College of Engineering and Architecture

Urdaneta Campus
Department of Architecture

HOA 4
HISTORY OF ARCHITECTURE 4
ETHNIC AND TRADITIONAL HOUSES OF THE
PHILIPPINE ISLAND
TITLE:

RSW NO: MT – 02
Date Given: NOVEMBER 09, 2022
Date Due: NOVEMBER 11, 2022
Date Submitted: NOVEMBER 11, 2022

Submitted on time: Late submitted :

JULIAN, JERICO DG.

20-UR-1563/ ARCHI 3B

AR. ZALDY CORPUZ, UAP

INSTRUCTOR
 ARKITEKTURANG PILIPINO: EXCLUSIVE OUTCOME OF DIVERSE
CULTURE, ETHNIC DIFFERENCES AND TRADITIONS
1. BAHAY KUBO
The Bahay Kubo is one of the most
illustrative and recognized icons of
the Philippines.
The name of the primitive Nipa hut
is based on the Spanish
phrase “Cubo”, meaning cube,
probably because of its rectangular
appearance and Bahay is the
Filipino word for house. By
tradition this type of village
dwelling is constructed out of
organic materials, a perfect
example of a totally green
structure, a showcase of extreme
simplicity and sustainability that has been around for a very long time. The typical structure is raised with thick
bamboo poles, one to two meters above the ground, depending on the area where the shelter is constructed,
providing the inhabitants a safe shelter from wild animals, snakes and protecting them against torrential rains and
floods.
A Bahay Kubo is built to give a welcome refuge in the rainy season and provides shade in the hot summer. The
housetop is high inclined and open gabled to allow fumigation; it is fitted with wide overhang eaves, to provide
shade from the hot sun and keeping the rain out. Some huts have an open back porch or batalan, used as a
depository for water jars, a cellar or silong is used for most household chores and a silid or alcove for stashing the
mats and pillows after use. The space underneath the house is used for ventilation and as a storage area for food, or
sometimes as a shelter for small animals like goats and poultry. A distinct characteristic of the domestic Bahay Kubo
is a kind of stairs or hagdan which can easily be disconnected at night and placed on the patio.
MATERIALS OF A BAHAY KUBO

The bahay kubo is commonly made of wood, bamboo strips which holds and mirrors much of the Philippine culture
because of its functional and traditional uses, and thatched roof.

ARCHITECTURAL FEATURES

 LARGE WINDOWS-They provide natural lighting and ventilation. If the windows are placed strategically,
cross ventilation occurs, and with that, the circulation of air in the building is continuous. The large upper
windows may be augmented with smaller windows called Ventanillas (Spanish for "little window)
underneath", which can be opened to let in additional
air on especially hot days.
 ELEVATED FINISH FLOOR LINE- Spaces are used as
storage or an enclosure for small livestock. Other
functions of this elevation include protection from
natural disasters like flooding.
 OPEN PLAN- The open space serves as a multi-purpose
area depending on what the family is doing. It can be a
dining area, living area or a sleeping area.
  HIGH CEILING- The purpose of the high ceiling is to provide space for the hot air to rise as it circulates within
the room. The common roof designs used in many bahay kubos are gable and hip types.
 THREE-LAYERED STRUCTURE- most Bahay Kubo are raised on stilts such that the living area has to be
accessed through ladders. The actual living area in the middle, the area beneath it (referred to in Tagalog as
the "Silong"), and the roof space ("Bubungan" in Tagalog), which may or may not be separated from the
living area by a ceiling ("Kisame" in Tagalog).
 ROOF- is tall and steeply pitched, ending in long eaves.
 SILONG- This section of the house is often used for storage, and sometimes for raising farm animals, and
thus may or may not be fenced off.
 WALLS- The walls are always of light material such
as wood, bamboo rods, or bamboo mats called
"sawali."
 BATALAN- The Batalan can contain any combination
of cooking and dishwashing area, bathing area, and
in some cases, a lavatory

