DIVINITY. Art Magazine

divinity.
the art and architecture of sacred sites

May 2020 | Issue 01

3 PIHRNHiiITcsLHhItPEoPCrINhiEcuSarlclyh-es

I SHAOLrWOcCEAhLuiI ZtrEeDocTptOueCarR EenA T E
A DISTINCTLY FILIPINO
DESIGN (P.5)

© ARC22 PUBLISHING

PAGE 01 CONTENTS

divinity.

CONTENTS

THE CHURCH’S DESIGN CHARACTERISTIC
An excerpt from "Reading a Church on the

Theology of Ecclesiastical Design and Architecture"
P3

THE ARCHITECTURAL STYLE INFLUENCES
OF CHURCHES IN THE PHILIPPINES
Introducing the creation of a distinctively
Filipino adaption of the baroque style
by Jean Caayao • P5

MANILA CATHEDRAL
A Neo-Romanesque church in

Intramuros, Manila
by Paulina Ordoñez • P7

BINONDO CHURCH
A Spanish Baroque church in

Binondo, Manila
by Christian Guiman • P17

INC CENTRAL TEMPLE
A Neo-Gothic christian church in

Quezon City, Metro Manila
by Michaela Ducut • P27

CONTENTS DIVINITY. PAGE 02

DD UU RR AA --
E UU R O PP O S

The oldest
christian church
in the world.

PAGE 03 DIVINITY. CHARACTERISTIC

The Church's
Design
Characteristic

an excerpt from Rev. Brian C. Brigoli’s lecture on Reading a Church
on the Theology of Ecclesiastical Design and Architecture

“The style of the church should be marked by noble simplicity; it should be dignified,
evincing a noble beauty, not mere costly display, and it should stand as a sign and
symbol of heavenly realities.”

Fr. Brigoli, head of the Cebu Archdiocesan Commission on the Cultural
Heritage of the Church, shared the theology behind ecclesiastical designs
and architecture. He said that the common place of worship in the first
century was in a house, referred to as “house-church” or “domus ecclesiae,”
then evolving into a hall divided by function rooms for Eucharistic
assembly and baptism, in the third century, “dura europos.”

In the fourth century, Emperor Constantine declared Christianity as the
official religion of the western world, as Christians had moved from house-
churches to basilicas. But the emergence of various architectural styles only
began in the Middle Ages. The Romanesque style, identified with thick
walls and large towers with round arches, began the whole design
movements of religious buildings. And between the 12th and 16th centuries,
the Gothic style followed. Then came the Baroque period, defined by the
use of rich colors and ornaments on large ceilings, frescoes, and central
projections.

But Fr. Brigoli emphasized that more than the aesthetics, design and
layout must abide to the three natural laws of the Church: their verticality
– soaring heights that are symbolic of the faithful reaching to God in
heaven; their permanence – a perpetual reminder of Christ’s presence,
manifested physically through the structure’s durability, massing, and
continuity; and the iconography expressed in art, the highest manifestation
of the expression of religious truth.

“It points to something other than itself and effects
meditation and contemplation. It begets an environment that
lifts man’s soul from secular things and brings it into
harmony with the heavens. There is the blending of devotion
and art, attractiveness and functionality,” he explained.

These laws are also interconnected to the elements of church buildings.
The piazza, atrium, though not common in Philippine churches, and façade
are the prominent exterior divisions. Inside, the nave indicates the
symbolism of the boat, the Ark of the Covenant, and the “mother’s womb,”
which also include the pews and the holy water font. The sanctuary is
composed of the altar of sacrifice, lectern, chair of the presider, tabernacle,
candles, altar cross, and “retablo.”

“Church architecture and design affect the way man
worships; the way he worships affects what he believes, and
what he believes affects not only his personal relationship
with God but how he conducts himself in his daily life,"

▖Fr. Brigoli concluded.

PAGE 05 DIVINITY. INFLUENCES

The Architectural Style
IN THE PHI

by Jean Caayao

Our country, richly diverse in sacred architecture, is a reminder
of our colonial past and represents our deep connection and
unending faith in God. Churches around the Philippines not only
served as sanctuaries, but they also often served as landmarks,
and sometimes even tourist destinations, as they have been shaped
by our colorful history and culture alike.

While the Philippines was under Spanish rule (1521 – 1898), Spanish
friars joined the Philippine missions to Christianize the population. The
friar, a man of god and not an architect, used skilled Filipino artisans
who were unaware of Western construction and artistic techniques to
build a church following the friar’s faint recollection of European
baroque churches that he had seen before his making the long journey
to the Philippines. The typical architecture in the tropical, island
environment was a dwelling, built of wood, bamboo, rattan and palm
(nipa) thatch or grass, usually raised from the ground on stilts that
was totally adapted to the environment. The houses were susceptible
to fire, yearly typhoons or earthquakes. The unexpected result of the
mixture of Filipino, Chinese, European and Mexican influences was the
creation of a distinctively Filipino adaption of the baroque style.

