SPARK is ASAPHIL-UP's official online publication featuring articles and literary works with respect to its three main thrusts, projects, events, and members of the organization.
Since the beginning of civilization, Politics and Architecture have co-existed and flourished mutually. From pyramids that guide the dead, to skyscrapers that touch the heavens, architectural structures throughout history have long been made to please both rulers and plebeians. Yet, sometimes it can also be used to fuel a personâs âhidden agendas.â
One must understand that Architecture, when used well, can be a tool to foster meaningful cultural, social, and ideological change. In the same way, it is also a tool to propagate the political views, ideologies, and myths of those in power.
Architecture, nonetheless, is a visual expression of society and subject to its political environment. The great architect, Le Corbusier, once said, âArchitecture is never neutral. It is governed by the power structures of society. So the architect, whether aware or [not], intuitively perpetuate[s] some form of power relation even in a given architectural form.â In this light, it is better to see politics as an inclusive environmental factor that dictates not only society but also the architecture it creates.
Architecture too is a silent but incredibly powerful form of propaganda, and it can perpetuate chosen ideologies into society through its mere existence and usage. It is an art form that has existed and been used for hundreds of years. However, it can continue to be utilized to suit contemporary needs through changes in form or function.
Unsurprisingly, architectural buildings garner a great sentimental value from the public, even more so than art. No other visual medium can uplift, divide, and even infuriate a people better than architecture can. And it is this magnetic and fascinating nature of architecture that makes it a powerful medium.
Rulers and authoritarians have long known of the great psychological and sociological effects architecture has on people. After all, iconic architecture establishes myths with ease and affects the collective views of the public. Perhaps, that is why powerful individuals often utilize architecture for their own means.
In an interview with architecture professor, Arch. Ady Yazon, he points out multiple cases where governments and entities have used architecture to perpetuate political ideologies.
âThe Spanish time had religious architecture and Hispanic military architecture. And during the American time they had institutional architecture âschools- Â because the Americans wanted to educate the Filipinos. â
This kind of political architecture is heavily dependent on the social hierarchies of the time. The structures of these past eras reflect the culture and preferences of the ruling class. And despite the eventual assimilation of local forms, many of these buildings are still regarded as foreign and colonial in origin and form.
Whoever holds the most power in a society will ultimately hold its architecture as well. In another interview with co-professor, Gerard Lico, he goes to say, âItâs [architecture and power] a dialogical relationship because you cannot produce architecture without money. Kasi, you need money, [and] resources to make architecture realizable. So at the same time, in planning architecture, youâre also translating the social structures of society, so itâs a dialogue between architecture and the environment.â
True enough, the most powerful individual in Philippine history has himself used architecture to further his own political agenda. The Marcos regime saw the construction of expensive and grandiose buildings that perpetuated various myths about the presidency.
âThe Marcos regimeâ Lico added, âemployed the power of architecture to perpetuate certain myths of modernity, myths of modern progress, and myths of nation. So these [their] architecture, they systematically used architecture to gain power, because through architecture they were able to legitimize their claim to power. Because architecture is power made visible.â
Today, the architecture of the Marcos regime still stand as a testimony to the unsettling effectivity of the plunderous Dictator. Even now, after thirty years, the great amount of infrastructures built during his time are still used to justify Marcosâ dictatorial rule. And despite many thousands of detractors, his commissioned works can still help propel his own sonâs bid to vice-presidency and garner the blind love and dedication of millions more.
For something as beautiful and well-meaning as architecture to be used as poster-boards for rulers is unsettling - but ultimately real. We cannot deny the effects architecture has on popular thought. Even today, we still associate great buildings to the âgreatâ men who built it.
In our current era, the politics of architecture has changed its face. As the Philippines progresses economically, business conglomerates and companies now hold vast amounts of resources and power. And alongside their race to dominate the market, they compete vertically as well, creating buildings to reach the skies. Inevitably, our cities and mindsets will change just as quickly.
As Professor Lico says, âThe power [of architects] is derived from the ability to realize that there is the working of power of politics behind architecture. With the knowledge of politics, we are able not to be manipulated, but to become more critical and make buildings.â
Perhaps our job as architects is to understand how power operates through architecture, and in turn liberate not only ourselves, but the public as well. Even if some buildings are created to oppress others, we must have faith in our knowledge and understanding of architecture; so in turn, we may utilize the structures of power to create architecture that shall be for, not against, the people.
Yet another successful event was held at UP Town Center Amphitheater with the handling of ASAPHIL-UPâs Arkistry team headed by Andre Gutierrez and Kara Reyes. Sponsored by I AM Cardboard PH and Sun Life Financial Philippines, REALITY X: A Virtual Reality Experience offered its audience a taste of modern technology. The event covers one of ASAPHIL-UPâs main thrusts, which is architectural education. By contacting companies from its community partner, VR Philippines, the team was able to contract exhibitors â namely VR LAB PH, Narra3D.ph, Altitude, and Ubiquitous Computing Laboratory.
It is a known trend to see people using VR in different fields.
But first, what is Virtual Reality? How is it projected and what is its purpose?
