Heritage Awards.
Representing the Philippines, he was elected to serve on the Bureau of the
UNESCO World Heritage Committee and was responsible for dossier preparation
of all Philippine nominations to the World Heritage List. He was appointed
Commissioner for Cultural Heritage of the National Commission for Culture and
the Arts (Philippines). He is a Member of the Executive and International Advisory
Committees of ICOMOS (International Council for Monuments and Sites, Paris),
as well as being the Vice-President of the ICOMOS International Committee for
Cultural Tourism. He heads the ICOMOS Philippine Committee. In recognition
of his work in architecture, heritage and cultural tourism planning, and land
development, he has been honored with the numerous awards. Books and
articles he has authored have been published in the Philippines, Singapore,
Hong Kong, France, Germany, Switzerland, and Spain, and have won national
and international awards.
Arch. Paulo Alcazaren, fpala
Arch. Omar Maxwell Espina, fuap, murp
Arch. Paulo G Alcazaren finished his Bachelor of Science in Architecture
and Bachelor of Landscape Architecture degrees from the University of the
Philippines at Diliman. He has a Master’s degree in Urban Design from the
University of Singapore. He has been a practicing design consultant in urban
design and landscape architecture for the last 30 years with twelve of those
spent in Singapore. He has completed over a hundred projects in fourteen
countries while based there. He is also an established writer in architecture,
having served as contributor to different publications, and Editor-in-Chief to
BluPrint magazine and My Home Magazine. He has also published numerous
books and maintains a column called City Sense that tackles the issues of
our built environment, featured in Philippine Star. As recognition in his
contributions to architecture and design, he has received a number of design
awards notably the Singapore Institute of Landscape Architects Design Award
for his projects in Singapore, the Alaba ng Haraya of the National Commission
for Culture and the Arts for his outstanding series of articles on Philippine
culture, and Outstanding Professional of the Year in Landscape Architecture
from the PRC, among others.
Graduated with a bachelor’s degree in Architecture and Civil Engineering from
University of San Carlos, as well as a Masters in Urban and Regional Planning from
UP Diliman, Arch. Omar Maxwell Espina has been in private practice in Cebu,
Philippines since 1978, as principal architect and partner in the firm ESPINA,
PEREZ-ESPINA & Associates, a firm established in 1946 by his parents, Cristobal
B.C. Espina and Filomena Perez-Espina. His recent works include the Ateneo de
Cebu complex in Canduman, the University of Cebu complex in Banilad, the
Escario Building in Escario St., the Elizabeth Mall, and the University of Cebu
Medical Center. Arch. Espina is also involved in the academe, having been an
Assistant Professor at the College of Architecture and Fine Arts, University of San
Carlos since 1983. He has served as Chair of the Department of Architecture (1993
to 2002) and Dean of the College (2002 to 2010). Arch. Espina is a fellow of the
United Architects of the Philippines and is a member of the Philippine Institute
of Civil Engineers and the Philippine Institute of Environmental Planners. He has
also garnered a number of awards from his alma mater recognizing his efforts in
the field of Culture and the Arts.
Arch. Jose Danilo Silvestre, fuap, piep
28
2013 METROBANK ART & DESIGN EXCELLENCE
Mr. Nestor Jardin
Arch. Fidel Siapno, fuap, euap
Mr. Nestor Jardin is currently the Director of the CCP Asset Development Program
which includes the CCP Complex Master Development. He co-organized the
NCCA Architecture Design Competition on the CCP Cultural District in 2005
and the CCP Architecture Design Competition for the new Performing Arts
Theater and Artists Center in 2011. A former president of the Cultural Center
of the Philippines and currently serves as its executive adviser, he has a long
career as a leader of the arts in the country, having established the Philippine
Cultural Education Plan geared towards arts and culture education. He is the
brain behind the popular Cinemalaya Festival, a film festival that showcases
independent film from Filipino filmmakers annually. He is also the recipient
of the 2008 John D. Rockefeller Award, only the second Filipino recipient
next to Jose Maceda, the National Artist for Music. A zoology by education,
he is a dancer by trade, being a member of the Ballet Philippines and the UP
Filipiniana Dance Company. He gained his Arts Management degree from
the Asian Institute of Management. Among his numerous posts in the field of
culture and arts include Artistic Director for Ballet Philippines, Commissioner
for NCCA, Chair of Advisory Council- Philippine Cultural Education Pan and
President of the Cinemalaya Film Festival.