INFLUENCES DIVINITY. PAGE 06

Influences of Churches

LIPPINES

The uniqueness of Filipino church architecture was honored by the

UNESCO World Heritage Committee by inscribing four churches in the

UNESCO World Heritage List as the “Baroque Churches of the Philippines.”

The Baroque Churches of the Philippines is a serial inscription consisting
of four Roman Catholic churches, namely, the Church of La Nuestra Señora
de la Asuncion in Santa Maria, Ilocos Sur; Church of San Agustin in Paoay,
Ilocos Norte; Church of San Agustin in Manila; and Church of Santo Tomas
de Villanueva in Miag-ao, Iloilo. Constructed between the 16th and the 18th
centuries in the Spanish period of the Philippines, they are located in
separate areas of the Philippine archipelago, two at the northern island of
Luzon, one at the heart of Intramuros, Manila, and the other in the central
Visayas island of Iloilo respectively.

This group of churches established a style of building and design that
was adapted to the physical conditions in the Philippines and had an
important influence on later sacred architecture in the region, which includes
forming a new church-building tradition. Their unique design reflects the
integration of Spanish and Latin American architecture to indigenous
architecture of the Philippines, including a fusion with Chinese style. The
Church's political power of that period manifests in the architecture. They
had been designed to withstand attacks during revolts and rebellions, giving

▖the Churches the appearance of fortresses. The blending of religion and

military portrays the manner Spain saw its situation in the Philippines.

PAGE 07 DIVINITY. MANILA CATHEDRAL

Manila
Cathedral

Intramuros, Manila

by Paulina Ordoñez

The Manila Cathedral is the most recent version of the long-standing Church of
Manila. Built from 1954 to 1958 under the supervision of Filipino architect Fernando H.
Ocampo, after the previous structure was flattened in the Second World War, it’s a
masterpiece of architecture. Every detailed wall carving, door, panel, portal and even its
attractive stained glass has its own story.

The cathedral serves both as the Prime Basilica of the Philippines and the highest
seat of the archbishop in the country. It’s the final resting place for former prelates who
have served the Archdiocese of Manila and was also used as a venue for requiem mass
for former President of the Philippines Corazon Aquino.

A Repeated History of Restorations

The cathedral was originally a parish church in Manila under the Archdiocese of Mexico
in 1571 known as Church of Our Lady of the Immaculate, until it became a separate diocese
on February 6, 1579 upon the issuance of the papal bull, Illius Fulti Præsido by Pope
Gregory XIII. The cathedral was damaged and destroyed several times since the original
structure was built in 1581.

In 1571, the church was made of the common structural materials such as nipa, wood and
bamboo. Yet a fire that razed the city in 1583 prompted the first reconstruction of the
church. The second cathedral was erected in 1614, using stone as its main structure. The
architectural design consists of naves, chapels and altars. It was an arduous task to
complete the stone church as earthquakes and strong typhoons lead to the devastation of
the cathedral in 1645 and left everything in ruins.

MANILA CATHEDRAL DIVINITY. PAGE 08

PAGE 09 DIVINITY. MANILA CATHEDRAL

*The Manila Cathedral in the 1940's.

RRRRooeemmvviiaavvnnaaelelssqquuee
NEO-ROMANESQUE ARCHITECTURE (1840-1900)

Manila Cathedral's pre-war interiors. During 1681-1863, the cathedral repeatedly rose from ruins only to pick itself up
again from the rubbles. On the architectural perspective it gave opportunity to
introduce a new style in every restoration that has been made.

From an ordinary stoned cathedral rose a cathedral design contained with
numerous altars and chapels. It had an imposing bell tower with a clock on the
top. Inside the church are stained glass, molave woodwork and marble pavings.
Ornaments, decorations and religious relics were either sourced from dignitaries,
not to mention the poor citizens of the city who donated their precious pesos to
maintain the high upkeep of the majestic cathedral.

In 1751, architect Juan de Uguccioni led the reconstruction of the cathedral into
a baroque inspired architecture. The church had broad oval naves and large-scale
ceiling frescoes. However the 1852 earthquake destroyed parts of the cathedral.

In 1879, Don Vicente Serrano y Salaverri employed the Romanesque-Byzantine
style to the cathedral. His design has endured and has been adopted by the
present cathedral. The church’s external appearance is characterized by round
arches, thick walls and large towers. The interior was richly decorated, naves are
spacious, the dome was raised on a fenestrated drum, and the arches are
beautifully ornamented.

MANILA CATHEDRAL DIVINITY. PAGE 10

The cathedral's 6th proposed facade.  The cathedral’s last major restoration came after the ashes of World War
II. In 1958, architect Fernando Ocampo was inspired by Serrano’s design but
added more to its previous appearance to make it more functional in using
space. It featured marbled floors, mosaic panels, arcaded colonnades, lovely
columns and a Immaculate Conception themed cathedral, His Neo-
Romanesque design is a combination of revival, renaissance and modern
styles. The present cathedral is a product of the old cathedral’s great design
mixed with Ocampo’s architectural touch.