Virtual reality, or VR for short, is also termed as immersive multimedia or computer-simulated reality. The user of this computer technology experiences a replication of an environment artificially created by means of involving the senses. Virtual Reality can be a simulation of the real world, or imagined situations and places developed from the inventiveness of its creator.
The first virtual reality systems were goggle-based with holographic recording of illusory experiences of the senses. The most recent virtual realities are projected on screens of computers or mobile phones. Smartphones have been in use because of it user-friendly interface. VR apps from Google Play are available for free to download. VR can also be displayed with the use of virtual reality headsets, which are designed for this sole purpose. Simulations focusing on real sensory information are achieved through additional devices such as headphones for sound replication.
Uses of virtual reality have expounded throughout the years. Before it was only used for but now, it has extended its services in education, military training, video games, fine arts, archaeology, architectural design and heritage, urban planning, therapy, leisure, marketing, and media.
As the advancement of the digital industry paved the way for this event, thousands of people have their eyes caught in virtual reality for its developing potential. It can be seen from the audience that this platform has harnessed an interest in the fields of architecture, entertainment, and tourism.
Many have tried using VR headsets for playing games. Plenty participated in the talk that was conducted in the afternoon. Some strolled around to check the booths and a few won prizes for participating in the raffle. Among the audience are students of architecture, mainly with motives of exploring 3D manipulation of design features. A family of four takes a picture to be printed in 3D and a professional can be spotted making abstract art out of the Tilt Brush at the corner. From kids to grandparents, thereâs no exception in using these inventions. This only proves that virtual reality is for everyone, disregarding age limits or occupation.
With dozens of enterprises focusing on virtual reality, the development of technology escalates with vast possibilities. Services of this advancement continue to increase as the exploration of its practical uses are examined further.
Whether used for recreation or for profession, virtual reality promotes culture in a high-tech manner. One can say humanity is one step closer to a virtual world.
From being a casual gig in a bar with several up-and-coming acts to being a full-blown concert, overflowing with incredible OPM talent and remarkably creative artists, Siklab has evolved as ASAPHIL-UP's platform for social relevance. But behind the music, the lights, the thrill of the night, what keeps it going?
In 2010, Siklab started out as a fundraiser for Artreach, ASAPHIL-UP's annual outreach program and art workshop for children. In recent years, Siklab has emerged into an arts and music festival that serves as a benefit concert for a chosen social advocacy by a partner organization. For this year's Siklab, ASAPHIL-UP partnered with the Philippine Society of Youth Science Clubs (PSYSC) to contribute to their science library development in Sitio Ronggot Multi-grade School, Calamba, Laguna. The partnership encouraged the members of ASAPHIL-UP to not only monetarily contribute by raising funds, but to also take on the role of socially responsive designers and creators by participating in the project.
Siklab 2016: Beyond the Lines was held at the Greenfield Mayflower Parking Lot, in Pasig City. The vast concrete expanse was filled with performances from talented local acts such as Autotelic, Reese Lansangan, Jensen and the Flips, Ang Bandang Shirley and Sud, and showcased live art from Maine Manalansan, The Bluedoor Collective, Kris Abrigo, 70 Syrup Street, Mich Cervantes and We Will Doodle.
To make a big event like Siklab happen, sponsors are a must, of course. But it wouldn't have been possible without the hard working Siklab Team, under the guidance of a truly dynamic duo. Both avid supporters of the local music and arts scene, Pope Egwaras and Neon Tabafunda answered the call to go beyond the lines and undertook the challenge of making Siklab come to life, on top of their already heavy academic responsibilities. Let's get to know what the SIklab Team heads think about the direction of Siklab, and it's significance to the organization.
What was the vision that you had in mind for Siklab 2016? And what motivated this vision?
Pope: Itâs so amazing to witness Siklab get bigger and bigger every year, but for 2016, we envisioned something bigger, better, but equally more socially relevant. Since last year the appreciation for local art and music has really increased, and we want Siklab to be the stage for these talents. The event itself is already large in scale, so we wanted more avenues--hence the launch was created. Siklab was motivated by this vision to continue spreading the word that hey guys, take a minute and look at these awesome talented groups of people!
Neon: After seeing how well Siklab 2015 turned out, given that it was such a big jump from previous Siklab instalments, we wanted to create an even better Siklab. We knew that the appreciation for local music and arts were becoming better and more and more people were getting into the scene; we wanted to be able to serve these people and give the local artists the right platform to share their talents. There were so many talents we wanted to consider for Siklab that we eventually decided to have a Siklab Launch where we featured acoustic sets from artists.
What was the biggest challenge you guys encountered along the way and how were you able to overcome this?
Pope: Oh there were so many challenges, but I guess the hardest of them all was the logistics of the event. Me and Neon were production and publicity members of the past Siklab teams, so we werenât that well-hearsed for overall project management. Luckily we had Siklab Ninongs and Ninangs, Lian, AJ and Gabe who helped us along the way. Nevertheless, these problems that we encountered served as a great lesson for us and the future team who will be handling Siklab.