CONSTRUCTION MATERIALS
The walls of the living area are made of light materials - with
posts, walls, and floors typically made of wood or bamboo
and other light materials. Topped by a thatched roof, often
made of nipa, anahaw or some other locally plentiful plan
2. IVATAN HOUSES (Island Stone of Batanes)
TIMELINE OF IVATAN HOUSES
 A typical representation of an Ivatan heritage house is one made of stone, lime, and wood with a thatch roof
made of local grass called ‘cogon’, structures resembling houses found in European hinterlands. They clearly
demonstrate the effects of the harsh climatic conditions on the islands and the efforts of the Ivatans to adapt to the
rigorous tropical environment. It tells a story of how the indigenous communities built compact and sturdy houses
for protection against ravaging typhoons and the cold Siberian winds.

CULTURE

The Ivatan's culture has been largely influenced by the climate of Batanes. Due to severe climatic disruptions
to their agriculture, Ivatans have developed
numerous successful strategies to protect their
food supply and way of life.

STRUCTURE
They build their houses to withstand
the numerous typhoons and earthquakes that
visit the island on an average of eight times a
year. Some houses have roof nets which allow
the roofs to last from 25 to 30 years. These
nets serve as the roofs' protection against
strong winds during typhoons. Only three walls
of the house have windows; the fourth wall
faces the direction of the strongest typhoon
winds. Their houses were low and small.
Because the weather can be very cold during the months of August to March, there was a fireplace on one end of
their house. The houses were built close to each other on the sides and tops of rocky hills with 3 or 4 rows of houses
built one above the other on steep terraced precipices. They go up to the first row with a wooden ladder and use
another to go up the next terrace since there was no other way to climb to the next. By drawing up the ladder when
they are attacked, there is no way to reach them but the perpendicular precipice at the back of the rocky hill. They
take care to build on the side of such a hill, whose backside hangs over the sea which is totally inaccessible.

LAGATITI RAHAUNG

JINJIN (swing-out type panels) NIRIÑDIÑ (sliding panels)

MAYHURAHED (stone-based type)
SINADUMPARAN (2-slope) MAYTUAB (4-slope type)

3. TOROGAN HOUSE (Maranao Royal Houses)

 Torogan is a traditional house of the Maranaos. Made of hard woods with post made up of whole tree-trunks
and are known for intricately carved panolong (beam-ends) with okir designs, the torogan was once a symbol of high
social status. It is said that these were the royal
houses of a sultan or datu in the Maranao
community. A torogan was a symbol of high
social status. Such a residence was once a
home to a sultan or datu in the Maranao
community. Nowadays, concrete houses are
found all over Maranao communities, but
there remain torogans a hundred years old.
The best-known are in Dayawan and Marawi
City, and around Lake Lanao.

Usually a huge one-roomed structure

with a high ceiling and steep roof. It stands
on massive wooden posts made from whole
tree trunks, which in turn are secured on
large boulders or rock foundations that
protect it from damage from pests and during natural calamities. In 2008, the National Museum declared
a torogan  in Marantao, Lanao del Sur a National Cultural Treasure as it was documented to be the “last standing
example of the finest of traditional vernacular architecture in the Philippines.” This torogan  was built by Sultan sa
Kawayan Makaantal during the American period and is considered the archetype
of torogans.

CHARACTERISTICS and CULTURE

 Torogan,  which literally translates as "a place for sleeping “is the stately
house of elite members of the Maranao tribe in the province of Lanao del
Sur.
 As the house of the datu or sultan, it is a symbol of status and leadership
and has been called "the prime example of the architectural genius of
Filipinos".
PLAN
 This style of great house has a single large hall with no permanent
partitions and is divided only into sleeping areas under a widely flaring,
ridged roof.
 Its dominant feature is the unique floor end beams, known as panolongs,
which have butterfly-shaped projections and are carved alternately with
the traditional Maranao symbols of niaga or  naga (serpent or dragon)
and pako rabong armalis (asymmetrical growing fern).
 Unique designs through carvings and paintings are also found on the
house's facade panels and interior posts. It also includes
the gibon or paga known as the room of the datu's daughter; the bilik, a
hiding place at the back of the sultan’s
headboard. Entrance is usually located near the datu's bed.[2]
 Torogan  also serves as a courthouse and hall for community meetings and its
courtyard as ritual areas for weddings and coronations. It also embodies the
height of the okir decorative tradition.[3]

