![]() With evolving tastes and changing trends, this style was prevalent until the 1880s when it was superseded in popularity by the Platter Style. They tend to have no ventanillas at all, and for the few that have, they’re usually very small when contrasted against the entire length of the windows. Board and batten, or board-and-batten siding, describes a type of exterior siding or interior paneling that has alternating wide boards and narrow wooden strips, called “battens.”Īesthetically speaking, the exterior of a Board and Batten Styled house is simple and almost devoid of decorative elements. The Board and Batten Style is characterized by the manner on how the wall of the second-story was constructed. ![]() It is assumed that when this “All-Weather House” was born, it took the form of the Board and Batten. As what was suggested earlier, structures in Manila during the early years of the Spanish regime resembled peninsular and Latin-American constructions however as earthquakes, fires, and wars repeatedly ravaged the city over the years, the type of architecture resilient to all of these eventually returned back the quintessential Bahay Kubo, thus, in the later half of the Spanish regime, the Bahay na Bato, the “All-Weather House” was born. Arguably speaking, this was how the Bahay na Bato type might have started in Manila. The Board and Batten is the oldest Bahay na Bato style. Prevalence: Manila, Mid 19th Century to 1880s. In this article we shall be discussing only four of these styles, namely: Flowers in Trellis, Horizontals and Verticals, Platter, and Board and Batten. In some cases, however, Quiapo/Manila styles can sometimes also be seen in the provincial setup. Important to note, however, the these styles are reflective of the Manila urban setting, and provincial styles were in not included. With Quiapo as compass, the authors were able to nuance a total of 8 different styles: Together with Erik Akpedonu, they are perhaps the first to attempt to discuss different styles under the Manila Bahay na Bato type. As the “All Weather House,” it housed not only the family it also housed heavy industry (such as in the case of the Sunico foundry), educational institutions (such as UST, Ateneo, San Jose, among others), military installations (such as Fort Santiago), cigar factories, warehousing, and other non-residential uses.Īs with his 1981 book, Zialcita made another groundbreaking work with his unpublished manuscript ISTILONG QUIAPO. Secondly, it is not necessarily residential. In reality it’s the wooden posts that hold everything up. The “ bato” in Bahay na Bato is a actually a misnomer as the stone used is merely an accessory-a “curtain” if you will. Firstly, it is not necessarily made of stone. ![]() However there is a misnomer on the term Bahay na Bato. ![]() This architectural evolution, the authors suggests, started with Manila and eventually spread to the rest of the provinces of the Philippines as far away as Batanes in the North, albeit with contextual environmental adaptations. The authors posit that structures in Manila during the early years of Spanish occupation resembled peninsular and Latin-American constructions, however as earthquakes, fires, and wars repeatedly ravaged the city over the years, the type of architecture resilient to all of these eventually returned back the quintessential Bahay Kubo, thus, in the later half of the Spanish regime, the Bahay na Bato, the “all weather house”was born. Zialcita and Tinio traced the Bahay na Bato from the Bahay Kubo, which in turn was connected to an overall nascent Austronesian architectural heritage of houses on stilts. In their book Ancestral Houses of the Philippines (1981) Fernando Zialcita and Martin Tinio were probably the first to comprehensively and intensively discuss about Spanish colonial era residential spaces. Fernando Zialcita, the foremost scholar on Philippine domestic architecture. The vernacular (or pre-colonial) style, as encapsulated in the quintessential Bahay Kubo (cube house)is a reflection of Austronesian heritage, while the colonial style, as symbolized by churches and the classic Bahay na Bato (stone house) illustrate the complex interlacing or of opposing cultures and the unique adaptation and interpretation of western tastes, styles, and innovation in a tropical setting. Geographically being located at the crossroads of civilization and by virtue of being part of the regional maritime trade work of Southeast Asia, the development of architecture in the Philippines is a reflection of thousands of years of acculturation, adaptation, and innovation. ![]()
0 Comments
Leave a Reply. |