CONCEPTUAL ANALYSIS

AND DEVELOPMENT
“ANGONO ART GALLERY AND
MUSEUM COMPLEX”
PROJECT BACKGROUND AND
DEFINITION
• The Proposed Angono Art Gallery and Museum Complex of Angono
will be a center for the preservation, exhibits and education for the
people in Angono Rizal. The project will be located in Angono Rizal –
a town located along Laguna Lake and its famous being the Art Capital
of the Philippines. The town is known for different national artists.
Among them is the famous painter, Carlos “Botong” Francisco and the
noted musician, Lucio San Pedro. With such talent in this town, the
Proposed Art gallery and Museum will help the many artists to show
their creative works and become an inspiration for the future artists.
The project will also help the people of Angono to express the history
and brings a strong sense of pride to their community. The project will
also provide necessary spaces and multifunctional amenities for the
complete presentation, installation, dissemination, and education of the
people on the arts especially for the local born artists. The main
function of the museum is to act locally, creating an independent
program that will help the artists to display their artworks as well as
employing the overall governmental program of the National Museum
and other agencies associated with arts and culture.
GENERAL PROBLEM
Angono, Rizal is a town of 102,000 inhabitants located on a lakeside 30 kilometers southeast of central Manila. The cultural significance of
Angono is well known across the Philippines and the town gained visibility with the late Philippine president’s designation of the town as “Art
Capital of the Philippines.” Angono has more than 500 painters, excluding other artists such as musicians, writers, video and film editors, theater
people, craftsmen, and church-based heritage and cultural workers. Art galleries and museums as well as studios of individual artists are also
present in the town which have become favorite places among local and international guests visiting the town, particularly the Blanco Museum,
Nemiranda Art Haus, and Botong’s Studio.
One of the factors that contributes to Angono’s cultural significance is the presence of both established and emerging artists: the visual artist
Carlos “Botong” Francisco and composer Lucio D. San Pedro. These and other prominent local artists, have drawn national awareness to
Angono’s artistic activity. In 1990’s presence of younger artists in the town increased. The mix of established and emerging artists created a
collaborative environment to support younger artists. Given the local government’s limited resources, artists have worked collaboratively to
procure studio and exhibition space to support each other.
Beginning in 1975, Angono’s municipal gym was occasionally used for exhibitions honouring Botong Francisco and also hosted exhibitions for
all types of artists, but the program was discontinued in the mid-2000s. Government efforts have been redirected primarily to catering for
exhibitions at the private galleries owned by established artists. In 1992, an integrated artist village project was proposed for an undeveloped site
at the edge of the town. Later on, the village had been intended to provide housing, studio space, and galleries. It would likely have served
emerging artists who struggle to find space and financial support. While suitable land had already been identified and a design plan drafted, the
project lacked adequate public funding and construction was never begun. As such, exhibition space is located randomly throughout the
community.
 One of the example is the Angono’s Regional Pilot School for the Arts provides limited arts space but sits an unwalkable
distance from the town center in a corner of a residential neighborhood. Without a dedicated public arts space or vacant
industrial facilities that could be repurposed for cultural use, Angono’s emerging artists utilize personal networks and rely on
established artists as patrons for production and gallery space.
The lack of artistic production and galleries is the main concern of the artists. Angono’s government committed to supporting
the arts community through program, grants, sponsorships, and promotion of visibility for tourism development. The town’s
yearly festivals provide an opportunity for some artists to showcase their work and for the cultural heritage of the town to be
celebrated and preserved. However, the balance between artistic spontaneity and commercial tourism has generated tensions.
Angono’s information officer acknowledged that institutionalized support would better facilitate the distribution of resources to
the arts. Most exhibition space is in private galleries centered on the works of the town’s legacy artists; personal networks and
relationships often determine access to these spaces by emerging artists.
Despite this evident problem, collaboration has been a necessity when the arts community seeks to send their voice to the
government. Nevertheless, there is a risk that artists outside the network orbit lack the individual influence to solicit government
or community-based support as needed. Tourism has always been promoted in the town of Angono, but most of the galleries are
supported by private artist and there’s no enough galleries and offices for the arts of the younger artists. The only way to
institutionalize is to establish an office, provide funds and people who will work with additional art galleries.
design brief
The Proposed Angono Art Gallery and Museum Complex of Angono will serve as a houses of exhibit artworks of
different artists of Angono Rizal. This museum will be a platform where people would share their ideas that will
certainly help to make the citizens think for the society in a broader perspective.
The project will offer different interactive ways of knowing art and provides various facilities such as Open-air
Theater, Court of fame, the Art gallery and Museum. The project will be design in an expressive external form that
will reflect the function of the building itself. The design of museum will use the concept of Contemporary Vernacular
architecture. The use of local materials mix with the modern materials will be consider to produce a traditional yet
innovative design. To consider the limited resources of funding, energy savings can be made through metering,
demand-driven operation and lighting control. Also, embracing biodiversity and natural habitat preservation through
landscaping green roofs and nearby unused land. The design will also strive for minimum water consumption by using
water recycling and rainwater collection. The museum will also provide temporary exhibition spaces that will consider
installations of digital displays such as total blackout or acoustic separation between display areas to meet the needs of
different exhibits in terms of lighting, power and environmental control. These solutions will enable efficient change
in every art exhibition and will surely provide a pleasant visitor experience for even the busiest time.
 PROJECT OBJECTIVES DESIGN OBJECTIVES

