Jorge Y. Ramos: Pioneering Green Architect
Jorge Y. Ramos, contrary to people’s pronouncements about his being the exclusive architect of Imelda R. Marcos, First Lady of the Philippines for twenty years, was responsible for the design of a number of beautiful and magnificent residences, buildings and interiors that belonged to many prominent Filipinos.
His resume, shared with us by his daughter Kim, enumerated his noteworthy projects from the late 1950s to 1960 including the Executive Branch Building of the Philippine Government in Quezon City; the residence of Senator Alejandro Almendras in Greenhills, and the Carmelo and Bauermann Printing Press and Offices on Epifanio de los Santos Avenue in Makati City.
Florida masterpieces
Earlier, from 1961 to 1963, he practiced his profession in America where, as an architect of Kemp, Bunch and Jackson Architectural Office in Jacksonville, he designed Florida, Jacksonville Civic Auditorium, the Barnett National Bank, the Walt Disney World (Master Plan), Deerwood Golf and Country Club Community Housing, the State of Florida Master Plan and Reclamation of the entire coastline including the Inter-coastal Waterway, Ocala City Hall and Civic Auditorium and the various branches of the Atlantic National Bank.
Upon his return to the Philippines, he joined the Faculty of Architecture of his alma mater, the University of Santo Tomas, as a Professor of Design.
Although focused on his career, he found time for romance with his introduction to the future Mrs. Reme Ramos, by architect-fashion designer Christian de Leon Espiritu, whose wife, Gli, was Reme’s co-teacher.
Favored by the Cojuangcos and Aquinos
Interestingly, during this period, he designed for the Cojuangco and Aquino families, including the private office of Tarlac Vice Governor Benigno Aquino Jr. at Hacienda Luisita (1963); the Hacienda Luisita residence and offices of Corazon Aquino’s eldest brother, Pedro Cojuangco, long before Cory would enter politics; and the interiors of First United Bank Buildings both on Escolta and Ayala Avenue.
Around this time, Jorge also designed the residences of the Castañedas in Wack Wack, the Tiaoquis in Urdaneta Village and the Ferrers in Sta. Mesa Heights.
When the parents of Cory Cojuangco, Jose Sr. and Demetria Cojuangco, had their Palm Avenue home in Forbes Park remodeled, they sought Jorge’s expertise. Not surprisingly at all, given the architect’s initial works in Cojuangco-owned companies and residences.
Other equally prominent clients around this time were Atty. Napoleon Rama, the Puyat family and their Manila Bank, the Carlos P. Romulo family (residential renovation), the Calavecillas (their eponymous building on Ortigas Avenue), Joan Fang and Jorge’s friend, Roman Cruz Jr.
Attention to details
Fast forward to the present, I asked Nick, Jorge Ramos’ architect son, about his father’s approach to art. His response: “He approached each project without any preconceived notion of style. He always tried to see each project for what it is, and to distill it to its fundamental truth. Doing so allowed him to identify what unique opportunities existed in providing solutions to each design challenge. He then explored these possibilities as far as they can go with due consideration to site conditions, climate, materials, program, culture, future management, etc.
Did his father favor a “school” of architecture? His reply: “He didn’t favor any particular school but was always drawn to architecture that demonstrated an honesty of expression of function and of material and structural integrity. With that said, he wasn’t a strict functionalist either.
He often introduced warm and tactile materials that would add pleasure to the interaction. Light and foliage were always important considerations to every project and can be considered among his favorite materials.
“The modernist architects of the post war period had a great influence on his formative years as an architect particularly in the way that people like Charles and Ray Eames and Alvar Aalto found new means for expression using nonindustrial materials such as timber and brick. Of course, this period coincided with the popularity of Brutalism by which he was also influenced throughout his career, particularly by the works of Marcel Breuer, Kenzo Tange, and Paul Rudolph.”
He often introduced warm and tactile materials that would add pleasure to the interaction. Light and foliage were always important considerations to every project and can be considered among his favorite materials.
Inspired by an open hand
On whether the GSIS Bldg was inspired by the rice terraces: “No, it wasn’t, although that became a happy coincidence as the design was developed. Again, his approach was rooted first in principles rather than analogy. The building was designed in the wake of the fuel crisis of the 1970s and as a government building, there was an imperative to explore ways that minimized fossil fuel consumption while still providing optimum lighting and cooling levels for efficient and effective office function. The plan was inspired by an open hand with slightly splayed fingers between which natural light was allowed to penetrate. Deep overhangs provided the necessary shading while horizontal light shelves bounced available sunlight onto ceilings above workspaces.
“Articulating the building form using terraces likewise allowed the maximum amount of light as deep as possible into the building section. This form also allowed for natural breezes to be diverted deep into the scheme and along with carefully considered areas for foliage, maximized the passive cooling opportunities. It is an earnestly “green” building before “green” was even a buzzword.”