Republic of the Philippines

UNIVERSITY OF EASTERN PHILIPPINES

COLLEGE OF BUSINESS ADMINISTRATION
Bachelor of Science in Accountancy

PREPARED BY:
Grande, Jomarie P.
Lapada, Teofilo Stellan P.
Sumayop, Arjun O.
BS ACCOUNTANCY 3B
 SOUL, SPACE AND SYMMETRY ART
Introduction

―There is no place like home,‖ –a cliché resounding the idea that the home is
where the heart and soul live. Creating a space for the soul or inner being is
something that can be emotional, for we attach meaning to objects that surround
us maybe for inspiration or spiritual support. Although material things do not define
who we are, they can be reflective of our being–our cultural, religious, or
philosophical identities.

Understanding the concept soul and space,

 Soul as the immaterial essence or animating principle of an individual life; a
person’s total self; or even the cultural consciousness and pride of a person.
 Space may refer to an area; a distance from other people or things that a person
needs in order to remain comfortable; an opportunity for privacy or time to
oneself.

Contrary to western way of living, Filipinos love to mingle in communities and

even under one roof. They tend to be attached with their unit and some live in the
same house even if they have their own families already. Generally, they have the
penchant for occupying spaces. Their tendency is to fill in empty spaces in the
house with various things and designs (as opposed to minimalism).

One’s concept of and use of space are rooted from their past and the
generation where he/she came from. Understanding how it’s used personally and
communally will help us appreciate our rich history and current experience of it. In
this topic we will examine the concepts and implication of the Filipinos’ use of
space and enumerate various examples on how they are applied.

ART AND SPACE

Art and Space is at times idealistic and redundant – after all, what is sculpture
but an exploration of space, volume and three-dimensionality. The inclusivity of its
board premise feels nearly too vast. Yet besides its attention to art history, there is
something about the selection of art work that feels specific, current and necessary.

Space is found in nearly every piece of art created. Painters imply space,
photographers capture space, sculptors rely on space and form, and architects build
space. It is a fundamental element in each of the visual arts.
SPACE AND PESPECTIVE

Creating perspective in art relies on the judicious use of space. In a linear

perspective drawing, for instance, artist create the illusion of space to imply that the
scene is three-dimensional. They do this by ensuring that some lines stretch to the
vanishing point.

In a landscape, a tree may be large because it is in the foreground while the

mountains in the distance are quite small. Though we know in reality that the tree
cannot be larger than the mountain, this use of size gives the scene perspective and
develops the impression of space.

Likewise, an artist may choose to move the horizon line lower in the picture.
The negative space created by the increased by the increased sky can add to the
perspective and allow the viewer to feel as if they can walk right into the scene.

DWELLING FORMS

The following are forms of shelters/communities and their corresponding

features. Take note of how Filipino concepts of space are manifested in each
dwelling structure.

1. THE TOROGAN

 Torogan is literally means a sleeping place or resting place

 Torogan is also called ―The House of Power‖
 The Torogan is the ancestral house and the royal residence of the upper-class
Maranao. It is commonly found in Marawi City and other areas in Lanao del Sur
province.
 In the 1800’s the community and the slaves constructed the current torogans for
the datu.
 FUNCTIONS OF A TOROGAN HOUSE

- The torogan is used for planning decision making and community affairs.

Wedding Thanksgiving rites Enthronement Vigils for the dead

PARTS OF A TOROGAN HOUSE

 Base – composed of huge trunk and has a 2 meter above the ground.
 Window – the torogan window have apertures and are lavishly framed with
wood panels
 Roof – is made of cagon grass was used to cover the torogan’s roof. The cloth
serve as the ceiling of the house to absorb the heat form the roof.

The distinct high gable roof of the torogan, thin at the apex and gracefully
flaring out to the eaves, sits on a huge structures enclosed by slabs of timber and
lifted more than two meters above the ground by a huge trunk of a tree that was
set on a rock. The end floor beams lengthen as panolongs the seemed to lift up the
whole house. The torogan is suffused with decorations. There were diongal at the
apex of the roof, also an intricately carved tinai a walai, okir designs in the floor, on
windows and on panolongs. There were also brightly colored weaves or malongs
hanging from the rafters, it was hung up by using ropes around a particular territory
for privacy.

The most noticeable feature the

torogan is the panolong, wing-like
house beam with pako rabong or fern
or naga serpent motif. These are ends
of the floor beams that project and
splay out like triangular butterfly wings
on the façade and side elevations.