 Torogans were elevated from the ground using “tukod” or hard tree trunks of
huge girths. At the center is the “tapuwilih” post surrounded by twenty-five
OKIR
others at the base. Each of it stands on a careful assemblage of huge stones
half-buried on the ground.
  Dorung is the multi-purpose ground space created
under the wooden beams. The main house on the
second floor is called the “poro”. It is an open space
partitioned only with cloths & chests.
 “Barimbingan” planks make up the “lantay”
(flooring) held together by wooden floor joists called
“dolog”. The wooden staircase or “towak” as well as
its stringer board screams of the folk motif okir
carvings.
 The walls made of “gisuk” & wall studs called
“tartek” hold the walling planks or the “dingending”.
The carved center beam inside the house called the
“tinai-a-walay” supports the
king post of the roof.
 More okir carvings fill the door
(paitaw) & sliding windows
(rowasan). There are no ceilings
too. Instead, they used
appliqued cloths.
 Traditional Maranao houses
from ancient times used cogon
for roofing or “atup” supported
by the “rampatan” beams &
adorned by a “diongal” on top. 

ROOFINGS

TOROGAN HOUSE STRUCTURE

Maranao People

southern indig
enous people who are
the "people of the
lake". They are
known for their
artwork, weaving,
wood, plastic and
metal crafts and epic
literature,
the Darangen. They
are ethnically and
culturally closely
related to the Iranun,
and Maguindanao.
 4. T’BOLI HOUSE (House on Stilts)
The Tboli, also known as T’boli, Tiboli, and Tagabili, are an
indigenous people living in the southern part of Mindanao,
particularly in the municipalities of T’boli, Surallah, Lake Sebu,
and Polomolok in the province of South Cotabato and in
Maasim, Kiamba, and Maitum in Sarangani. The T'Boli are one
of the 87 tribal groups in the Philippines which make up 15
percent of the population. They number approximately
60,000 and reside inland from the southern coast of T’boli People
Mindanao. Until the present generation, the T'Boli were
hunter/gatherers and agriculturalists, using slash and burn techniques to farm both the upland mountainous regions
and the flat lowland areas.

STRUCTURE and CULTURE

The house of the T'boli  is raised about six feet more above the ground with its side always barely more than
three feet high. The materials used for the roof is cogon or sometimes dried grass which is strung and sewn to the
bamboo rafters with strips of raw abaca or rattan. The posts used for the house is bamboo except for the three
stump that are still rooted to the ground that the people utilized as post for the inner portion of the house. The walls
of the house are made of bamboo split from the inside and flattened out or woven bamboo strips which they
call lahak.

The large two-level house of

the T'boli  is called gunu bung. It is a home
for an extended family averaging about eight
to sixteen persons. The house is laid out in a
rectangular plan about fourteen meters long
by eighteen meters wide. This shape of the
house is appropriate as a weaving area for
the sacred tinalak fabric. The lower central
space is integrated with the elevated sides
areas. This area is the "area of honor", where
the sleeping area and the vestibule is.
The dos aguas roof is not steep and is made
of bamboo frames and thatch. The vertical
edges of the roof also covered with thatch
walls. The walls of the house are made of split bamboo, worked into a flat wall. The doors and the window of the
house is awning-type. They were opened outwards and serves as shelves during the day. The bamboo or wood
ladders were drawn up to keep the intruders out.
The house looks like an entire roof
on stilts of 2m. The roof slopes low and is
made of cogon grass. The interior space of a
Gunu Bong is about 14 by 9m and it is used
for entertaining guests and also for work on
the intricate dream weaving of the T’nalak. 

Most T’boli houses are built on hilltops,

primarily for security. T’boli houses are not
permanent because of:

 taniba or slash-and-burn farming,

which exhaust the land after several
years; and
 the kimu, the transfer of property
on marriage; and
  the practice of burning or abandoning house and moving whenever some member of the household dies.