In an architectural sense, the Manila Cathedral is characterized by a
constant evolution of its identity, changing styles in its more than three
centuries of history.  And more than just a structure it has interwoven itself in
the history of our country. It has witness history unfold in its surroundings
and adapted to the changes in society. The various challenges that it has
endured showed that in the face of adversity one can rise than what it once
was, to become better and stronger.

Ground plan of the cathedral. Signed by Neo-Romanesque Features
Manuel Ramírez Bazán, the inspector general,
in 1882 Romanesque Revival buildings are built with design features made
popular by the Ancient Romans, especially the use of arches and columns.

Romanesque Revival buildings are characterized by several key
elements: wide, rounded arches; short and wide columns; pilasters that act
as decorative columns; and pointed towers. Like buildings from Ancient
Rome, Romanesque Revival buildings are usually built with large,

▖roughhewn stones. Romanesque buildings look a lot like massive, solid

castles.

*The Manila Cathedral's interior, showing arches and vaults.

PAGE 11 DIVINITY. MANILA CATHEDRAL

DOME

The media naranja cupola or half-orange dome is a
dominant feature of the Manila Cathedral. Eight pairs
of stained glass windows by artist Galo Ocampo,
found at the base of the octagonal drum, give the
church interior a dramatic lighting effect.

SCULPTURES INTERIOR SCULPTURES

The main façade of Manila The main altar is supported by pillars
Cathedral is adorned with representing St. Catherine Labourne,
statues of famous saints St. Lawrence of Brindisi, St. Pius V
sculpted in Roman travertine and St. Leo IX. The tabernacle of the
stone. main altar represents Mary in the act
of receiving the body of Jesus from
the hands of St. John and the altar
communion rail consists of fine rosette
orange, cream and white marble.

MANILA CATHEDRAL DIVINITY. PAGE 12

WINDOWS STONE ART & COLUMNS

There are 134 stained-glass windows throughout the Marble columns combined with molded
whole structure. Forming a band running the upper concrete mounted on a monumental pillar
and lower parts of the nave, the apsis, located at the beginning of the central
ambulatories, transept, dome lantern, and north nave add to the elegance and artistic
end facade containing its resplendent rose window, value of the interior of the church. The
the designs by Galo Ocampo divided the task precast ornaments of concrete in varying
following Gothic European cathedral iconographic designs which appear like carved stones
programs focusing on the life, dogma, and are all attributed to the designer, Mr. Jose
attributes of the Virgin Mary. F. Pablo.

PORTAL & DOORS

Beneath the imposing rose-glass window, dominating the
facade of the Manila Cathedral is the main portal executed
in eight bronze panels by Italian sculptors Alessandro
Monteleone and Francesco Nagni. Each panel measures 1.80
meters wide by 4.24 meters. The cast-bronze central door
displays artistic relief representations of the important
episodes in the history of the Manila Cathedral.

PAGE 13 DIVINITY. MANILA CATHEDRAL

The "Morgan Leaf"

Detached from the Winchester Bible of 1160−75.
Scenes from the life of David.

MANILA CATHEDRAL DIVINITY. PAGE 14

MMaanniillaaCCaatthheeddrraallaannddTThheeMMoorrggaannLLeeaaff

The Morgan Leaf (pictured at the right) was the last and greatest single leaf acquired by financier John Pierpont
Morgan (1837–1913). (Morgan's collection later became the Morgan Library and Museum.) The twelfth-century
Winchester Bible, the largest and finest English Romanesque Bible, on view at the Met through March 8, was begun in
around 1160, but was never finished. Although full-page miniatures were not originally planned for the Bible, drawings
for four of them were made. Only two were finished: those on the Morgan Leaf.

The stained-glass windows of Manila Cathedral and the Morgan Leaf painting both portrays stories from the Bible.
They also both characterized by a vigorous style that was influenced by Byzantine art.