Neon: Both Pope and I were part of Siklab 2015 and we both have backgrounds in pub. Pope worked on prod for Siklab 2015, while I worked for pub and a little bit of marketing. But heading Siklab 2016 meant we would have to oversee all aspects of the project, even encountering stuff that we had no previous or little experience in, especially finance, logistics, and marketing. Logistics and marketing were the hardest and most stressful parts for us. Without the support and guidance from previous heads of the event, especially sina AJ, Lian, and Gabe, I donât think we would have pushed through with Siklab 2016. I almost gave up several times, but knowing that the rest of ASAPHIL was ready to help out, and the advocacy behind the project, kept us motivated.
What does SIklab mean for you?
Pope: Siklab is an multi-functional outlet for me (hahaha) because I witnessed Siklab in two ways: as an audience and as an organizer. Watching performances, singing along to the lyrics, and joining moshpits are so much fun, and it makes you realize how rich and alive the local scene is. But once I started to go behind the scenes, that when I get to appreciate more things. The way the performers condition themselves before going on stage, the passion it takes to create beautiful art, and the manpower it involves to create this event. Siklab taught me so much, and during our term as heads, I tried my best to pass it on.
Neon: Iâve never been to Siklab until 2015. Nahila lang ako ni Lian to help work on the logo, but I eventually ended up doing a lot of pub also. Siklab helped open my eyes to the richness of Filipino talent, especially in music and the arts. Ngayon, I am a fan of local indie music and I am barely witnessing the tip of the iceberg. Without Siklab, I donât think I would have known about our local artists.
What do you think Siklab means for ASAPHIL?
Pope: I believe that Siklab means so much to ASAPHIL because it is not directly related to our chosen field. Itâs like a passion project that fuels our interests and through that we become more holistic. Siklabâs like a common denominator which will hopefully unite, bond, and keep the members of ASAPHIL intact. Most of all, Siklab is proof that we can do anything as long as work hard as a team. Sabi nga nila, #OneASAPHIL.
Neon: When you think about it, Siklab is not directly related to architecture. But Siklab is one of those projects that show the diversity of the interests of ASAPHIL-UPâs members. We work on projects that coincide with our personal advocacies. And recent years has shown how ASAPHIL-UP can create bigger and better events, proving that when we work together as #OneASAPHIL, we can keep the fire burning brighter.
In what direction do you see Siklab going in the years to come?
Pope: Hopefully, Siklab will be one of those events people has to go to every year. Â Itâs been really heartwarming to hear and read peopleâs reception to the event. The local music and arts scene has also been growing and I can also see that there would be stronger friendships and better collaborations made through Siklab--I learned so much from my orgmmates and I have grown a fondness for the Siklab fam. We work hard and learn from one another. In the years to come, the Siklab fam would get bigger, and I hope they enjoy the time as much as we did!
Neon: I have hopes that someday Siklab will be one of the go-to events in the local music and arts scene, especially after seeing how warm the reception has been in the past two years. But we also evolve as an org and Iâll leave it up to future batches of ASAPHIL and Siklab teams to see if Siklab is still the best platform for us to push forward our advocacies. Iâm glad that so far, Siklab has had a great run and I hope it doesnât go away soon.
Behind the music, the lights, the thrill of the night, what keeps it going? Siklab started out as a fundraiser for Artreach but I think it continued on because we saw it as an avenue for us to express our non-architectural interests and gave us a break from the daily grind we experience. We saw how it could become a venue for other people to also share in expressing and supporting those very same interests. And while we get to enjoy the music, the art, the company, we also get to help other people and try to do some good in this world. It's a win-win situation. Â
This year, Hiyas, the annual cross-dressing beauty pageant of the UP College of Architecture (UPCA), did not follow its regular pattern. There were many discussions and debates surrounding the changes that took place. The deconstruction of the competition began with it almost being cancelled.
The UPCA Administration called on the Architecture Student Council to have the said event cancelled on the grounds of vulgarity and indecency. The Arki community was quick to respond, especially the members of deeply-involved organizationsâincluding ASAPHIL-UP. The ensuing discussions showed showed strong support for the event despite opposing arguments. However, the arguments for its cancellation did not go unheard.
Taking all the events into consideration, the student council decided to push through with the event, but with certain changes implemented. The core goal of these changes is for Hiyas to return to its original objective: to be a satire of female beauty pageants. In line with this, the usual special awardsâincluding Best Metamorphosis and Best Escortâwere replaced with ones that put the female beauty pageant on its head. For example, the Best in Weight award, which went to heaviest contestant, put into perspective how women are supposed to weigh less to succeed in the pageant industry.
Despite the changes in the competition and stricter enforcement of rules, the involved organizations still went on preparing for the competition. by constructing their costumes and props, choreographing performances, and training their respective contestants. ASAPHIL-UP had unanimously voted for Kirby Manuel to represent them for the year 2015.