• TO PRESERVE AND EXHIBITS THE ARTS OF DIFFERENT • TO BUILD A WELL-DESIGNED ART GALLERY AND MUSEUM
NATIONAL ARTIST IN ANGONO RIZAL THAT WILL SERVE AS TO EXHIBIT AND CONSERVE THE CREATIVE
AN INSPIRATION TO THE FUTURE ARTISTS AS WELL AS THE ACHIEVEMENTS OF WELL-KNOWN NATIONAL ARTISTS OF
YOUTH. ANGONO, RIZAL.

• TO COMMUNICATE AND SHARE THE EMOTIONS AND • TO DESIGN A FLEXIBLE AND MULTIFUNCTIONAL OPEN-
TALENTS OF DIFFERENT ARTIST TO THE PEOPLE THROUGH THEATER FOR EVENTS SUCH AS MUSICAL PERFORMANCE,
MUSIC AND THEATER PLAYS. THEATER PLAY, PAGEANTS, AND AWARDS.

• TO PROMOTE THE KNOWLEDGE AND CREATIVE WORKS OF • TO BUILD AN ART GALLERY AND MUSEUM THAT PROVIDES
PRESENT YOUNGER ARTISTS WHICH CAN CONTRIBUTE A FLEXIBLE TEMPORARY EXHIBIT SPACES TO MEET THE
GREAT SIGNIFICANCE LOCALLY AND NATIONALLY. NEEDS OF MANY ARTISTS AND THEIR EXHIBIT ARTWORKS.
design concept
CONTEMPORARY VERNACULAR ARCHITECTURE
Vernacular architecture is a concept based on localized needs and reflecting local
traditions. It embraces regionalism and cultural building traditions, and it has been proven to
be energy efficient and altogether sustainable. Given the design problem is an Art Gallery and
Museum Complex, the mix of vernacular architecture and modern architecture has pure
solution to the needs of the project. Vernacular architecture adheres to basic green
architectural principles of energy efficiency and utilizing material resources close to the site.
It will be a big help given the limited resources and funding from the town. On the other hand,
the concept of Contemporary architecture is known for the current style of architecture; It
reflects our current view – being open and inclusive to ideas. Similar to the concept of
vernacular, contemporary concept also features sustainability, but it embraces all types of
innovations using either modern materials or local.

Usually, nature seeks balance, so does design. Contemporary vernacular architecture

tries to
balance what contemporary and vernacular architectures have to offer. In this concept, the
dynamic and innovative design concept meets with the traditional and practical design
concept of the town. Moreover, the project also use this concept to capitalize the knowledge
of how buildings can be effectively designed to promote cultural conservation and traditional
wisdom as well as how to take advantage of local materials and resources.
 This concept will also help lessen the costs of utilities and maintenance given that a
museum uses a lot of different utilities to maintain its function. By applying contemporary
vernacular strategies to the project, it can ideally achieve a self-sufficient building.

To connect it with the project site being the Art Capital of the Philippines, the idea is to
design an eye-catching building forms, more organic, humble, yet energy-efficient. Using
the Contemporary Vernacular architecture, the design will show hoe traditional construction
meet with innovative design concept similarly to how the late national artists influences the
present artist in the town of Angono. This concept also provides a vital connection between
humans and the environment that will enable us to re-establish our present with the culture
in the past.
Review of related literature
According to (Natividad, 2019), the people who visit and enjoy this Museum are diverse; school, children
and older people from across the nation, foreign visitors from all over the world, and academic enthusiasts from
various fields. This Museum building must cater for those different types of visitors and those diverse visitors will
move from gallery to gallery in an unrestrained manner, but which shall be well controlled in order to maintain
smooth flows. The layout of galleries in the building, therefore, shall be carefully designed for visitors to easily
orient themselves and clearly identifies parts of the building without any confusion. It is premised that the main
exhibition galleries shall be located on the ground floor level to get easy and clear access for all visitors, including
the disabled.