Arch. Fidel Siapno graduated from the University of Santo Tomas with a
degree of Bachelor of Science in Architecture. He took the National Licensure
Examinations for Architects and passed it in 1964, ranking 5th place. He is the
founder of the College of Architecture and Fine Arts at the Aquinas University,
and served as its first dean from 1982 to 1985. After his first term, he moved
to Bicol University to serve as Head of the Architecture Department and
contributed in the development of the architecture program in the said
institution. He returned to Aquinas University and served for two terms
again as dean starting from 1989 to 1997. His professional practice extends
from residential, commercial, institutional and industrial buildings, including
special projects such as memorial parks and mausoleums, majority of which
are based in Albay. He is also involved in furniture design and production.
An active member of the United Architects of the Philippines, Arch. Siapno
served as Chapter President for two terms, in 1980 and 1987, and was on
National Board of District Director in 1984. He was awarded and conferred as
Fellow of UAP and as Member Emeritus. Currently, he is as a member of the
PRC Board of Architecture and Principal Architect and Consultant at his firm
FJR Siapno and Associates.
Arch. Jose Danilo A. Silvestre graduated with a Bachelor of Science in Architecture, magna cum
laude from the University of the Philippines Diliman. He earned his Master of Architecture also
from UPD. He has had 33 years of professional practice as a licensed Architect, and 18 years of
practice as a licensed Environmental Planner. Arch. Silvestre is currently the Director of the Office
for Initiatives in Culture and the Arts (OICA) of the University of the Philippines Diliman. He is an
Associate Professor with 23 years of teaching experience at UP Diliman, and served as the 7th
Dean of the UP College of Architecture from 2007 to 2010. Professor Silvestre currently handles
graduate courses in Urban Design/Community Architecture and Tropical Design. He also teaches
Architectural Design subjects in the Undergraduate Program of the College of Architecture. Prof.
Silvestre was recently conferred the title UP Artist II (2012-2014) under the Artists Productivity
Award System of the University of the Philippines. Arch. Silvestre, integrates his academic work
with an active professional practice as Principal Architect/Environmental Planner and Managing
Partner of D.A. Silvestre & Associates, which he founded in 1984. His ongoing projects include the
new Puerto Princesa City Hall in Palawan; the master plan of the Dikasalarin Artists Village, Baler,
Aurora; the campus masterplan of the Aurora National High School and Reserva Elementary
School, Baler, Aurora; the Reserva Library and Museum, Baler, Aurora, all of which are currently
under construction. In addition, Architect Silvestre is Project Team Leader for the proposed
General Santos Aerotropolis development study. He is also Architect-of-record for the newlyreconstructed Ayuntamiento Building of the Bureau of Treasury in Intramuros, Manila; and the
new Phoenix Semiconductor Philippines Corp. production complex at the Clark Freeport Zone.
Past projects of note include the Jose P. Laurel Building at the Lyceum Institute of Technology
in Calamba, Laguna (2001); and the Sotero H. Laurel Building at the Lyceum of the PhilippinesBatangas (2005).
