Protecting built heritage, along with conserving local traditional and cultural values of communities, is a must in these times of change and development. It is no longer an issue of the old vs. new, vintage vs. novel, but making the old and vintage adapt and work alongside the changes happening around them.
During such interesting times, architects like Ar. Gerard, the principal architect of Arc Lico, takes a step forward in preparing courses focused on aspects of heritage conservation, learning to design while being respectful and aware of the cultural context, and mentoring and working alongside the next generation in the field in planning, design, and implementation of conservation projects.
Arc Lico is one of the forerunners in heritage-oriented design solutions in the country. It is a research-oriented design consultancy committed to fostering pride of place through participatory heritage and furthering the discourse on Filipino architectural knowledge. Part of their portfolio is the conservation and rehabilitation of the Manila Metropolitan Theater and The Rizal Memorial Coliseum in Manila.
Ar. Lico served as the Consulting Architect and Project Manager for the first phase of the restoration works of the Metropolitan Theater. It provided the backbone for the conservation and restoration project, including the programmatic and design development, the creation of the Conservation Management Plan, architectural conservation and archival research, and the documentation and creation of As-built plans.
Meanwhile, Arc Lico’s works on the Rizal Memorial include the documentation and conservation of its Art Deco details, period-appropriate renovation, and the installation of modern air conditioning, sports lighting, and monumental lighting utilities. Add to these laurels, Arc Lico also worked on UNESCO World Heritage Sites such as the Baroque Churches in Ilocos, as well as other pre-war, and post-war buildings in Manila.
Custom and Unconventional Design Solutions
Ar. Gerard believes that unique design solutions are borne out of unique circumstances and necessities. Unlike new construction, where everything can be standardized and fit to common materials and practices, with heritage structures, especially those that employ historic building practices and materials; it is necessary to adapt to what is available.
In Arc Lico, research is not taken lightly. Ar. Gerard himself believes that conservation without research is baseless conjecture. He explains that for most historic structures,
“An understanding of the original materials used, and morphological development of the building would help the conservator better approach how to conserve the place. It also allows them to make informed choices that would best ensure the building’s longevity and prolonged safety for its users.”
One of the methods the firm uses is architectural forensics. This includes techniques such as collecting archival photos (to illustrate a building’s development over time) and utilizing photo documentation, 3D laser scans, ground penetrating radar, photogrammetry, and petrographic analysis. These are taken to document the present condition of the building so that they can compare data between various sets of materials, diagnose defects or problems, and prescribe the appropriate interventions. Coupled with archival research, this forms the process of architectural forensics that informs the conservation process.
Future Forward
Ar. Gerard is fueled by his love for the country’s old edifices that house old and new generations. As a steward of heritage, he believes that it is our duty to our cities, our people, our nation, and humanity to conserve and protect our built heritage so it can be passed on beyond our lifetime. He shares,
“Built heritage is a tangible remnant of the past that is passed down to us, and hopefully, future generations. Built heritage is never truly ‘ours’. We merely ‘borrow’ it from our children.”
We thought we’d add a bonus track to the article by sharing Ar. Gerard’s thoughts and musings through a quick interview below.
What is the current heritage conservation status of our country?
Ar. Gerard: There is much more to be done in terms of awareness, resources, and dissemination of technical expertise. The passage of the National Cultural Heritage Act in 2009 was the culmination of years of contemporary heritage advocacy lobbying that was galvanized by the demolition of the Jai Alai building in Manila in 2000.
There are still many things that heritage advocates, practitioners, and cultural agencies are learning about how to manage and conserve heritage places. New guidelines for the implementation of the Heritage Law have been released in 2021.
More students are applying for heritage conservation programs in UP and UST in Manila and USC in Cebu, and the rise of conservation trade schools across the country under the Escuela Taller de Filipinas Foundation shows that the field is continuously growing and evolving with international practice.
There is also a growing awareness of our heritage among the community thanks to the rise of social media. Heritage advocacy and appreciation groups such as the Heritage Conservation Society, Advocates for Heritage Preservation, among many groups, bring the discourse of heritage to a wider audience.
How important are architecture and design in heritage conservation?
Ar. Gerard: Conserving a building requires an understanding of the aesthetics, ideological underpinnings, design intent, building technology, and construction methods of the time it was built. One has to peer into the mind of the original architect and derive their thinking—their thought process—their values—and to adapt these into your approach in conservation.
Conservation is not always “bringing back” the building to what it was exactly in its original state. Often, the materials used are no longer available, or these do not comply with safety codes and standards of today. Sometimes, the skills employed in creating the original building are no longer available. Thus, the Conservation Architect, through architecture, design, and their knowledge of the context of the heritage structure, makes a series of decisions determined by their research to craft an appropriate solution to conserve the most essential characteristics of the building, while ensuring its continued longevity, functional requirements, and its compliance with modern safety codes and standards.
Far from being glamorous, heritage conservation is about managing change and safeguarding the building’s significance and accumulated layers of history.
Perfection is not the final goal of conservation, therefore flaws and the patina of age are not necessarily erased through aestheticization, but celebrated and embraced.
Can you give us an overview of your heritage conservation process?
Ar. Gerard: The heritage conservation process is not linear—it can move back and forth depending on what will be discovered during the conservation process. Usually the building reveals more of itself as we go along, and sometimes archival research shows more things which inform the undertaking.
Conservation of a place begins with a discussion with the owners to get the client brief and determine what their plan for the building is, if it would be adaptively reused or if its current use will be retained. Then a heritage assessment and a conservation management plan is prepared. This entails an intensive research and documentation of the extant building to get an idea of its history, morphological development, and changes in use overtime. Then an analysis of the building is done to determine its issues, its character-defining elements, and research into the spirit of the place is done to determine the best approach to conserving the building given all these considerations.
Every step of the way, consultations with the stakeholders are done to gain their insights in the conservation endeavor. Stakeholder consultation is crucial especially with public structures since these buildings live in the collective memory of the community. Involving them in the process allows them to gain a sense of ownership of the heritage structure and to gain an appreciation of the heritage site, so that it can be given a new lease on life if the building has been neglected for a long time, or for the community to gain a deeper appreciation of its significance.
What made you decide to take on these custom and unconventional design solutions?
Ar. Gerard: Unique design solutions are borne out of unique circumstances and necessity. Unlike new construction, where everything can be standardized and fit to common materials and practices, with heritage structures, especially those that employ historic building practices and materials; it is necessary to adapt to what is available.
You can follow Arc Lico on their official Facebook and Instagram pages for updates on their upcoming projects and collaborations.
Find Arc Lico here:
Address: Commonwealth Avenue, Batasan Hills, Quezon City, Metro Manila, Quezon City, Philippines
Facebook: https://www.facebook.com/arclico.ph
Instagram: https://www.instagram.com/arclico.ph/
Email: archlico.ph@gmail.com
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