ARCHITECTURAL FEATURES OR CHARACTERISTICS

1. Appear all roofs on stilts. The roof has a low slope of 30 degrees with the horizontal. It is made of cogon or
other dried grasses which are strung and sewn to the bamboo rafters with strips of raw abaca or way ng
yantok (rattan strips).
2. The walls of the house are of lasak, a very elementary type of sawali consisting of bamboo splits from the
inside and flattened out, or of woven bamboo strips called lahak.
3. The interior can be broken down into roughly seven areas:
 Lowo (central space) where at night, it serves as extra sleeping space
 Blaba (side) lie on both long sides of the lowo with 2m wide for sitting, working and for conversing.
 des’yung (area of
honor) Opposite the
entrance area, adjoining
the lowo and the two
blaba. At its center, and
under the klabu, is the
area reserved for the
head of the house- the
place of honor that
commands the view of
the entire house’s
interior. The klabu is a
curtained canopy
adorned with a wide
band of applique and
tassels.
 difil (sleeping quarters)
lie at the back and of
the either side of the
des’yung and serves as sleeping quarters for the young unmarried women in the household or for
the first, or favorite, wife.
 dol (vestibule) lies opposite the des’yung, at the entrance end of the lowo.
 bakdol (entrance) a level through a trapdoor emerging from under the house and into the interior,
as from a big chest with its lid open.
 feto kohu (utility area) The hearth or kohu is defined from its surroundings by its four posts and a
beaten-earth floor on which fire is made for cooking. It is about 20cm higher, just like the blaba and
the des’yung areas adjacent to the three sides of the lowo. The floor is made of lasak, laid crosswise.

T’boli House in Lowlands T’boli house (interior)

 5. LUMAD HOUSE (Mindanao Cultural
Houses)
Lumad people’s identity grew out of a response to
the martial law during the reign of President Ferdinand
Marcos. In June 1986, delegates from 15 tribes agreed to
adopt a common name in a congress that also established
Lumad-Mindanao. The choice of a Cebuano word was
slightly ironic, but they considered it most appropriate as
the Lumad tribes do not have any other common
language except Cebuano. The name Lumad was spurred
on by a political awakening among tribes.

Kadayawan Tribal Village’s name, “Kadayawan”

derives from the friendly greeting "Madayaw", from
the Davaoeño word "dayaw", which means good,
valuable, superior, or beautiful. The village does hold
up to its name. To protect and preserve our country’s
beautiful and colorful culture for future generations,
the Davao City Tourism Office created a cultural peace
hub in Davao’s Ramon Magsaysay Park where the
cultural homes of the Lumad and Moro groups were
relocated and reconstructed. It is a striking display of
Philippine architecture from the eleven Indigenous and
Moro groups. The Kadayawan village goes beyond the
architecture and delves deeper in the different cultures of
the indigenous and Moro groups. Kadayawan village is a great venue to exhibit the indigenous peoples of Mindanao,
also known collectively as “Lumads.” You can learn about the lives and cultures of the eleven groups when you visit,
some of these groups in the village are: the “Iranun”, in their display, a weaving machine called the “iraun” can be
seen.

ARCHITECTURAL FEATURES AND CHARACTERISTICS

 The Lumad dwellings tend to be simpler than

those of the Moro households.
 The materials are mostly those that can be
accessed for free from their environment. A few
of them have cogon for roofing while others use
either bamboo or nipa.
 Walls and floors are mainly bamboo either woven
as sawali or made of split pieces.
 The Klata house uses barks of tress for its walling.
Rattan is also used extensively for both tying
pieces together and for embellishments. Most of
these houses are small with mainly one-story high. Perhaps because most of the time the members are in
the outdoors, they do not need big houses.
 Household members could gather especially during very cold nights where cooking also take place.
 When one enters the house, one notices limited furniture and accessories. Mostly they sit and sleep on the
floor and aside from functional things (musical instruments, baskets, fishing equipment, tools for farming
and gardening, etc.) the inside of the houses are not cluttered. But this also suggests that within the kinship
system of communal life, everyone trusts everyone.
 The Lumad dwellings abodes tend to use more permanent housing materials as wood.
 These are also bigger in size, with the Maguindanao Sultan’s house as the most intricate (in fact there are
two houses adjacent to each other). There are still shared spaces, but there is more privacy. In fact, the
Iranun house has a tower labeled gibbon/bilik/lamin (or princess room).