AARRFFTTEELLCCDDRRMMIITTAAIINCNC'I'ISSSSMM
Description
DIs there a subject?
What do I see? Yes, the man named David. It was
about David’s life, from how he slain
I see six scenes from the Bible, specifically the life of David. At the Goliath to how he wept for the death of
first scene, I see David slinging the stone at the giant, Goliath. his son.
While, on the second scene David had cut off Goliath’s head as
the Philistines flee. On the third scene I see David playing the What kind of shapes/
harp in front of King Saul, who in a fit of jealousy throws a spear lines/ colors/ textures do
at him. The next scene, David is anointed Saul’s successor by the you see?
priest Samuel. In the bottom scene on the left, Absalom, the son of
David, is put to death, and in the final scene, David is informed of The colors that were used are mostly
the death of his son and weeps in grief. red, blue, brown, and gold. The texture
of the painting itself is looking rough.
Who is the artist? There are variations of lines and shapes
that were used, like square, diamond,
In its execution, there is a division of labor in the illumination of semicircle, curve lines and etc.
the leaf, with the under drawing done by the Master of the
Apocrypha Figures, and the painting largely done by the Master What is the medium/
of the Morgan Leaf. Of these, the more traditional was the media used?
Master of the Aprocrypha drawings, who belonged to the first
team of artists, and has worked earlier at the monastery of St. The medium that was used is canvas
Albans north of London. The more precocious of the two artists, and oil paint.
the Master of the Morgan Leaf, belonged to the second team.

PAGE 15 DIVINITY. MANILA CATHEDRAL

AnalysisHow is the work organized? What effect do they have on the
artwork?
The scenes on the Morgan Leaf are set against colored,
paneled backgrounds that visually project them forward. It gives a realistic effect.
The artist uses a characteristic narrative device of the
period, arranging scenes in pairs, with the first representing What role does texture play in
the scene before, and the second the scene after. the work?

How does the artist use the elements The artwork looks more realistic because the
of design in the work of art? artist put the right texture and contrast in its
right place.
The artist uses a characteristic narrative device of the
period, arranging scenes in pairs, with the first representing How has the artist used light?
the scene before, and the second the scene after.
The artist used the light and colors to emphasize
How are the colors used? the subject in the painting.

The colors that were used gives great impact to the Judgement

Adifferent scenes, it identified the different characters Is it a good artwork?
depending on the color of their clothing. Also, the colors
changes depending on the emotion per scene. Yes, it is.

Interpretation JDo you like the artwork? Why

IWhat is the artist trying to say? or why not?
The artist wants the people to easily understand the life
of David. The painting illustrates that if you follow God’s I like the artwork a lot because it makes us easily
will everything follow. understand the life of David, because there are
Can I express what I think the some people that doesn’t know how to read, they
artwork is about in one sentence? can still understand the story through the scenes
"The simple boy who became King." painted by the artists.
What evidence from the artwork
supports my interpretation? What criteria do you think are
The scenes are clearly illustrated on the first scene most appropriate for the
David threw a stone towards Goliath, next is that David artwork?
is holding Goliath’s head and the people was all afraid
of him. Third scene David was holding a harp while King Uniqueness, Concept Originality, Contrast and
Saul is point the spear towards him. Next is that David Texture, Application of Materials
was being crowned by a priest, fifth scene is the man
has a spear through his chest, and at the last scene the Are you judging the artwork
King had a cloth on his face.” based on its formal elements?
Its success at imitating the
real world? Its emotional
content?

Yes.

MANILA CATHEDRAL DIVINITY. PAGE 16

The stained glass windows of Manila Cathedral.

PAGE 17 DIVINITY. BINONDO CHURCH

BINONDO CHURCH DIVINITY. PAGE 18

BCINHOUNRDCOH

Binondo, Manila

by Christian Guiman

Binondo Church, also (Spanish: Basílica Menor de San Lorenzo Ruiz y
Parroquia de Nuestra Señora del Santísimo Rosario), is located in the District of
Binondo, Manila fronting Plaza San Lorenzo Ruiz, in the Philippines. This church
was founded by Dominican priests in 1596 to serve their Chinese converts to
Christianity. The original building was destroyed in 1762 by British bombardment.
A new granite church was completed on the same site in 1852 however it was
greatly damaged during the Second World War, with only the western façade
and the octagonal belfry surviving.

A Legacy for Chinese Converts

The church was built by the Dominicans. Founded in 1596, a church had been
constructed before 1614. When transferred to its present site in the 18th century, a
new church was built to accommodate new churchgoers.

In 1778, the roof was replaced with nipa as the wood was destroyed by termites. In
1863, the church was slightly damaged by earthquake. The original structure has
sustained damages during wars and various natural disasters. Domingo Cruz y
Gonzales supervised the construction of the dome in 1781.

The current granite church was completed on the same site in 1852 and features
an octagonal pagoda-like bell tower which suggests the Chinese culture of the
parishioners. The church was burned during the British invasion of 1762. Another
one was quickly built following the occupation. Improvements were made in the
18th century but the edifice was again destroyed in the 1863 earthquake.

It was rebuilt in the grandeur the remains on which we see today. Before the war,
it was considered as one of the most beautiful churches in the country. Its bell
tower was composed of five stories, octagonal in shape.

