The Philippine Star

Blueprints for the future

- PAULO ALCAZAREN

Irecently attended the launching of a book, the first in a series, on Philippine architectu­re and design. Locally, we see too few books, much less a series, printed on the subject of Philippine design. Blueprints for 2050: Design Visions for the Philippine­s of the Future was produced by BluPrint magazine to present us with options that address various urban and social chal-

lenges we face today.

Since 1999, the magazine BluPrint has featured Philippine architectu­re and design. Originally conceived as a sourcebook for design and materials, it has evolved into a source of inspiratio­n to architects and related profession­als, presenting exemplars of design, as well as a critical look at the process and production of modern Filipino architectu­re.

I was editor in chief of the magazine for a decade, taking over its first editor in chief, Tina Bonoan. It is now helmed by Judith Torres who, with her team, has done a fantastic job for the past five years since I turned the reins over to her.

After close to two decades of producing magazines, BluPrint is now venturing into books. It had been a long time coming, but it was inevitable. This first tome is hefty at 250 pages and filled with 25 visions of the future prepared by a select group of 100 Filipino architects and designers.

BluPrint curated this content, partially culled from an earlier exercise with the Metrobank Foundation. This was a competitio­n with a theme that aimed to elicit architectu­ral snapshots of the future. The rest of the book added to this original source, all in all producing (as I mentioned in the foreword I penned) “… audacious panoramas of the possible.” Judith explained further, “Blueprints

for 2050 is a collection of 25 visions, plans, and hopes for our progeny, of a future wholly within our potential to reach if we would believe in — and love — our country and ourselves. We hope their visions inspire you to dream great dreams for the Philippine­s because we’d like to do this visioning exercise again and again. Our dream is with each visioning, we see the future of a just and humane Philippine­s with greater clarity, courage, and resolve so we may begin designing and building it together, today.”

Many of the designs in the book highlight green architectu­re in response to climate change and sustainabi­lity. A number of others in the wonderfull­y graphic book do take a serious look at bridging the gap between nature and structure.

As I state in an essay in the book, “The 25 diverse projects in the book present innovative architectu­re foreground­ed by an understand­ing of Philippine culture and emergent urbanity. They address a range of typologies that tackle urgent needs in housing, transport, heritage conservati­on, urban regenerati­on, equitable, food security, and cultural diversity. Some of the more interestin­g ones are those that go beyond pure architectu­re and show collaborat­ions with designers from allied fields like landscape architectu­re and planning. Many, in fact, cover scales of interventi­on usually the province of environmen­tal planners or urban designers.”

Judith Torres and her team’s selection of visions presented in this book make a statement on the importance of addressing our rapidly changing urban condition. The interventi­ons of design in the book present “bold corrective­s, ask the hard questions, or at least test the strategies we must consider if we are to survive the challenges of the next three decades. They allow us more and more control of our own destinies by shaping the settings and structures of our daily lives. The projection­s, by global business think tanks and our local NEDA, of our rise in the ranks of the world’s economies make this task all the more urgent and this publicatio­n valuable.”

The launch event itself was held at the newly opened Okada complex in Pasay City, itself a vision of the future that few of us ever dreamed could be built. The hall was filled with young turks of architectu­re, many of them millennial­s, mixing it up with those whose work started in the previous millennium.

BluPrint’s name came from a permutatio­n of the original “blueprint.” Reinventio­n and mutation evoke evolution and change. The essence of this book is exactly that, the change for the better that blueprints of the future hope to bring. Judging by the book and its contents, this future is bright.

* * *

 ??  ?? Deo Alam and 228 Design Studio’s Currents for Currents, which harvests tidal energy and houses indigenous coastal communitie­s in Mindanao
Deo Alam and 228 Design Studio’s Currents for Currents, which harvests tidal energy and houses indigenous coastal communitie­s in Mindanao
 ??  ??
 ??  ?? Yulo Medigalopo­lis Project
Yulo Medigalopo­lis Project
 ??  ?? Visionarch’s Bigkis converts the vast wasteland of Smokey Mountain into a sustainabl­e township.
Visionarch’s Bigkis converts the vast wasteland of Smokey Mountain into a sustainabl­e township.
 ??  ?? The millennial members of CLARQ Design Studio
The millennial members of CLARQ Design Studio
 ??  ?? Grohe’s Alen Alban, BluPrint publisher Maite Tamparong-Uy, Gelo and Kat Mañosa
Grohe’s Alen Alban, BluPrint publisher Maite Tamparong-Uy, Gelo and Kat Mañosa
 ??  ?? Bong Recio, Space 2000’s Florence Ko, BluPrint editor Judith A. Torres, William Ti, and author Paulo Alcazaren
Bong Recio, Space 2000’s Florence Ko, BluPrint editor Judith A. Torres, William Ti, and author Paulo Alcazaren
 ??  ?? Royal Pineda, Joseph Javier and Wilcon Depot’s Rosemarie Ong
Royal Pineda, Joseph Javier and Wilcon Depot’s Rosemarie Ong
 ??  ?? Karlo Agasa, Budji Layug, and Jeff Pecayo
Karlo Agasa, Budji Layug, and Jeff Pecayo
 ??  ?? Andy Locsin, Sudar Khadka, Jorge Yulo and Miguel Llona
Andy Locsin, Sudar Khadka, Jorge Yulo and Miguel Llona
 ??  ?? Deo Alam signs a copy of the book for Dominic Galicia and Tina Periquet.
Deo Alam signs a copy of the book for Dominic Galicia and Tina Periquet.

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