The theme for this yearâs set of characters was Filipino mythological creatures. Guided by Kat Sicat, Agui Aguirre, and the rest of the Hiyas team, Kirby made great strides in his transformation into Smoky Sernaâthe character based on the kapre. As the kapre was known to be tall, the team worked well with Kirbyâs long limbs and statuesque proportions and transformed, her into their own unique interpretation of the creature. Their kapre was not a giant, cigar smoking beast; Smoky was created as an elegant, supermodel-esque creature flaunting a cigarette holder a la âCruella de Vil.â
Smokyâs character drew heavily from that look, and the team taught Kirby everything he needed to do to pull it off. They trained him to walk, talk, and move with allure, class, and grace. Even her face needed to show her air of nonchalance. The team had to make sure every physical detail was on point.
Kirby also got tips on characterization and answering questions from the Hiyas 2014 winner, Noaj Galzote. In addition to moving and speaking in character, he and the team made sure Kirbyâs words were not only entertaining, but in line with the characterâs beliefs. Because kapres lived in trees, Smoky became the advocate of the forests and of nature. She also had to be aware of relevant issues in society in preparation for such kinds of questions. In doing so, Smoky also upheld two of ASAPHIL-UPâs main thrusts: social relevance, and environmental awareness.
The biggest part of the production, however, was the giant balete tree that dominated the stage. ASAPHIL-UP received plenty of help and assistance from the applicant batch of 2015-A. They put in as much time into building the enormous stage piece as many of the members had for the rest of the prod. Although thatâs not to say that the apps did not help with the rest of the prod.
For the talent portion, Kirby and the dancers were guided by choreographers brought in by Neal Alarcon. He and his friends brought technique and skill similar to Rei Prieto when he choreographed the dances of past years. Of course, the team did not let Kirbyâs own talent go unutilized. He also prepared a snippet from his championship-winning performance from 2014âs Arkiâs Got Talent and, amazed audiences with a light show from fingertips.
On the night of the event, the UPCA building 1 was filled with noise as the members of the participating organizations cheered for their representative. Each of them had their own themed costumes and makeup and their made-up faces were illuminated by colorful lights. The excitement in the audience was intense as the time for the contestants to take the stage finally arrived.
There were many costumes and performances in the HIYAS, ranging from the elegant and fabulous, to the comedic and bizarre. Smoky Serna proved to be a match as well, and his evening gown by Micah Maramag was awarded the Best Evening Gown of the night. At the end of the night, the crown went to UAPSA-UPDâs Joed Abad as Shokira Knightley. While ASAPHIL-UP went home unsatisfied with the result of the pageant, the members were still proud of the team and, especially, proud of Kirby. They put many hours into designing, crafting, and training to produce the performance they did on that night.
Itâs hard to expect how things will be like for next yearâs Hiyas, and if the changes this year will stay. This was a very experimental year for Hiyas, and there may be more changes in the coming years. One thing is sure, though: the members of the org are determined to put on another grand performance, despite any challenges. Hopefully, next year, the Hiyas team rise up from the ashes and win back the crown for ASAPHIL-UP.
On a normal afternoon in the UP College of Architecture, you and a couple of friends enter your classroom only to discover that it had been transformed into a horrendous murder scene. Your friends try to find a way out of the room but soon realize youâre trapped inside. Meanwhile, you discover a frightening message: a mysterious murderer is loose and heâll strike again in an hour. Only you and your friends can stop the killer, but you need to find a way to escape the room. Fear, anxiety, panic, and frustration kick in as you struggle to find a way to escape. Will you have what it takes to escape the room alive and stop the murderer?
Alternative Class Learning Experience (ACLE) is a campus wide activity where in students can experience a learning environment beyond the academic classroom. Following in this tradition of extracurricular learning, ASAPHIL-UP held its own ACLE event, âInside the Box: The Psychology of Space.â This year, the event broke away from the traditional forum-type structure and instead devoted more time to the activity, one that would test the minds and skills of all the participants.
Yet, this would not be the first time the organization broke away from the traditional format. Former Academic Committee Heads Allen Guanzon and Raisa Borlaza were the first to choose topics that were not restricted to architecture and design.
This year, the current Academic Committee Heads, Sheena Tuazon and Danielle Bea Candano, decidedly chose to continue the tradition of partnering with other organizations to create a truly unique academic experience for students of any discipline.
Sheena added,
âThe Executive Committee, AcadComm, and the entire org agreed [with the topic]. Allen advised us to make the ACLE interactive and we aimed to stay true to the goal of ACLEs - be alternative.â
In following this line of thinking, the special, interactive activity for the Inside the Box was born; and it was going to be a simulation room.
In the simulation room, the students were tasked to solve the mystery of a potential murder by finding clues hidden in two separate rooms - the colorful bedroom of a teenage girl and the horrifying den of a serial killer. The obstacles to their task ranged from hidden clues, coded words, lockboxes, secured devices, and even padlocked doors. Panic and paranoia quickly set in as the participants were constantly fumbling over clues and discovering unsettling messages and scenes. Yet, eventually, all the students overcame the challenges, solved the killerâs identity, and conquered the psychological effects of the situation room.
Later that day, Psychology Professor Aurora Odette Mendoza gave an insightful lecture, giving the students a chance to fully understand the unseen forces at work in their minds. The informative lecture, paired with the memorable activity, created an effective fusion of traditional and alternative learning forms to ensure a truly unforgettable experience.