PAGE 19 DIVINITY. BINONDO CHURCH

Spanish
Baroque

EUROPEAN BAROQUE ARCHITECTURE

(1600-1700)

*Binondo Church in 1909

Binondo Church's architectural style is Spanish or European Baroque and moreover it is notable for its octagonal five-
tier Chinese-style bell tower which reflects the culture and art of the surround Chinatown. The original design of this
church came from the talented Spanish architect, Domingo de la Cruz González. The facade is buttressed on the sides by
pilaster mass terminated by urn-like decorations. Typical elements are lateral towers, trapezium-shaped gable ends
topped with a vaulted niche, small octagonal-shaped windows and twin columns. At its top was a mirador (viewing
window). A tower is found at the apex of the pediment. At the base of the pediment, along its central axis, is a small
circular window framed by smaller columns and pediment which are framed by a foliated scroll. At the right is the huge,
octagonal tower characterized by cantons at its angles and pedimented window openings.

Spanish Baroque Features

Baroque architecture in Spain was more ornamental than
structural. The facade and the altar are the most
representative elements of Spanish baroque architecture
since here is where most decorative elements are
concentrated and brought together as a masterpiece of art.
These architectural elements were meant to be dynamic,
volumetric, and with plenty of shadows in order to create a
sense of movement. The exterior walls are a mixture of
ornamentation and soberness — on each side of the

▖ornamented facades, there are plain, straight walls with little

decoration.

Initial Plans for the church's structure.

BINONDO CHURCH DIVINITY. PAGE 20

A Remarkably Divine Replica St. Peter's Basilica at Vatican

Both the Binondo Church’s altar design and the façade of St.
Peter’s Basilica have similarities in relation to its origin of design
and structure. Simply, the altar is loosely modeled after the St.
Peter's Basilica. Both structure are also design in Baroque
Architecture. St. Peter’s Basilica was designed and constructed
during the Early Baroque era. 1600-25.

Both structures expresses baroque art which was exuberant
and dramatic, and it incorporated precise detail and
exaggerated motion in the disciplines of its elements and design.
The art rapidly developed with support from the Catholic
Church, and until its decline, it was associated with grandeur,
vitality, drama and sensuality.

Binondo Church's Altar

PAGE 21 DIVINITY. BINONDO CHURCH

SCULPTURES & MOLDINGS

At the facade, numerous The facade also contains
sculptures of St. Lorenzo intricate moldings, which
Ruis within small, protruding could be easily found beside
columns and arches. the entryway on the balcony.

WINDOWS

Numerous windows could be
found at the facade with
either a circular or octagonal
shape.

BINONDO CHURCH DIVINITY. PAGE 22

ENTRYWAYS & ARCHES

The facade also The octagonal tower also contains
features false openings/false openings  having
entryways/arches for Pointed Pediments (originated
aesthetic purposes. from ancient architecture)

COLUMNS

The facade contains both Ionic (at the upper part of the
façade) and Corinthian Pillars (at the lower part of the
façade), both are which from Greek Architecture.

PAGE 23 DIVINITY. BINONDO CHURCH

““AAppootthheeoossiiss ooff SStt.. IIggnnaattiiuuss ””

Intricate ceiling art made by Andrea Bozzo at
Sant'Ignazio Church in Italy. (1685-1694)

BINONDO CHURCH DIVINITY. PAGE 24

TThheeCCeeiilliinnggssooffBBiinnoonnddoo&&SSaanntt'I'Iggnnaazziioo

Binondo Church’s eye-catching ceiling paintings could be related to the intricate ceiling art made by
Andrea Bozzo at Sant'Ignazio Church in Italy. Both has it incorporated precise detail and exaggerated
motion in the disciplines of its elements, a distinct feature of Baroque Art. Both churches were inspired by the
Baroque art and architecture as well. We can see the dramatic depiction of heavenly and holy characters
present in these paintings.

AARRFFTTEELLCCDDRRMMIITTAAIINCNC'I'ISSSSMM

Description DWhat kind of shapes/ lines/

What do I see? colors/ textures do you see?

I see a crowd of angels gathering at the walls of the For the depicted structure, there were gray and
Sant’Ignazio Church and at the ceiling where it has gold colors, with the subjects, earthly-toned colors
opened up to show theheavens and other angels were used, for the heavens it consisted of gray and
gathered within the clouds above. blue colors. The textures that were used are smooth
and flowing in appearance. There were different
What are the facts? variations of lines used such as straight lines,
curved lines, and natural lines.
The ceiling opens up for Saint Ignatius entering
paradise, being welcomed by Christ and the Virgin What is the medium/ media
Mary and numerous angelic entities. used?

When and where was it created? The medium used was Fresco painting.

It was created during the years 1688-1694 at the
Church of St. Ignatius of Loyola, Campus Martius,
Rome.

Is there a subject?

The main subject of the artwork is Saint Ignatius
himself, Jesus Christ, Virgin Mary, and the angels.

PAGE 25 DIVINITY. BINONDO CHURCH

AnalysisHow is the work organized? What effect do they have on the
artwork?
The work appears to give the viewers an impression of
“extension” of the ceiling to the heavens perspective. It is The artwork has a glorifying, dramatic effect.
as if the surrounding structure connects to the art itself.
What role does texture play in the
How does the artist use the work?
elements of design in the work of
art? The textures used were soft, yet feels realistic.