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Winners Directory
PAINTING COMPETITION
INTERIOR DESIGN COMPETITION TEAM MEMBERS
Oil/Acrylic on Canvas Category
Arch. Norbert Cornelius B. Batangan
Fairview, Quezon City
Grand Prize
“Habi: Weaving the Best of the Philippines” norbert.cornelius@gmail.com
0917.5580.094
University of the Philippines-Diliman
IDr. Anne Astrid N. Sangil
33 Pelican St. Francis, Meycauayan, Bulacan Graduate
sangilastrid@gmail.com
Arch. Jaycee R. Gopez
0920.414.5629
604 Lumiere Suites, Gen. Capinpin St.
Freelance Interior Designer
Brgy. San Antonio, Pasig
University of the Philippines-Diliman
jrgopez@gmail.com
Graduate
709.7351 (office); 0916.267.5646
University of the Philippines-Diliman
ARCHITECTURE COMPETITION
Graduate
Grand Prize
FINALIST
“Agos”
“Pearl of the Orient”
MAIN ENTRANT
MAIN ENTRANT
Arch. Jason Romeo K. Abustan
Arch. Don Quintin J. Lino III
2998 V. Mapa St. Sta. Mesa, Manila
70-F Sta. Ana Drive, Sunvalley,
abustan.design.studio@gmail.com
Parañaque City
715.9467 (home); 624.6413 (office);
limaarchitecture@gmail.com
0917.866.0716
0917.839.1416
University of Santo Tomas Graduate
University of Santo Tomas Graduate
TEAM MEMBERS
TEAM MEMBERS
Arch. Anne Lorraine D. Caban
No. 7 Northwest Dao St. Marikina Heights Arch. Leandro Jose L. Magat
25 Dagohoy St. Ayala Heights,
annelorraine_caban@yahoo.com
Old Balara, Quezon City
477.2402 (home); 624.6413 (office);
limaarchitecture@gmail.com
0922.840.7596
MAPUA Institute of Technology Graduate 0917.866.4765
University of Santo Tomas Graduate
Arch. Jonathan DM. Sadorra
12 Lot 10 Block 12 & 14B Goldenville Hills Arch. Ronald Q. Romero
Lot 2 Blk. 16 Johnson Drive, Broadway
Subdivision, General Trias, Cavite
Pines Village, Sumulong Highway,
ar.sadorra@yahoo.com
Antipolo City
(046) 413.0846 (home); 624.6413 (office);
ronqromero@gmail.com
0917.866.0716
494.3966; 0917.893.0682
University of Santo Tomas Graduate
University of Santo Tomas Graduate
Finalist
“Exodus”
Grand Prize
“Intercession”
Oil on Canvas
48” x 36”
2013
Herbert J. Pajarito
136 Lucshin, Silang, Cavite
kytsyb@yahoo.com
09212161335
Full Time Artist
Adventist University of the Philippines
Graduate (Fine Arts)
Grand Prize
“Nilay – Nilay”
Oil on Canvas
48” x 36”
Alvin D. Florentino
B1 L.S Villa Dorotea St. Santolan, Pasig
alvinflorentino14@yahoo.com
09105445511
E.A.R.I.S.T. (B.S. Interior Design Student)
Watermedia on Paper Category
Grand Prize
“Perseverance”
Watercolor on Paper
30” x 22”
Darby Vincent A. Alcoseba
Block 5, Lot 19, Deca 4,
Lapu-Lapu City, 6015
alcoseba7@yahoo.com
09231053408
Full Time Artist
Cebu Institute of Technology Graduate
(BS CPE)
Sculpture Competition
Grand Prize
“Bulalas”
Clear Resin, Fiber Glass
22” x 15” x 22”
2013
Merlito V. Gepte
2028 Okra St, Napico, Manggahan, Pasig
menebol@gmail.com
09165194795; 9009735
Full Time Artist
Guagua National Colleges
MAIN ENTRANT
Arch. Laurence Angelo A. Angeles
1806 Park Ave. Mansions, Pasay City
la@bbago.ph
0927.981.6638
University of the Philippines-Diliman
Graduate
List of Exhibitors
PAINTING Competition
Oil/ Acrylic on Canvas
Category
Noel C. Bais
“Open Idea”
Oil on Canvas