Yet, not all was smooth sailing and many problems arose during the planning and preparation stages of the ACLE. Logistical problems and manpower were both very important concerns. Marketing the event to students both inside and outside Architecture courses proved equally challenging. With such a unique topic and activity, the Academic co-heads were essentially heading towards unchartered territory.
Yet despite the numerous setbacks and difficulties, the activity was a huge success, thanks to the efforts and hard work of the whole event team. All participants walked away satisfied and entertained, and not one soul left that room feeling unsatisfied.
The AcadComm heads, of course, did not forget about the people who made the event possible through their hard work and diligence. During our interview, they did not hesitate to give thanks all the credit to the people who extended their help and made the event possible.
Now in high spirits, the ACLE team is getting ready in hopes that the next may be as good as or even better than the last. And in the words of Bea herself,
âHere's to bigger, better events next sem!â
You may contact Prof. Aurora Odette Mendoza through her linkedin account here.
Hello Yesterday
Reliving the Best Moments of ASAPHIL Month 2015
By Giselle Sta. Ana
Pre-event Jitters
There were only four days left before the ASAPHIL Month exhibit launch, the event that would officially inaugurate the organizationâs birthday month in November. This school year marked the 29th year of ASAPHIL-UP, the last org in the college to commemorate their foundation day for the semester â the pressure was on to paint Arki blue! The plan was grand â but on that hectic afternoon, prod work was still far from what was envisioned. The members had to push past the exhaustion from Hiyas ng Arki which finished only the week before, and another wave of plates, exams, and submissions were to come chiming in for finals season. This week was the only time left to catch up on the exhibit, among plenty of other events that had to be finalized for the birth month. There were dilemmas to be resolved, people to be contacted, errands to be run, and a whole lot of work to be done â yet somehow, it pulled through. This ASAPHIL month will be hard to top, and has set the bar high for an even grander celebration come the orgâs Pearl Anniversary.
The Theme
For its 29th year, the main theme for ASAPHIL month was âReminiscenceâ â recalling fond memories and the great achievements that the org has experienced and achieved throughout its existence. The â90s aesthetic was a visual mechanism used to express this concept in profile pictures, graphics, and other promotional material. Membersâ profile pictures were masked by a filter of black and white to further evoke a reminiscent feel. Cassette tapes, gameboys, tamagotchis, and walkmans were once again brought out of attics and storage boxes to be used as photo shoot props; paying homage to a decade that was nostalgic for members of the org and the millennial generation as a whole.
Then and Now
Up until the mid 2000s, in the old days of bulky cellphones and even bulkier clothing, the foundation of ASAPHIL-UP was celebrated exclusively by members during the last week of November, and was called the Birthday Week. It consisted of simpler and more internally focused events like Spirit Week, Cake Day, and the Alumni Dinner. As the org had an increasing member population, not to mention a growing collection of awards and achievements, the annual birthday celebration expanded with the addition of more activities. These were not only more inclusive of wider audiences, but also aimed to embody the orgâs thrusts, goals and objectives. Now with staple events such as Committee Outrage, the ASAPHIL Month Exhibit, the Grand Pakain (which evolved from Cake Day), and the recently initiated Liyab Lecture Series, the birthday week was stretched throughout the whole of November, becoming what we know today as ASAPHIL Month.
For 2015, the month of November was kick-started with a special movie screening of âAbove the Clouds,â an indie film by Pepe Diokno. Spearheaded by Sports and Socials Committee heads AJ Penaranda and Lian Santos, it was a far cry from the impromptu movie nights that we would often have in the tambayan because this time, the people would watch the film in the UPCA amphitheater. Grass-lined steps descended to an open field with mats and pillows, providing the clusters and pairs of movie-watchers with their own cozy corners for the evening. The night was clear and free from the obstruction of walls or ceilings. âAbove the Cloudsâ was just the escape that students needed from their mid-semester stress. Its emotion-provoking themes, coupled with the relaxed ambiance of the open cinema, allowed the audience to lose themselves in the story.
In the following week, the ASAPHIL Month exhibit was launched. Previous exhibits usually showcased only photos of the members. This year, exhibit heads Aless Uy and Jaime Chua decided to level it up. Each memberâs photo was concealed in a cardboard frame, with a unique and interesting fact on its cover. It adds an aspect of mystery and anticipation to the curtain of cards, making one wonder who the trivia was pertaining to. The frames also had a pocket where people could leave personalized notes and messages. ASAPHIL-UPâs ad hoc events and projects were also featured throughout a series of display boards, which recounted each oneâs foundation, history, and achievements. The ad hoc boards were arrayed around the perimeter of the Building 1 atrium, with the membersâ photo frames forming a curtain at the center of the space. They hung from what the members fondly called âthe ring of fireâ â a flame-like installation of wire and yarn that canopied over the exhibit from above.