The artist used an illusionic cupola, open to the sky, How has the artist used light?
and populated with upward floating figures.
The light and darkness were perfectly utilized in this
How are the colors used? artwork, from the light coming from the windows, to
the shadows of the corners of the structure, to the
The colors that were picked gives the overall artwork a bright and warm light coming from the heavens,
giving it a breath-taking and realistic approach.
Anatural and harmonious approach, warm and earthly,
vivid colors were used like brown and blue to make the Judgement
painting “alive”.
Is it a good artwork?
Interpretation
Yes, it is a good artwork.
IWhat is the artwork about?
The artwork is about the ascension of Saint Ignatius to JDo you like the artwork? Why
the heavens, with a warm welcome from Jesus, Mary, and
the angels from up above. or why not?
What is the artist trying to say?
The artist is trying to narrate and depict how Saint I like the artwork because it is immensely eye-
Ignatius was openly welcomed to heaven. catching, extremely detailed with every subject
Can I express what I think the and element, and realistically depicts the
artwork is about in one sentence? heavens as well as the surrounding environment
“We welcome you to the gates of heaven” inside the church.

What evidence from the artwork What criteria do you think are
supports my interpretation? most appropriate for the
artwork?
With Jesus and Mary’s figures up above the highest
point of heaven, their gestures depicted in the painting Light and Contrast, Level and Accuracy of
suggest they are warmly welcoming someone, and with Detail, and Color Scheme.
all the angels gathered as they are having a gracious
welcoming event. Are you judging the artwork
based on its formal elements?
Its success at imitating the
real world? Its emotional
content?

Yes.

BINONDO CHURCH DIVINITY. PAGE 26

Painted ceilings of the Binondo Church.

PAGE 27 DIVINITY. INC CENTRAL TEMPLE

ITNECMCPELNETRAL

Commonwealth Avenue,
Quezon City

by Michaela Ducut

Iglesia Ni Cristo Central Temple (Iglesia Ni Cristo
Templo Central) is a main temple of the Philippine-
based Christian religion, the Iglesia Ni Cristo (INC).
It was designed by Ar. Carlos A. Santos-Viola and
was completed 35 years ago on July 27, 1984. It is
the biggest church/place of worship in the whole
country for all religions as per the dimensions
are concerned with a capacity of around
7,000 people.

INC CENTRAL TEMPLE DIVINITY. PAGE 28

The Birth of An Expanded Community

On July 27, 1984, as part of the church-wide festivities of the 70th anniversary of
the Church's formal birth, the Central Temple was officially inaugurated. The

Central Temple was dedicated by Bro. Eraño Manalo with thousands of members
worldwide in attendance. With the formal opening of the Temple, Dillman

Locale was later renamed to the name it carries up to today - the Locale of
Central Temple, also known as Templo Central. 5 years later, the Temple
complex was expanded to include the Pavilion and the INC Tabernacle,
which not only serve as overflow for additional visitors for worship
services and evangelical missions, but also act as events centers
where Church-organized events are held. The former Chapel at
Luzon Avenue was later spun off into an independent
congregation serving members who live in its vicinity.
 
As a result of the growing number of brethren who
frequenced the Temple for worship services, the
Central Temple Locale later saw the creation of
new locals within its vicnity, namely New Era
Housing in 2015, Sagana in 2016, New Era
University in 2017 and Doña Faustina in 2018.
It is today the seat of the Central
Eccleasiastical District, which serves the
thousands of Church members who live
within the area and the congregations
that surround it.

PAGE 29 DIVINITY. INC CENTRAL TEMPLE

Neo-Gothic
Moorish

GOTHIC REVIVAL ARCHITECTURE
(1830-1860)

*The Iglesia Ni Cristo Central Temple in the 1980's.

Iglesia Ni Cristo Central Temple was designed by Arch. Carlos Antonio Santos-Viola. He is best known for designing
and building churches. He was one of the very first graduates of the College of Architecture of the University of Santo
Tomas in 1935.

The temple is significant to the members of the church because
the venue serves its primary purpose which is to be the crown jewel
of the Iglesia Ni Cristo architecture. First and foremost, the house
of the Lord a holy place built for the honour and glory of God and
belief inside its sacred halls, the faithful shall ever dwell not only as
congregation gathering to worship.

The Temple's construction in 1980's.

INC CENTRAL TEMPLE DIVINITY. PAGE 30

The Central Temple characterized by simple, elegant lines and towering spires pointing towards the heavens and
seemingly reaching for the heavens. These structures manifest the church’s dedication to buildings edifices and become
landmark that serve as a monument of faith. The Central Temple was uniquely designed which inspired by Neo-Gothic-
Moorish architecture. These mega structures continue to leave one awestruck by its imposing brilliance and unignorable
majesty.