The interior of the house is a

cavernous hall with no permanent wall
partitions. Supporting the kingpost of
the highridged roof is the rampatan or
tinai a walai central beams considered
as the intestines of the house. What serves as the ceiling is a cloth suspended
from the rafters to absorb the heat from the roof. A carabao horn ornament at the
roof apex of the rumah adat in Batak, Indonesia is distinguished from the Maranao
dongal.
2. THE IFUGAO BALE

The Ifugao "Bale" or

Native House is said to be the
"first pre-fabricated house in
the world," according to
renowned anthropologist
Otley Beyer. It has been
subject of many scholarly
articles as it is considered to
be one of the most ingenious
and nearly perfect
architectural constructs made
by man.

The Ifugao Bale is a traditional windowless house built without nails. It was
made from amuwagan trees and was built with four posts buried 50 centimeters
below the ground. Its triangular roof protects the dwellers from the elements and
weather. Due to its design, it can be dismantled and reassembled into another
location.

Though it looks small on the outside, its interior includes more spaces, with
three functional floors or floor levels. The ground level has wooden discs which was
called oliang to prevent rats from entering the house. The second level or the living
area which can be reached through a removable ladder is where the family
members may gather, rest, dine , and prepare meals. The third level has patie
which functions as storage area and roof support. Animal skulls are displayed inside
the house to please gods.

The Ifugao house has a square floor plan. Although the size of the house is
determined by the socio-economic status of the people, an average Ifugao house is
approximately 12-14 feet wide and 12-14 feet long.

3. BAHAY KUBO

The Nipa Hut or Bahay Kubo is the

native house of the Philippines, and
considered as the national shelter, a
cultural heritage, and one of the most
illustrative and recognized icons. Its
name is actually based on Spanish
word ―Cubo‖ meaning cube because of
its rectangular and cubic shape, and
―Bahay‖ a Filipino word for house. Pre-
Hispanic architecture was constructed
to perfectly adapt on the tropical
climate and made of indigenous and organic materials like bamboo or kawayan and
banded together by tree strings with dried coconut leaves or cogon grass.

ARCHITECTURAL FEATURES
 Typically cubic in shape
 Large, open, multi-purpose room called bulwagan: for dining, entertaining
guests, napping and sleeping beside each other at night.
 Cellar (silong) for household chores, livestock pens, and storage
 Walls made of nipa leaves, cogon leaves, or woven bamboo
 Well-ventilated with large windows and swinging shutters (tukod / legs)
 Ladder (hagdan) for access, easily removable for security
 Back porch (batalan) for household chores and water storage
 Raised on stilts to protect from floods and wild animals

It takes a reasonable large number of people to transfer the nipa hut, if the
family wants to move to another place. This done by putting bamboo poles
lengthwise and crosswise under the house, forming a strong frame to lift the stilts
from the ground and literally carry it to its new destination. Each man caries a piece
of the weight of the bahay kubo and becomes a hero for all the others because he
lightens the burden for them. This event holds a social and festive atmosphere, after
the house arrived at its new site; the moving family shows their appreciation by
hosting a modest fiesta for all volunteers that helped them. This collective activity is
known as bayanihan, meaning unity and harmony; it demonstrates the unique
culture and lifestyle of the Philippines community.

4. BAHAY NA BATO

Bahay na bato (Tagalog, literally ―house of stone‖) is a type of building originating

during the Philippines’ Spanish Colonial Period. During Spanish colonization, the
principalia and the ilustrados integrated the features of bahay kubo with artistic
elements from Europe and Asia. Since 18th century until WW II, the bahay na bato
was considered the ideal Filipino shelter.
PARTS OF BAHAY NA BATO

PUERTO POSTIGO – Main entrance VENTANILLA – Window

CAIDA – Anteroom (Waiting room) ESCALERA – Staircase

SALA MAYOR – Main Living Area AZOTEA - Balcony

CUARTO – Bedroom VOLADA – Corridor

COCINA – Kitchen area LATRINA (COMUN) – Comfort room

ORATORIO – Prayer Room COMEDOR – Dining Room

BODEGA – Storage room ALJIBE – Water well

 OTHER INDIGENOUS HOUSES IN THE PHILIPPINES
There are other traditional houses that protected our ancestors from harsh
elements. Among them are:

1. BADJAO HOUSEBOAT

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.
These range from 12-60 feet long
but not more than 6 feet wide. Their
unique ecological setting and fishing
economy compel the Badjao to
adjust to the limited space of their floating homes where the prows are carved with
okkil design. Strong platforms are made on both ends of the boat for the fish, kitchen
utensils and fishing gadgets with the kitchen area usually found at the back.

Architecture

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, so as to ensure no wildlife is harmed as they set foundations.