Seconds after the exhibit was launched, the members dispersed and were sent to a sprint throughout the building, as the first game of Committee Outrage had begun. They were tasked to search for the 29 envelopes hidden inside lockers, on top of beams, under tables, and other hard-to-reach places. Each envelope contained a puzzle piece, which all the players had to find and assemble. This was just one of the games lined up for the inter-committee competition. Also known as âComm Outâ, this weeklong event is a series of games and activities in which the 6 committees played as teams. Apart from friendly competition, Comm Out is an opportunity for members to showcase their individual talents, team dynamic, and committee pride. It is one of the most awaited (and dreaded) activities of the birthday month. After all the fortuneteller folding, puzzle solving, relay racing, photo sharing, and a lot of trash talking, it was the InFINcible FINixes (the Finance Committee) that would take home the win.
       The Liyab Lecture Series for this ASAPHIL Month was entitled âNavigating the Industry.â Held at the Museum of Filipino Architecture (MOFA), speakers Arch. Aldo Mayoralgo and Arch. Jovie Magabo talked about their experiences as young professionals in the architectural field. They also shared tips on how to stand out in the industry, and other aspects of architectural practice.
For November, a different art form was explored in the orgâs bi-monthly craft workshop entitled, âThe Kiln.â This event is in partnership with Artreach, the ASAPHIL-UPâs annual outreach program. Rachel Halili from Where To Next imparted her expertise on travel photography and collage art to participants of the workshop, who created their own masterpieces at the end of the session. As the Kiln was going on inside the MOFA, some familiar artists of the craft community set up pop-up booths outside the venue, displaying their stickers, postcards, notebooks, stationery sets, fashion accessories, and other neat novelty items. These artists include Details Ink, Crafty Cookie, Write Designs, the Paper Pirate, La Isla Luisa, and Where To Next â some of which are our very own members.
Another special event was introduced in ASAPHIL Month, pioneered by one of the orgâs iconic alumni, Fab Fabia. Arkitekturo is an initiative to promote and educate people about architecture, and its importance in community building. The project was launched in a forum on climate change, resulting natural disasters, and how these can be solved through the collaborative efforts of engineers, designers, and experts of other professional fields. Arkitekturo was conducted in the GT-Toyota Asian Center with speakers Dr. Oscar Lizardo of Project NOAH, Arch. Stephanie Gilles from the UAP Emergency Architects, Ms. Pamela Cajilig of Curiosity Design Research, and Arch. Vern Sarraga of TAO-Pilipinas. The symposium garnered several attendees from various colleges and even professionals from different fields. The diversity of the participants attested the relevance of the issue. While architecture is a core aspect in community building, the discourse is a significant step towards uniting the countryâs best and brightest in their role to actively respond to this challenge.
The New Time Frame
The event line-up isnât the only thing thatâs different about the way we celebrate ASAPHILâs birthday month. Along with UP Dilimanâs academic calendar, the timing of ASAPHIL Month had shifted from being the sem-starter to the sem-ender. This is a major game changer because the beginning of the semester demands less work and fewer academic requirements, whereas the end of the semester is plagued by final submissions and a lot of stress. APEC week was also a challenge because it put an awkward break period amidst the events that had been planned. Looking back, maybe it wasnât such a bad thing after all. With finals week, which was then fast approaching, it gave us students a breather to catch up on schoolwork.
The last week of the month was mellow and easygoing, as members bonded over the anticipation of ASAPHILâs birth date (and the barrage of deadlines that would inevitably follow). ASAPHIL Month culminated with the Grand Pakain and the Alumni Dinner, where members, applicants, and beloved alumni came together to commemorate the 29 years in which the org has kept the fire burning with love and passion.
Given this new context, the activities were spread well throughout November to minimize downtime during the month. This also allowed the members some leeway to study and work on plates in between the events. While we intended for the orgâs commemoration to make a big and memorable impact to our members and the college, we also wanted to ensure that the entailed work doesnât become a source of stress, and to retain the genuine joy and fun in celebrating the foundation of ASAPHIL.
Moving Forward
ASAPHIL-UP has evolved so much since I entered as a new member. Events are changing with the ever-diversifying member demographic. Our broad range of events not only reaches various types of audiences, but also doubles as a holistic training ground for our members. The orgâs endeavors have continued to become larger in scale, and wider in scope â and each triumph, no matter how great or trivial, will always be worth celebrating every month of November. With ASAPHIL-UP hitting its 30th year milestone next year, I donât expect it to start slowing down now. Reminiscing the great times Iâve had with this org has been a blast to do for ASAPHIL Month, and it brings me joy and pride to be a part of this org I consider my family. Iâm even more excited to see what this org can and will accomplish in the coming years.