According to (Tarrad, 2020), By merging local architectural traditions with universal architectural realities,
vernacular architecture can be created by reducing the tension between "spirit of Place" and "Spirit of Time“.
Vernacular Architecture has evolved within a permanent tension between its location and time and its location in
space. "Spirit of time" which means that nature as reaction against dead classic discourse should be emulated. This
means that the study of architecture must be executed from within the cultural context of a given civilization
because architecture is a representation of that civilization's vision of the world.

 
 The ability to circulate easily and view exhibits in the best possible environment is key to the core visitor
experience. The design must consider varying degrees of visitor expectation, alternating collections or individual
artefacts on display in order to achieve a desired layout and conditions.
Museums and galleries are increasingly interested in providing appropriate conditions for the preservation of
exhibits with minimum impact on the environment. Our approach to designing high-performance buildings uses
the right blend of passive and active design strategies in order to minimize energy, materials, water and use of
land. By employing ambient energy sources such as daylight, natural ventilation and solar energy, we reduce
energy requirements as well as operating costs. The starting point for passive design is consideration of building
orientation and prevailing environmental conditions. Energy savings can be made through metering, demand-
driven operation and lighting control. We embrace biodiversity and natural habitat preservation through
landscaping green roofs and nearby unused land. Our designs strive for minimum new water consumption by
using low flow devices, water recycling and rainwater collection. We advocate use of materials present in the area
and recycling of building materials. Moreover, uncontrolled light can lead to premature fading of paint pigments
and textiles. Works on canvas may be damaged by fluctuating humidity. In order to prevent in some cases
irreversible damage some artworks require closely monitored climatic and lighting conditions.

Creating an iconic building that attracts international attention is an important element for a museum. Some
may even act as a catalyst for urban regeneration. New museums and galleries frequently become beacons
attracting investment and business growth in a local area. (ARUP)
 New art galleries can make specific demands upon architects, designers and engineers. For instance,
installations incorporating digital displays may necessitate the inclusion of specific conditions such as total
blackout or acoustic separation between display areas. Temporary exhibition spaces need to be flexible to meet the
needs of many different exhibits in terms of lighting, power and environmental control. These solutions must
enable efficient change over between exhibitions and provides a unique visitor experience for many people.
(ARUP)
Vernacular building construction was done on sustainable principles using local materials and technology
through the amalgamation of the physical and natural environment with cultural, social, and mystical values
offering rational solutions to the harsh climate and human needs. (Muskan Khan)
Sustainability is an important feature of contemporary architecture, with the use of recycled and natural
materials and attention to eco-conscious water and temperature control building systems that are ever more
seamlessly integrated and considered. This is vital in light of the climate change emergency that is in part a result
of the environmental damage caused by buildings. (Hohenadel, 2020)
Obtaining capital funding for arts and culture projects is difficult. An effective understanding of the drivers
that influence operational expenditure allows us to design features that keep operating costs to a minimum. A
significant proportion of running costs from equipment maintenance and the energy used in environmental
control. The challenge is to reduce the levels of environmental service provision in gallery spaces whilst
maintaining conditions suitable for the conservation of objects as economically as possible. (OVE ARUP &
Partners)
 Vernacular architecture can be blended with contemporary style to get a more exotic vernacular style as the
outcome. The contemporary style makes a structure more high-tech, and progressive. This approach when
combined with the use of traditional materials and practical techniques can lead to more sustainable construction.
The methodology of incorporating vernacular dogmas into building more futuristic designs is what we call
“contemporary vernacular”.

This new style is less superficial and more holistic. Nowadays contemporary vernacular style architecture is
an inspiration for many architects to create progressive designs as well as something that meets human needs. The
materials and resources are not only easily accessible, but it also helps in building high energy-efficient,
sustainable designs. (Bashhar 2021)

The building itself must serve as part of the attraction. Attaching the name of a ‘starchitect’ to a new museum
serves as a way to generate greater excitement around the completion of a building and solidify visits from those
curious about the building as well as the wonders it houses. (Key Consideration in Museum Design and
Construction, 2011).
Building laws
SECTION 1212. Fire-Extinguishing Systems
Fire-Extinguishing Systems – Where required, standard automatic fire-extinguishing systems shall be installed in the following places, and
in the manner provided in the Code.

In all dressing rooms, rehearsal rooms, workshops or factories, and other rooms with an occupant load of more than ten (10) or assembly
halls under Group H and I Occupancies with occupant load of more than five hundred (500), and if the next doors of said rooms are more than
30.00 meters from the nearest safe fire dispersal area of the building or opening to an exit court or street.