LUMAD HOUSES AT KADAYAWAN VILLAGE

6. BADJAO STILT HOUSES (Sea Gypsies)

Badjao People
 Badjao or Bajau means man of the seas, this tribal group is known as the Sea Gypsies because they move
with the wind and the tide on their small houseboats called vintas, they can be found in many coastal settlements
and inhabit the waters and shores of the Sulu archipelago.

The Badjao still live in houseboats, clustered near the coastline of Southern Mindanao. But they also built
stilt houses near fertile fishing grounds; these houses are a temporary refuge during times that these boathouses
needed repairs. These wanderers of the Southern seas are born on the water, live on their boats and say they will
only set foot on land only to die. For centuries the Badjao have been a resilient tribal group, they firmly pushed away
modernity with both hands, but tossed by modern winds they will have to find ways to maintain their unique
lifestyle and culture, otherwise they will remain Godforsaken.

DISTINCT FEATURES AND ARCHITECTURAL INFLUENCES ON BADJAO HOUSES

1. Architecture can be a collective initiative.

While the public image of Architecture is often fixated on the individual, the Badjao consider design to be a
communal practice.

 Houses for the Badjao (for those who do not

live on their boats) are built almost entirely
out of driftwood and debris from coastal cities
around Southeast Asia.
 When a storm hits a home or community,
neighboring Badjao  will spare as much
material of their own as possible, to help
fortify damaged homes. Their homes are
built on stilts that are carefully placed in
between coastal rocks and coral.
 This activity is a communal effort, to
ensure no wildlife is harmed as they set
foundations.
 Architectural critique can be skewed
based on who designed a building,
regardless of quality or appearance.
Stability emerges in the form of structural
and cultural support. 
 Badjao uses all their natural resources available in their place.

2. Adaptability goes beyond the building.

 The Badjao show how it is possible for human beings to adapt productively to their environments.
 The Badjao  have adapted to fit their surroundings in more ways than just their shelters. The
average Badjao  person can, without training, hold their breath for up to two minutes at a time, and dive
as deep as 60 feet (18 meters) without losing focus or agility. This skillset has been ingrained into their
physique so that it stays with them from childhood to old age.
 They have become flexible in their very nature if architectural minds were to reconsider their own
relationships to surrounding ecological, social and cultural variables, then their design may follow suit.
3.Successful design can be born from fragility, instead of stability.
 4. The design is flexible enough, and accommodating enough, that it can be repaired with almost any type of
wood and many different junk materials like plastic. With so much waste floating in the ocean, the Badjao
can repair their boats after storms out of the flotsam and jetsam of the waters.

The Badjao people were open to changing the way they lived in response to incontrovertible facts about their
environment.

5. Surroundings and ecological impact are the defining qualities of our work in the long-term.

The Badjao are fundamentally tied in all aspects of life to the flows and forces that affect the sea. Time of the
day is marked by the tide rather than hours and minutes. When we design buildings or spaces or urban initiatives, it
is easy to get swept up in variables relating to profit, schedule and material consumption. What the Badjao teach us
is that there are much deeper layers of forces and information that are equally (if not more) worthy of our
consideration as designers.

7.IFUGAO HOUSES (Fal e House)