48 inch x 32 inch
Not for Sale
Eunice P. Yap
“Old Sea Farer”
Oil on Canvas
22 inch x 36 inch
Not for Sale
Robert Tony C. Raymundo
“Ubusan Lahi”
Acrylic on Canvas
36 inch x 48 inch
Php 18, 000
Nicole Marie G. Descalzo
“Tostado”
Acrylic on Canvas
48 inch x 28 inch
Not for Sale
Romeo III V. Dumuk
“Inner Trojan Horse”
Oil on Canvas
47.25 inch x 35 inch
Php 80, 000
Michelle M. Ballesteros
“Tinalikuran”
Oil on Canvas
36 inch x 24 inch
Not for Sale
Paul David S. Magisa
“Hamon ng Buhay”
Oil on Canvas
48 inch x 36 inch
Not for Sale
AR S. Lasap
“Basin”
Oil on Canvas
48 inch x 36 inch
Php 50, 000
Eric P. Perreras
“Wrong Way”
Acrylic on Canvas
48 inch x 36 inch
Not for Sale
Eliseo, Jr. P. Perreras
“As He Creates, We Destroy”
Acrylic on Canvas
40 inch x 30 inch
Php 50, 000
Bernardo S. Cabugnason
“BAYANniHAND”
Oil on Canvas
48 inch x 38 inch
Php 50, 000
Alfredo G. Baluyot
“Aids Limit”
Acrylic on Canvas
47 inch x 36 inch
Php 50, 000
Jose Ma. Alvaro N. Clarino
“Tonight,The Streets are Ours”
Acrylic on Canvas
48 inch x 36 inch
Php 34, 000
James Andrew Q. Imperial
“Lunod sa Pananalig”
Oil on Canvas
36 inch x 30 inch
Not for Sale
Jotyl B. Bermudez
“Moral Intervention”
Oil on Canvas
48 inch x 36 inch
Not for Sale
Benedict V. Arquero
“Gabay sa Aking Pangarap”
Oil on Canvas
48 inch x 30 inch
Php 20, 000
Romilo A. Nadonza
“Bagyo’t Delubyo na Papalapag”
Oil on Canvas
48 inch x 36 inch
Not for Sale
30
2013 METROBANK ART & DESIGN EXCELLENCE
Irish Glori P. Galon
“Affair, Disappear”
Acrylic on Canvas
24 inch x 36 inch
Php 15, 000
Gerom T. Bo-oc
“Pahingi Lang Naman po Sana ng
Kaunti Niyong Subra”
Oil on Canvas
24 inch x 48 inch
Php 15, 000
Richard Cartie D. Quebral
“At sa Iyong Paglalakbay, Ako’y
Maghihintay”
Oil on Canvas
35 inch xc 35 inch
Php 12, 500
Bryan C. Yabut
“Discovery: A Child’s Wonderful
Journey”
Acrylic on Canvas
48 inch x 36 inch
Not for Sale
Andrew D. Tan
“Dreaming of Days Yet to Come”
Acrylic on Canvas
48 inch x 36 inch
Php 20, 000
Rionell Victor R. Rivera
“Ang Kaagaw sa Puso ni Itay”
Acrylic on Canvas
47.5 inch x 35.5 inch
Php 25, 000
Franco C. Matucad
“Wasak na Wasak”
Oil on Canvas
48.00 inch x 36.00 inch
Not for Sale
Aleah Rose D. Angeles
“Artist’s Hand”
Oil on Canvas
48.00 inch x 36.00 inch
Not for Sale
Gretel B. Balajadia
“Sagisag”
Oil on Canvas
48.00 inch x 36.00 inch
Php 30, 000
Edwin S. Ladrillo
“Ang Sanhi”
Oil on Canvas
48.00 inch x 36.00 inch
Not for Sale
Maiya O. Balboa
“Wet Dreams”
Oil on Canvas
36.00 inch x 48.00 inch
Php 25, 000
Ronson C. Culibrina
“Growth For The Sake Of Growth”
Oil on Canvas
48.00 inch x 36.00 inch
Php 25, 000
Dennis J. Francisco
“Blue Moon”
Acrylic on Canvas
36.00 inch x 48.00 inch
Not for Sale
Christian L. Padilla
“Juan of All Tades”
Acrylic on Canvas
48.00 inch x 36.00 inch
Php 25, 000
Seifred T. Guilaran
“Ang Nasayang Na Saya Ng Doña”
Acrylic on Canvas
48.00 inch x 36.00 inch
Php 20, 000
Josue Jr. C. Mangrobang
“A Moment of Silence”
Oil on Canvas
48.00 inch x 36.00 inch
Not for Sale
Catherine R. Salazar
“You Can’t Say Nothing Because
You Will Feel and See Everything”
Acrylic on Canvas
40 inch x 30 inch
Php 25, 000
Concepcion Rita Katherine C.