SECTION 1214. Motion Picture Projection Rooms

Construction – Every projection room shall be of not les than one-hour fire-resistive construction throughout and the walls and ceiling shall
be finished with incombustible materials. The ceiling shall be not less than 2.40 meters from the finished floor. The room shall have a floor area of
not less than 7.00 sq. meters and 3.50 sq. meters for each additional machine.

Exit – Every projection room shall have at least two doorways separated by not less than one-third the perimeter of the room, each at least
750 millimeters wide and 2.00 meters high. All entrances to a projection room shall be protected by a self-closing fire assembly having a three-
fourth - hour fire-resistive rating. Such doors shall open outward and lead to proper exits as required in the Code and shall not be equipped with
any latch. The maximum width of such door shall be 750 millimeters
Building laws
SECTION 1207. Stairs, Exits, and Occupant Loads

a. Number of Exits - Every building or usable portion thereof shall have at least one (1) exit. In all occupancies, floors above the first storey
having an occupant load of more than ten (10) shall not have less than two (2) exits. Each mezzanine floor used for other than storage purposes, if
greater in area than 185 sq. meters or more than 18.00 meters in any dimension, shall have at least two (2) stairways to an adjacent floor. Every
storey or portion thereof, having an occupant load of 500 to 999 shall have at least three (3) exits. Every storey or portion thereof having an
occupant load of one thousand (1000) or more shall have at least four (4) exits.

b. Stair Rise and Run - The maximum rise of treads shall not exceed 200 millimeters and the minimum width of the run shall be 280 millimeters.
The maximum variation in the width of treads in anyone (1) flight shall not be more than 5 millimeters and the maximum variation in one (1)
height of
two (2) adjacent rises shall not exceed 5 millimeters.

c. Spacing of Seats

Row Spacing - The minimum spacing of rows of seats measured from back-to-back shall be: 600 millimeters for seats without backrests in
open air stands; 750 millimeters for seats with backrests; and 850 millimeters for chair seating. There shall be a space of not less than 300
millimeters between the back of each seat and the front of the seat immediately behind it.
Rise Between Rows - The maximum rise from one row of seats to the next shall not exceed 400
millimeters.
Number of Seats Between Aisles - The number of seats between any seat and an aisle shall not be greater than fifteen (15) for open air
stands with seats without backrests, a far open air stands with seats having backrests and seats without backrests within buildings and six (6)
for seats with backrests in buildings.
Building laws
SECTION 1213. Stages and Platform

a. Rooms Accessory to Stage – In a building having a stage, the dressing room sections, workshops, and storerooms shall be located on the
stage side of the proscenium wall and shall be separated from each other and from the stage by not less than a One-Hour Fire-Resistive Occupancy
Separation.

b. Proscenium Walls – A stage shall be completely separated from the auditorium by a proscenium wall of not less than two-hour
incombustible
construction. The proscenium wall shall extend not less than 1.20 meters above the roof over the auditorium. Proscenium walls may have, in
addition to the main proscenium openings, one (1) opening at the orchestra pit level and not more than two (2) openings at the stage floor
level, each of which shall be not more than 2.00 sq. meters in area. All openings in the proscenium wall of stage shall be protected by a fire assembly
having a one and one-half - hour fire-resistive rating.

c. Stage Floor – The type of construction for stage floors shall depend upon the requirements based on the Type of Occupancy and the
corresponding fire-resistive requirements. All parts of the stage floor shall be designed to support not less than 620 kilograms per square meters.
Openings through stage floors shall be equipped with tight-fitting trap doors of wood of not less than 50 millimeters nominal thickness.
Building laws
SECTION 1213. Stages and Platform

d. Platforms – The type of construction for platforms shall dep end upon the requirements based on the Type of Occupancy and
corresponding fire-resistive requirements. Enclosed platforms shall be provided with one (1) or more ventilators conforming to the requirements
of stage ventilators; Except, that the total area shall be equal to 5% of the area of the platform. When more than one (1) ventilator is provided,
they shall be so spaced as to provide proper exhaust ventilation. Ventilators shall not be required for enclosed platforms having a floor area of 45.00
sq. meters or less.

e. Stage Exits – At least one (1) exit not less than 900 millimeters wide shall be provided from each side of the stage opening directly or by
means of a passageway not less than 900 millimeters in width to a street or exit court. An exit stair not less than 750 millimeters wide shall be
provided for egress from each fly gallery. Each tier of dressing rooms shall be provided with at least two (2) means of egress each not less than
750 millimeters wide andall such stairs shall be constructed in accordance with the requirement specified in the Code. The stairs required in this
Sub-section need not be enclosed.

f. Stage Ventilators – There shall be one (1) or more ventilators constructed of metal or other incombustible material near the center and above
the highest part of any working stage raised above the stage roof and having a total ventilation area equal to at least 5% of the floor area within the
stage walls.