The Ifugao people inhabit the most rugged
and mountainous part of the country, high up in the
central Cordillera in northern Luzon. The term
“Ifugao” is composed of the prefix i meaning “people
of” and pugaw meaning “the cosmic earth.” It could
also have been derived from the term ipugo, which
means “from the hill.” Ifugao mythology, however,
says that ipugo is a type of rice grain given to the
people by Matungulan, the god of grains.
Ifugao People
 There are many varieties of an Ifugao House. It has heavy thatch roof to serve as protection from rain and
cold weather of the region. The Ifugaos, inhabit the rugged terrain of the extensive Cordillera Mountain ranges of
the Mountain Province of Central Northern Luzon. They have developed and maintained a distinct culture which
until recently has resisted outside influences. Until modern times ended their isolation, the only world they knew
was their environment of towering mountain ranges, rolling hills, windy plateaus, warm valleys, shallow but swift
rivers, dense forests, innumerable rice paddies, and their rice terraces carved on the mountainsides. The Ifugao
houses were usually similar in architectural designs, but they differ in decorative details depending on the tribes.
Their houses were harmoniously located with the contour of the rice terraces. The
one-room Ifugao / Fal e House house of the Ifugao commonly known to them as fal e. The exterior of the
house seems to be nothing but a pyramid resting on four posts, while the interior
space is enclosed by slanting walls and ceiling that appears to be spherical that are formed by the loft.

ARCHITECTURAL CHARACTERISTICS AND FEATURES

There are four types of houses in Ifugao.

1. The abong which is basically a hut built directly on the

ground.
2. The inappal which is slightly elevated from the ground.
3. The bale is elevated from the ground by four sturdy
posts about 10 to 12 feet high. It is primarily used as Samoan Fal e
the family’s dwelling unit. Children no longer sleep with
their parents upon reaching puberty, rather, they sleep
at the agamang.
4. The alang or the granary house which is usually located
near the rice fields. Normally, it is utilized for storing
dried harvested rice and the rice goods (bulul). The
alang is used as a grave or to keep exhumed bones of a
family member or relative. Only the kadangyan (elite) have granaries for they have lots of rice to store.

FUNCTIONAL LEVELS

1. The ground level the posts have wooden discs which was called oliang to prevent rats from entering the
house.
2. The second level or the living area was accessible through a removable ladder.
3. The patie, it is a shelf that extends from the wallboards outwards to the underside of the roof. It serves as
the storage area and as a structural support to the roof. Inside the house was embellished rows of skulls of
animals offered to gods during their annual rituals and as a source of pride to the homeowner.

ARCHITECTURAL DESIGN

The Ifugao house is sturdily crafted of timber from amugawan

trees raised on four posts, which was buried 50
centimeters below the ground and locked in with stones.
The four wooden posts that rest upon the pavement and
support two wooden girders, which also supports three
wooden transverse joists. The floor joists, floor silts,
vertical studs and horizontal beams rests on the post and
girders at about head level from a cage. The floorboards
were fitted between the joists. The roof system rests on
the “house cage”. The steeply pitched pyramidal roof is
covered with thick layers of thatch or cogon, this insulates
the house from the heat of the sun and from the torrential
rail.
 BALE ALANG

ABONG INAPPAL
8. YAKAN HOUSES
  Traditional Yakan house is called lumah. It is a
rectangular structure with 50 to 100 square meters area and 2
meters elevated above the ground by timber posts.
The Yakan  houses were usually clustered around the langgal  or
local prayer house, which is the center of the community, but
they don't have compact villages because the houses were
scattered among the fields and the houses were surrounded by
fruit trees and vegetables.

ARCHITECTURAL FEATURES AND CHARACTERISTICS

 The Yakan have no compact villages; the houses are scattered among
the fields, and there are vegetables and fruit trees around the house.
The center of the community is the mosque (langgal), which is a
simple building.
 The houses are rectangular pile dwellings housing nuclear families.
 The traditional house has a steep thatched roof, although today
corrugated iron is also used. The walls are made of either plaited
reed or bamboo, or of wooden boards; the floor may be of bamboo
but is more often of timber.
 Usually, the house has only one big room with no special quarters for
the women. To the house is joined a kitchen.
 The house is entered through a porch, which is an important part of
the house. Some changes have recently taken place. Also, some who can afford to do so now build better,
more modern houses.