The temple has strong five huge and ten small towering vertical spires with a sense of great height. Huge size of
cantilever in main entrance hall, detailed curving and symmetrical windows, while inside it was built with one huge arch
vault and two smaller arch vaults in the center that serves as the coved ceiling in the place of offerings and
worshipping area. Furthermore, it has balcony for further extension to address large number of people were faced front
choir area and beside of it is called “tribuna” which is the place where Ministers stand while preaching, it is usually
made of hardwood with a consistent and detailed curving.  The temple also has offices of District Ministers inside. Since
its completion and dedication to God, the Central Tempe today remains as beautiful and magnificent as ever, well-
preserved through the years. For almost 3 decades the Temple has born witness to various groundbreaking events in
recent church history.

Neo-Gothic Features

The most commonly identifiable feature of the Gothic Revival
style is the pointed arch, used for windows, doors, and
decorative elements like porches, dormers, or roof gables. Other
characteristic details include steeply pitched roofs and front
facing gables with delicate wooden trim called vergeboards or
bargeboards.

Gothic Revival style churches may have not just pointed arch
windows and porticos, but often feature a Norman castle-like

▖tower with a crenellated parapet or a high spire.

La Sagrada Familia in Barcelona, Spain

PAGE 31 DIVINITY. INC CENTRAL TEMPLE

EXTERIOR TRIMMINGS

Pointed Arch Spires and Roof with Gables Board and Batten Sidings - these
- the pointed arch is also a Neo-Gothic sidings are also a common style in
style and according to their beliefs this Neo-Gothic era and the church
spires are reaching for the heavens. included it in its exterior design.

WINDOWS DOORS

Stacked Awning Windows with Pointed Carved Panel Double Doors with Small Glass
Arch - these windows are good for sun Openings - this door gives simplicity and
and rain protection yet is still a good privacy for the people inside since whenever
source of natural light and ventilation. there’s an event this door is always and should
The Gothic Style pointed arch were also be closed.
induced in the design of the windows.

INC CENTRAL TEMPLE DIVINITY. PAGE 32

LIGHTINGS

Dramatic Chandeliers - these chandeliers Natural White Pin Lights - Pin lights are used
doesn’t just give an elegant vibe but a in the structure for a modern vibe. These
powerful artificial lighting for the whole lights helps provide artificial lighting the
structure. whole structure.

WALLS CEILINGS

Symmetrical Wall Designs - the symmetrical The temple's ceiling is inspired by the Moorish
design is a Neo-Gothic style and it was style, combined with a Filipino design. The
induced in the interior design of the structure. center arch vault was turned into a hexagonal
ceiling for a more intricate design.

PAGE 33 DIVINITY. INC CENTRAL TEMPLE

""PPiinnrritintnhhcceeeessssasaslMloMonnaaarartitieeTTdudu''OiOillererrlrleieieaeasns"n"ss''

Princess Marie d'Orleans invited Prosper Lafaye to paint
her and her salon in Paris for personal memories. (1842)

INC CENTRAL TEMPLE DIVINITY. PAGE 34

IINNCCTTeemmpplleeaannddPPrriinncceessssMMaarriiee's'sSSaalloonn

A Neo-Gothic Salon in the Tuileries Théodore Charpentier, most likely selected on the recommendation of Ary
Scheffer, was commissioned in 1835 to redesign Marie’s studio in the Tuileries as a salon. For Marie’s salon, Charpentier
installed a décor offering considerable theatrical flair, with a Renaissance-style coffered ceiling, a sculpted wooden
cornice, windows and doors curtained in crimson damask within an atmosphere softened by stained-glass panels (Salon
of Princess Marie in the Tuileries). And yet, although in imagining the decoration of her neo Gothic salon the Princess
d’Orléans had expressed her Gothic sentiments, Charpentier left behind fantasy and troubadour-style approximations
in favor of greater historical accuracy.

You can classify a Neo-Gothic art if shows an ornate decoration, intricate and delicate aesthetic, gloomy yet
elegant setting and grandiose feeling when see. Both the church and the painting embrace the motifs of basic style of
Neo-Gothic grandeur, but in secular and private way, both shows a detailed and elegant piece of art. The church and
painting gives a private feeling that encourages you to know and learn what’s inside and the meaning behind.

FFEELLDDMMAANN''SS
AADRRescrTiTption CCRRIITTIICCIISSMMWhat do I see?
What kind of shapes/ lines/
I see a girl standing facing sideward from the perspectivecolors/ textures do you see?
of the viewer in a fully designed room with lots of furniture.
The colors that were used are mostly red,
What are the facts? green, brown, and gold. The texture of the
painting itself is looking rough. There are
This is a painting of a princess in her newly renovatedvariations of lines and shapes that were
salon. used, like square, circle, curve lines.

