These houses are now known as the bahay kubo. Christianized peoples such as the Tagalogs, Visayans, Ilocanos, Kapampangans, Bicolanos, Cagayanons, Mestizos, Criollos, Chinese and Japanese were made to live lowland this newly formed culture, with most population coming from Austronesian origin, each having their own distinct traditions of Austronesian architecture, dating back even before the Hispanic period, collectively evolved a certain style of construction that has become synonymous to the lowland culture based on the Austronesian architecture. The advent of the Spanish colonial era introduced the idea of building more permanent communities with the church and government center as focal points. Vega Ancestral House, Spanish colonial era mansion, a "1st Transition - bahay na bato style" house with a walled silong (space beneath the raised floors) Hispanic era The accessibility of the materials made it easier to rebuild when damaged by a storm or earthquake. These structures were temporary, made from plant materials like bamboo. They were designed to endure the climate and environment of the Philippines. Different architectural designs are present among each ethnolinguistic group in what is now the Philippines and throughout the Southeast Asia and Pacific as part of the whole Austronesian architecture. See also: Ancestral houses of the Philippinesĭistinction between each tribes and cultures' style may have been more visible during the pre-hispanic period. However, not all bahay kubo are huts or used nipa materials. Nipa or anahaw thatching materials are often used for the roofs. The term "nipa hut", introduced during the Philippines' American colonial era, refers to the hut version of bahay kubo. The term báhay ("house") is derived from Proto-Malayo-Polynesian *balay, "public building" or "community house" while the term kúbo ("hut" or " country hut") is from Proto-Malayo-Polynesian *kubu, "field hut ". The Filipino term báhay kúbo roughly means "country house", from Tagalog. Its design heavily influenced the colonial-era bahay na bato architecture.Įtymology Bahay kubo, like most Austronesian houses have floors raised on houseposts The house is exclusive to the lowland population of unified Spanish conquered territories. It often serves as an icon of Philippine culture. The bahay kubo, also known as payag (nipon) in the Visayan languages, is a type of stilt house indigenous to the Philippines. We collaborated with Patricia Liang of Elements and Degournay to create that piece.A colonial-era bahay kubo belonging to Apolinario Mabini in Santa Mesa, Manila Bahay kubo with walls made of thatch “We collaborated with them to create a bahay na bato print from their Filipinana collection. We really felt that it was made for that room.īehind the couch is a hand-painted three panel custom wall covering by Degournay from Paris. We found a set from Philux that was able to have a U-shaped sofa that fit in really quite nicely. “The living room is a very weird, square living room so we had to fit in two sitting areas. This support for local craftsmanship continues on in the living area and other parts of the house. So we discussed about using this house as a way to showcase Filipino design,” Acuña says. So we wanted to incorporate as many of those Philippine design talents in this project as much as possible. We felt it had a very vibrant and good energy. “The whole pro- Pinoy idea came in because at that time back in 2012 - when I just started designing the house - there were a lot of players growing in the Philippine design industry. And a more private piano nobile style on the upper floor where the family really lives,” Acuña shares. From a planning perspective, bahay na bato has a more public programming on the ground floor which is what we have here. The bahay na bato is what I ended up going for in terms of a concept for the house. “When we were planning the house, we looked into what was in the Philippine vernacular architecturally and I guess you had to pick from one of three things: you have the bahay kubo, the American Commonwealth style and the Spanish colonial bahay na bato. A towering wall adorned with a massive paper artwork by Wataru Sakuma of Masaeco breaks the linear space, creating a regal sitting area with a pair of Ito Kish’s Gregoria Chairs in black. Felix Hidalgo’s painting of a draped nude reclining in a forest hangs right before you enter what Acuña references to as a courtyard. There’s a floor to ceiling mirror with gold border on one side and a built-in banquet seating on the other. The house opens into a quiet and minimally decorated foyer.
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