Abrugena
“Malalaman Mo Rin”
Oil on Canvas
32 inch x 48 inch
Php 35, 000
Grace M. Corpuz
“May Baril and Arming Dumating
sa Aming Barangay”
Acrylic on Canvas
48 inch x 36 inch
Not for Sale
Cezar Ryan B. Ong
“L’ Effet Papillon (The Butterly
Effect)”
Oil on Canvas
36 inch x 48 inch
Not for Sale
Joseph T. De Juras
“Tatlong Eunok, Isang Pinggan at
Basong Walang Laman”
Oil on Canvas
45.28 inch x 34.25 inch
Not for Sale
Froilan P. Pastrana, Jr.
“Goodbye, My Forlorn”
Acrylic on Canvas
36.00 inch x 48.00 inch
Not for Sale
Paulo M. Amparo
“Ang Huling Mambabatok (Last
Tattoo Artist)”
Oil on Canvas
45.00 inch x 35.00 inch
Php 16, 000
Ryan Aristotle A. Carreon
“Sagrado- Kontrabando”
Acrylic on Canvas
46.00 inch x 36.00 inch
Php 55, 000
Melvin C. Guirhem
“Ang Mukha Ng Aking Mahal…
Ng Bayan Ko!!”
Oil on Canvas
48.00 inch x 38.00 inch
Php 50, 000
Jzy T. Tilos
“Misguided Journey”
Acrylic on Canvas
48.00 inch x 36.00 inch
Not for Sale
Errol Jan Nicolo A. Orbida
“The Silent Story Tellers”
Oil on Canvas
48.00 inch x 36.00 inch
Not for Sale
John Emmanuel R. Salazar
“Minadaling Kaligayahan”
Oil on Canvas
48 inch x 36 inch
Php 10, 000
Edmar C. Colmo
“Master of Disguise”
Acrylic on Canvas
48 inch x 36 inch
Php 60, 000
Lance Kirby T. Yaneza
“The Naked Dream”
Oil on Canvas
48 inch x 36 inch
Php 50, 000
Levi Marie T. Batara
“Falling Debris”
Oil on Canvas
48 inch x 36 inch
Php 17, 500
Romano P. Lucena
“Connecting Minds”
Acrylic on Canvas
24 inch x 36 inch
Not for Sale
Leomar C. Conejos
“Dumpsite”
Oil on Canvas
48 inch x 36 inch
Not for Sale
Jhon Emerson S. Tejones
“Lights and Shadow”
Oil on Canvas
48 inch x 36 inch
Php 19, 000
Gene Paul G. Martin
“About Face”
Water based Acrylic on Paper
30 inch x 40 inch
Php 10, 000
Adrian N. Evangelista
“Inevitable Reality”
Oil on Canvas
48 inch x 36 inch
Php 25, 000
David Ryan G. Viray
“A Massive Origin of Extreme
Disgust”
Water based Acrylic on Paper
40 inch x 30 inch
Php 10, 000
Mark Renemin M. San Pedro
“Pinagtagpi-tagpo”
Acrylic on Canvas
48 inch x 36 inch
Php 20, 000
WATERMEDIA ON PAPER
CATEGORY
Jefferson P. Padlan
“Bestial Display of Hipocrisy”
Water based Acrylic on Paper
30.23 inch x 40.07 inch
Php 15, 000
Joemel G. Mirabuena
“Sayaw sa Agos ng Kahirapan”
Water Color on Paper
40 inch x 36 inch
Php 20, 000
Eduardo P. Perrera
“Inilibing na Pangarap”
Water Color on Paper
40 inch x 30 inch
Not for Sale
Alex P. Ordoyo
“After Rain”
Water Color on Paper
29 inch x 27 inch
Php 35, 000
Gieward J. Hulagno
“Catching the Moon”
Water Color on Paper
24 inch x 18 inch
Php 15, 000
Junevy F. Llosa
“Reinforcement”
Water Color on Paper
48 inch x 36 inch
Php 35, 000
Margie B. Mendoza
“Nagliliparang Putik”
Water Color on Paper
48 inch x 36 inch
Php 30, 000
SCULPTURE COMPETITION
Wilbert L. Custodio
“Domestic Helper (DH)”
Water Color on Paper
30 inch x 20 inch
Php 10, 000
Samuel R. Penaso
“Lawong (Lion Fish)”
Steel
28 X 13.5 X 28
Php 80, 000
Salvador MI. Banares, Jr.