Points of View
âThe first thought I had when Aless and I accepted the job to make an exhibit was that it would be super hassle and not worth it. When the exhibit was finished I realized that the former was true, and the latter was false. Ever since we took the job I wanted to have contributed to an exhibit that i would proudly remember for years to come, and I hope the rest of ASAPHIL-UP does so too. Because what that exhibit was, was not just an exhibit, it was a testament to the effort and work that the organization, our organization has always done.â
Jaime Chua
ASAPHIL Month Exhibit Head AY 2015-2016
âUnlike the usual exhibits we're used to, we didn't want the ASAPHIL Month exhibit to be just something to look at. That's what lead us to push for an interactive exhibit, wherein everyone would be able to contribute their own personal input. We wanted this to be something more meaningful, memorable and at the same time, show everyone, especially those outside of the organization, who we are, and what we do.â
Alessandra Uy
ASAPHIL Month Exhibit Head AY 2015-2016
âAs a freshie, the month of November was hell. Plates after plates, deadlines after deadlines. But as an app, the month was solid (especially because we won CommOut. Chaching!)! I really got to bond with a lot of mems through the activities and I got to see what One ASAPHIL really is.â
Arvic Alvarez
New Member AY 2015-2016
âASAPHIL Month is not just a simple celebration of our foundation anymore. In the past couple of years it has become a venue for our members to showcase their talents be it in production, publicity, planning, or anything else. This is what makes it better each year and if we keep improving on ASAPHIL month, it may one day become a spectacle that people wait for even more than they do now.â
Daks Jimenez
NBOD Vice-Chairperson for External Affairs AY 2015-2016
It was my second time to be a part of the Artreach Team and this year's promise to be bigger and better was definitely kept. Artreach, an outreach program where ASAPHIL-UP share their time and talents to others in ways as involved as art workshops, is an annual event held in December.
This year, Kara Pangilinan, the head of the Artreach Team, wanted to make a more solid relationship with the beneficiaries âź the kids of Brgy. Loyola Heights Daycare Center âź by holding a series of activities that helped us share our talents and skills in making art.
Getting closer with the kids got easier for we had several sessions with them that proved to be interesting and exciting each and every time. Mondays in that classroom filled with little chairs and little tables brought amazing times with those adorable kids.
Along with the plan of making Artreach bigger by making it more than just a one-time event, it has also partnered with âThe Kilnâ as its fundraiser.
The Kiln was held on November 13, where it featured a Travel Photography and Collage Art Workshop by Where To Next, along with some lovely craft booths by Details Ink., Write Designs, and Crafty Cookie. The booths were set up near MOFA for two days, offering a variety of postcards, stickers, stationery, jewelry, and other crafts.
Going back to Artreach, I was both excited and nervous at the same time. I really like kids. Though I've never interacted with a group of kids that was as young as they were, but during the event I realized that there was really nothing to be nervous about.
As we entered the classroom, we were greeted by some curious little eyes that must have been wondering who we were and what we were doing there. Some of them immediately approached us and welcomed us with a smile and hug. To start the session off, we did a little bit of exercise with the kids, which involved a little bit of dancing and Kara singing to the song of "Singing in the Rain."
After that, we started the art activity and on that day was flowers-and-leaves crown making. The previous week, the team painted birds with the children. Kara, Big, Juami, Nikki, Gabby, Faye, Kim, Agnes, and I dispersed into the three tables, with each of us handling around three to five kids. I had a group of four girls and that challenged my social skills with children as they needed a bit of guidance. It was a good thing that we had already cut the petals and leaves beforehand in order to make the activity easier and quicker for all of us.
Truth be told, the results were amazing! Everyone loved their crowns and wore them for the picture taking. One boy stood out for being a big ball of energy that he was, while one girl kept on tickling all of us. Hanging out with them was just so refreshing for it was just a day spent on art and playing. Who would not want that?
For the next week, Kara had given Big and I the task of coming up with the next art activity. We have eventually decided to go with stick puppets, which they can design depending on how they want them to be. Before the event, we have prepared the materials the kids will be using: glue, colorful pens, paper human figures, paper clothing items, and popsicle sticks so that they can hold the puppets. We made a variety of clothing items: t-shirts, shorts, skirts, pants, etc.
They were in different colors for the kids to have different choices to play and experiment with. Kara, Gabby, Big, Raisa, Renzo, Nikki, Venice, and I were the ones to volunteer that day. The kids were again very excited for the art project. I was glad we made a lot of cut-outs because each kid actually made a lot of puppets, usually even making them represent their friends or family. How sweet!
I particularly liked this day because I got really close to one of the girls, whose name is Shanelle. She was one of the girls I guided through the art activity. Once the art activity was done, I was surprised that she dragged me to the playground outside the classroom and wanted me to play with her. Seeing how much she wanted to go outside and how playful she looked, I, of course, went along with her to the playground, which was filled with colorful see-saws, slides, swings, and monkey bars. It's basically a child's heaven!
We played on the see-saw along with the other kids. She wanted me to go and play on the slide, but I didn't think I could fit so I just watched her instead. Eventually, the other members also joined in and also played with the kids, and it was just all so fun. Then I gave Shanelle a push when she was on the swing. Hearing her squeal of happiness as she rose higher and higher from the ground just instantly made my day.
When it was time to leave, Shanelle said to me with her sweet little voice,
"Huwag ka muna umalis. Wala pa yung sundo ko."
so we all stayed for a while to play with them until we eventually really had to leave. Playing with them in that playground was highlight of my day. In that short amount of time, I have grown attached to Shanelle, this sweet little girl who was just a big ball of energy. Honestly, it really hurt to say goodbye.
To cap things off for this sem, Artreach had a small lunch celebration on December 14 with the kids of the Bgy, Loyola Heights Day Care Center.