2. THE HIGAONON TREE HOUSE

In the hinterlands of Agusan and Misamis

Oriental, the Higaonon build their tree houses
of lashed sapling nipa or cogon grass, split
bamboo, rattan and bark of trees. The low
roof, at times also serve as walls. Wobbling
catwalks connect the smaller houses of about
6 feet by 8 feet wide to a central communal
room where a square box of earth serves as
fireplace and a kitchen. Such breezy and
swaying complex structures sufficient for 60
people are held together by split rattan and
are traditionally built as defenses against
enemy attacks.
3. IVATAN HOUSE
The Ivatan house is made primarily
of lime, stone, wood and thatch. It
commonly consists of two structures, the
house proper and the kitchen or storage
area. The main house has the larger area
and is usually made of lime, stone, wood
and thatch. The heavier materials (lime
and stone) provide better shelter from the
constant rains. The kitchen or storage
area is usually made of wood and thatch.
Compared to the bahay kubo and the
bahay na bato, the Ivatan House has
significantly lower ceilings (around 1.60-2.00 meters high only) and smaller door
and window openings to keep the interior warm.

4. MANDAYA HOUSE

The Mandaya house is wholly made of carefully

selected bamboo flattened into slats and held
together by horizontal bamboo strips or a rattan.
Ascent to this single room with a small kitchen area
is through a removable single-notched trunk of a
tree. Traditionally, its elevated floor line served as
one of the safety measures against attacks of other
ethnic groups in the periphery of Davao Oriental.
These warring conditions made the bagani or
warrior class a high and most coveted social
ranking.
SYMMETRY ART

Symmetry in everyday language refers to a sense of harmonious and most

appealing proportion and balance. There’s always something comforting about
symmetry—an assurance, if you will, that things are right and in order. Symmetry in
art is when the elements of a painting or drawing balance each other out. This could
be the objects themselves, but it can also relate to colors and other compositional
techniques.

It is a balanced that is achieved by the arrangement of elements on both side

of the center, in other words, the image would look identical on either side, formed
through horizontal or vertical division. Because of its very structured and equally
proportioned nature, symmetrical balance is best suited for if the desired effect
requires a sense of order, clarity, and consistency. For the eye, the idea of balance
and repetition that follows and identical rhythm is a place of rest and this type of
image is easy to follow.

A balanced composition feels right. It feels stable and aesthetically pleasing.

While some of its elements might be focal points and attract your eye, no area of
the composition draws your eye so much that you can’t see the other areas.
Balancing a composition involves arranging both positive elements and negative
space in such a way that no area of the design overpowers other areas. Everything
works together and fits together in a seamless whole. The individual parts
contribute to their sum but don’t try to become the sum.

An unbalanced composition can lead to tension. When a design is

unbalanced, the individual elements dominate the whole and the composition
becomes less than the sum of its parts. In some projects, unbalanced might be right
for the message you’re trying to communicate, but generally you want balanced
compositions.

OKIR

The Okir (motif) is an exclusive artistic cultural heritage of the Maranaos of

Lanao, Philippines. It is as an artistic design of the Maranao native inhabitants of
southern Philippines beginning from the early 6th Century C.E. before the
Islamization of the area. Okir is a design or pattern often rendered or curved in
hardwood, brass, silver and wall painting in curvilinear lines and Arabic geometric
figures.

The Okir Motif is an art depicting the indigenious

originality and skill of the Maranaos. It is a fine art of
figuring, painting, curving and sculpturing depicting the
social and psychological identity of Maranao Society. It
is being patronized long time ago, until today and
possibly in the coming generations of Maranao people.
Every artifact or Maranao made ornament or device or
decoration is designed with authentic okir revealing that
the Maranaos have a distinct and original culture and civilization not being imitated
from other culture.

In the book of Dr. Nagasura Madale, it explains that the Okir has patterns
which are used by the Maranao artists.
They call them:
1. Matilak (circle),
2. Poyok (bud),
3. Dapal (leaf),
4. Pako (fern or spiral form),
5. Todi (fern leaf with spiral at upper edge,
6. Pako lungat (fern leaf with a cut at one edge)

Another elements found Dr. Madale are: Naga, obid-obid binotoon, kianoko,
pakonai and tialitali.

The terminology used by artists is not familiar with our common usage because
they have their technical terms in their exclusive use. There is a need for visual
display of examples of their arts to appreciate this artistic originality. It is hereto
attached some samples of the okir motif as best reference.

The Maranaos are proud to preserve their cultural heritage by way of keeping
their artifacts permanently located in their households. In the museum of the
Mindanao State University, we find the display of different tools, devices and
implements of the Maranaos that are being designed with okir with varied kinds and
samples (tugayaaretfactswordpress.com).