“The Missing Peace”
Water based Acrylic on Paper
40 inch x 30 inch
Php 10, 000
Ma. Cecilia V. Magdamit
“Diwata Community”
Stoneware
27 X 10 X 10
Php 120, 000
John S. Marin
“Galloping End”
Water Color om Paper
30 inch x 40 inch
Php 20, 000
Michael Toms “Mischa” G.
Semaña
“Invincible”
Resin on Short
20 X 19 X 11
Not for Sale
Carlo L. Pujeda
“Balat Kayo Dyan”
Water Color on Paper
30 inch x 21 inch
Php 30, 000
Russel H. Trinidad
“Mother’s Occupation: Housewife”
Water Color on Paper
18 inch x 40 inch
Php 20, 000
Crystaline L. Paloma
“Inamorata (Behind Her Love)”
Water Color on Paper
24 inch x 18 inch
Not for Sale
Benjamin M. Javier
“Gaia”
Water Color on Paper
25.5 inch x 31.5 inch
Php 10, 000
Kit S. Gresos
“The Heart of War”
Paper Mache Clay
8 X 8 X 28
Php 40, 000
Brendale A. Tadeo
“Which Way”
Polymer Product
XX
Php 15, 000
Benjie T. Bisaya
“Rise”
Wood & Found Onjects
51 X 13 X 20
Not for Sale
Ryan P. Rubio
“Thy Womb”
Granite, Wood, Metal
13.5 X 14.5 X 42
Php 52, 000
Jerico S. Esmeli
“Sa Aking Pagkamulat”
Water Color on Paper
30 inch x 20 inch
Php 8, 000
Chloe Anne Solange L.
Caragan
“Palette”
Water based Acrylic on Paper
22 inch x 30 inch
Php 15, 000
Noela Patricia Angela A.
Lesaguis
“Anti-Tantrum Dreams”
Water based Acrylic on Paper
40 inch x 30 inch
Php 10, 000
Roedil R. Geraldo
“Tatsulok”
Terracotta
24 X 24 X 19
Php 30, 000
Angelico A. Villanueva
“Shelter”
Brass, Wood & Bone
12 X 6 X 13
Php 150 ,000
Julius Anthony M. Del Castillo
“The Payback”
Metal
17 X 16 X 39
Php 250 ,000
METROBANK FOUNDATION, INC.
31
Partners & Sponsors
Brought to you by:
Media Partners
Metrobank Foundation
Board of Trustees:
Dr. George S. K. Ty
Hon. Edgardo J. Angara
Mr. Arthur V. Ty
Mr. Fabian S. Dee
Mr. Aniceto M. Sobrepeña
Mr. Alfred V. Ty
Mrs. Elvira Ong Chan
Mrs. Marixi R. Prieto
Mrs. Milagros G. Drilon
Board of Advisers:
Partners
Hon. Artemio V. Panganiban
Hon. Cesar E.A. Virata
Mr. Washington Sycip
Dr. Placido L. Mapa, Jr.
Dr. Antonio S. Abacan, Jr.
Mr. James Go
Dr. Bee Ching U. Ong Kian Koc
Mrs. Mary V. Ty
Chairman
Senior Adviser
Senior Adviser
Senior Adviser
Senior Adviser
Adviser
Adviser
Adviser
Officers:
In cooperation with:
In collaboration with:
32
2013 METROBANK ART & DESIGN EXCELLENCE
Dr. George S.K. Ty
Mr. Arthur V. Ty
Mr. Aniceto M. Sobrepeña
Mrs. Elvira Ong Chan
Mrs. Anjanette T. Dy Buncio
Mrs. Margaret Ty Cham
Mrs. Zandra M. Ty
Mr. Nicanor L. Torres, Jr.
Atty. Melissa K. Gabor
Ms. Marilou C. Bartolome
Mrs. Antonietta O. Chua
Ms. Pamela N. Gardaya
Chairman
Vice Chairman
President
Executive Vice President
Senior Vice President
Corporate Secretary
Vice President
Executive Director
Asst. Corporate Secretary
Controller
Treasurer
Assistant Treasurer