TYPICAL YAKAN HOUSE MAIN COMPONENTS:

1. The main house is a single room, with no partitions and has various functions such as a venue for social
affairs, weaving area and as sleeping quarters.
2. The kitchen serves as the cooking and eating area. There was a bridge connecting the kitchen and the main
house.
3. The  pantan  or the porch is the main entry to the house, it can be open or roofed, also the main wooden
ladder is located here. Water jars and dugtung or large bamboos crafted as water containers are also places
here. The houses of the Yakan people face the east, and according to their beliefs the building materials
should be stockpiled also in the east.
4. The  sapiaw  or the roof is made of a steeply pitched cogon on bamboo or timber frames.
5. The walls are made of wooden bamboo strips called sawali.
6. The floor may be made of bamboo but often it is made of timber. There are no ceilings and only one window
or tandiwan  was allowed for the main house.

YAKAN HOUSES
9. TINOKBOB SAGADA HOUSE
This traditional house in Sagada is one of the houses in the Northern Philippines that is built directly on the
ground just like the Bontoc houses.

Because of its steep roof, only a small portion of the wall can be seen from outside which makes the house users
withstand the cold weather conditions. The house is composed of two independent structures: the main house and
the central granary which is also called agamang.
10. TAUSUG HOUSE
Also spelled Tau Sug or Tausog, also called Joloano,
Sulu, or Suluk, one of the largest of the Muslim (sometimes
called Moro) ethnic groups of the southwestern Philippines.
They live primarily in the Sulu Archipelago, southwest of the
island of Mindanao, mainly in the Jolo island cluster.

Except for towns and coastal fishing villages, Tausug

communities are typically dispersed, with individual houses
located close to family fields. The household, or cluster of two
or three adjacent households, comprises the smallest territorial
grouping. The next larger unit is the hamlet (lungan). Still larger
is the community (kauman), having a common name and headman.

The unity of a kauman depends on intermarriage, the existence of a core kin group among its members,
their attendance at a common mosque, recent history of
conflict, and the political skills of the community's
headman. Boundaries between kauman tend to be ill-
defined, varying according to the dynamics of alliance and
feuding and the relative power of successive headmen.
The Tausug house typically consists of a single rectangular
room, bamboo- or timber-walled, with a thatched roof,
raised on posts about 2 to 3 meters above the ground.
The structure is generally surrounded by a series of
elevated porches leading to a separate kitchen at the rear
and is often enclosed within a protective stockade
encircling the house compound.
REFERENCES:

 RONALD DE JONG, (APR 21, 2010) | DESTINATIONS: PHILIPPINES / MINDANAO. Retrieved from:

http://thingsasian.com/story/bahay-kubo

 NjdeSIGN. (2022). PILIPINO ARCHITECTURE- PRE-COLONIAL. Retrieved from:

https://quizlet.com/357086247/12-filipino-architecture-pre-colonial-diagram/

 Archt. Jose F. Ignacio, UAP. HERITAGE ARCHITECTURE OF BATANES ISLANDS IN THE PHILIPPINES: A SURVEY
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https://www.hdm.lth.se/fileadmin/hdm/alumni/papers/cmhb2004/cmhb2004-01.pdf
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https://en.wikipilipinas.org/view/T%27boli_House

 JACOBSEN, J. (June 02, 2015). 5 Architectural Secrets of the Badjao: 21st Century Sea People. Retrieved
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 TOLENTINO, N.E. (DEC 13, 2012). The Ifugao House. Retrieved from: https://prezi.com/aijeo1bsebnt/the-
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ELECTRONIC REFERENCES OR LINKS

 https://www.facebook.com/517015695065873/posts/ifugao-housethe-ifugao-houses-were-usually-similar-
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 https://www.encyclopedia.com/humanities/encyclopedias-almanacs-transcripts-and-maps/
tausug#:~:text=The%20Tausug%20house%20typically%20consists,3%20meters%20above%20the%20ground.
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type=3&eid=ARD6w5kfi5jQycXcS7m_WWiLGVcBvtcj-6nkoH1vDoQPPhznrfrlzIHjzXIRwfd0mgm80jcL2wEH89Jv
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 https://en.wikipilipinas.org/view/Ivatan_House
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 https://lakesebuwonders.wordpress.com/tboli-history/
 https://bch.bangsamoro.gov.ph/bangsamoro-cultural-heritage/bangsamoro-tribes-muslim/badjao/