All in all, Artreach has definitely been a pleasure to be a part of this semester. The kids at the Daycare Center were adorable and fun to be with. It was an absolute pleasure to be able to teach them art activities that could somehow inspire them to be artists themselves. Taking the day off from our busy and often stressful academic lives in order to spend it with these kids was truly fun, refreshing, and even heart-warming.
I don't want to sound so cheesy, but I kind of thought that we members were the ones doing the "giving" as we were the ones teaching the kids. But the thing is, I think the kids gave us much more - the fun, the laughter, the memories. Kudos to Kara for being an awesome Artreach Head and for making all of this possible.
Her goal, which is to have more solid relationships with beneficiaries, was definitely achieved. And thank you to the Artreach Team, and even to those who aren't a part of the team, for making the events what they were. Every bit of help was extremely valuable. To end this, I'm just going to say that I'm very excited for the future of Artreach. It continues to be one of ASAPHIL-UP's events that can truly touch hearts. Thank you, ASAPHIL-UP, for this wonderful experience!
Arch 360: Of High-Rise Cities, Realities, and Duties
By Daks Jimenez
One of the most exciting and arguably one of the most educational pursuits of ASAPHIL is the annual Arch360. In recent years, in an effort to be united as one ASAPHIL, Arch360 has been a joint effort of the different ASAPHIL chapters.
This year, Arch360 was entitled, âTorre de Filipinas: A Symposium on Sustainable Architecture in High-Rise Design. When the theme of this yearâs symposium was being conceptualized, the different issues that architecture faces in our country today were being brought up. Out of all these discussions, a particular controversy was brought up concerning Torre de Manila and how it violated the heritage and spirit of place of Manila as it âphotobombedâ the otherwise striking view of the treasured Rizal Monument in Luneta Park. With this as a starting point, a discussion on matters about how emerging technologies in a continuously urbanizing country can be regulated and utilized to better fit culture and context soon progressed and as a result, âTorre de Filipinasâ as the title of the next Arch 360 materialized.
It was conceptualized with one particular question in mind, how should high-rise buildings be designed in the Philippines?
As mentioned, this topic of course requires a look into emerging technologies today. It is a challenge enough to design a functional and aesthetically appealing high-rise building (Arki students who have went through the excruciating rigors of 3rd year would know). To add the element of culture and consequently, context, is another daunting challenge in itself. Thankfully, Arch360 was graced by three respected resource speakers in Engr. Edgar Sabidong, Arch. Gloryrose Dy, and Arch. William Ti who shared their experiences with the participants regarding the topic.
The three speakers all had different takes on the issue. Engr. Sabidong, a civil engineer and a board member of the Philippine Green Building Council, discussed new technologies available today with regards to constructing a sustainable high-rise building. His talk included all concerns about temperature control, modes of construction, and available materials among other things. He illustrated high-rise buildings like machines with different functional components that allows them to not only survive but be efficient in their context. The second speaker was Arch. Dy, a Davao-based architect who talked about the application of vernacular building and design traditions to the modern context of high-rise building. The symposium was wrapped up by Arch. William Ti, Head architect of WTA Design who shared his insights on integrating green spaces with the vertical forms of high-rise buildings.
Three speakers, providing three different point of views on what âTorre de Filipinasâ or the Philippine skyline should be like, and probably would be like given the resources, in the future.
Now, as students and future designers, what is our takeaway from all this? What should we have learned from this Arch360 in this particular topic that would help us in our careers in the future? Truth be told, this is an example of the perfect marriage between our aspirations and our duty as designers for the nation.
Torre de Filipinas teaches us something apparent but in need of emphasis, that it is up to Filipino designers to take control of the built environment if we truly want it to be ours. As a country we were often led to believe that someone outside our boundaries knew better about how our cities should be designed and the reality we face is that with the global competition today, we are very likely to lose opportunities to other designers because they are supposedly "world-classâ. Whatâs even more painful is that the people who choose them are also Filipinos. It is the harsh and grounding reality of our profession today. However, if we have learned anything from Arch360, it is that we know we are capable of being globally competitive. We sure have the ideas for it.
If we look back at the different plates that weâve done throughout our stay in college, every piece of research, space programming document, design concept, every sketch, render, and model, we see that up to this point, we have been relentless in our pursuit of innovation in design. As weâve been told, the future and the âreal worldâ is different and not as flexible to new ideas as college is but that is no reason for us to drop what we have learned and just go with the flow. Otherwise, what was the 4 or 5 years that we have spent or are to spend in the University of the Philippines even for?
At this point in our lives, we are eager to take as many opportunities as we can and we are not to be faulted for this because we do need experience to grow as designers. However, we also have to realize that our country needs our help not just in the future but now. It cannot and does not wait for us to grow and develop. Cases like Torre de Manila happen often whether we grow or not. Our country needs us now. That is the takeaway from this yearâs Arch360.
The late Prof. Jojo Mata once told his class before (non-verbatim),
âMany have tried to design a truly Filipino high-rise building before but have failed. That is the challenge to the younger generations now. Maybe it is up to a younger generation, with all of the innovations today, to solve this problem.â
The future of our cities and our country is being entrusted to us. Let us do our nation proud.