DIs there a subject? What is the medium/ media
used?

Yes, a girl facing sideward from the perspective of the The medium that was used is canvas and

viewer. oil paint.

PAGE 35 DIVINITY. INC CENTRAL TEMPLE

AnalysisHow is the work organized? What effect do they have on the
artwork?
Every detail in the artwork looks like it was placed in its
original place. Like the gathered door curtain, and the It gives a realistic effect.
position of the girl facing sideward.
What role does texture play in
How does the artist use the elements the work?
of design in the work of art?
The artwork looks more realistic because the
The artist did not change the asymmetrical placing of artist put the right texture and contrast in its
details in the artwork. There are also some repetitions in the right place.
artwork that can be seen in the ceiling at it shows a pattern.
How has the artist used light?
How are the colors used?
The artist used the light to emphasize that girl
The colors that were used gives strong look in the and her dress.

Aartwork. There is a contrast in each furniture in the Judgement
artwork as well as the part where the sunlight shines.
Also the white dress of the girl made it easy to point Is it a good artwork?
out that she is the subject of the painting.
Yes, it is.
Interpretation
Do you like the artwork? Why
What is the artwork?
Jor why not?
IThe artwork is all about a princess showing off her new I like the artwork a lot because it does not make
salon in a candid way. you think very complicated things. You will just
What is the artist trying to say? think of things like “Wow, that curtain is good.”,
The artist wants the artwork to be itself. It looks like he “Is she reading? Or just posing?”, “That room is
did not change any detail from the real scene to the definitely gorgeous yet expensive.” In short, the
artwork itself because the princess wants this artwork to painting is straight-forward and not complicated.
be a memory that is why it should be what it is.
What criteria do you think are
Can I express what I think the most appropriate for the
artwork is about in one sentence? artwork?

“A normal day in my salon.” Uniqueness, Concept Originality, Contrast and
Texture, Application of Materials
What evidence from the artwork
supports my interpretation? Are you judging the artwork
based on its formal elements?
The hands of the princess looks like she is readeing Its success at imitating the
something and it is candid. The painting doesn’t focus real world? Its emotional
on her only but the whole surrounding, the whole scene content?
itself and that gives the idea of “Oh, okay she is just
doing her thing on a normal day.”. Yes.

INC CENTRAL TEMPLE DIVINITY. PAGE 36

The grandiose interior of the INC Central Temple.

The Authors

JEAN MARGARET B. CAAYAO

"Architecture is an open book, telling us stories that
time once lived or left untold."

Having learned her gift in the arts at the very cusp of her maturing years, Jean
ultimately decided to turn her artistic skills into a passion for designing and
building. She is presently taking up the Architecture course to pursue her mission
of combining the beauty of creating structures, and the heart of serving the
people through her visions of cultivating a better world, one space at a time.

MICHAELA VALERIE C. DUCUT

"A good design, shelters the needs and wants of the users."

Michaela simply knows the emphasis in the need for great structures. She
sees Architecture as the blueprint of every living creature. Without it, everyone
will be lost. That’s why for her, Architecture should never be taken for granted.

CHRISTIAN S. GUIMAN

"Inspiration for a design could be found anywhere,
one just needs to have a keen eye for it."

Christian is an aspiring architecture student currently studying at De La Salle
University Dasmarinas. The reason he chose this course is because he was
fascinated on the process of designing and planning architects do in order to
produce an aesthetic yet strong structure. This course might be tough and
stressful, but with strong will and confidence, he believes I can be successful in
the future.

PAULINA MAE A. ORDOÑEZ

“Architecture can transform the world into your everything.”
She loves doing what she does, helping others by making her imaginations
come to life. For her architecture makes the world a better place, because a
building's design can influence a person's behavior thus, modifying the
individual's mood and perception. This passion led her to challenge herself daily
and learn new skills that helped her to do better work. She believes that when
someone is passionate about the work they’re doing; they’re naturally committed
to quality and positive outcomes.

References

1. The Church’s Design Characteristic

Palapar, H. (2018, October 2). Design and Architecture of Catholic Churches.
Retrieved from: https://www.philstar.com/the-freeman/cebu-lifestyle/2018/10/04/1857089/design-and-
architecture-catholic-churches

2. The Architectural Style Influences of Churches in the Philippines

Untivero, D. (2018, May 9). Philippine Churches as Architectural Legacies.
Retrieved from: https://ph.asiatatler.com/life/philippine-churches-as-architectural-legacies
Villalon, A. (n.d.). 16th to 19th Century Church Architecture in the Philippines.
Retrieved from: https://ncca.gov.ph/about-ncca-3/subcommissions/subcommission-on-cultural-
heritagesch/monuments-and-sites/16th-to-19th-century-church-architecture-in-the-philippines/
Baroque Churches of the Philippines.
Retrieved from: https://whc.unesco.org/en/list/677/

3. Manila Cathedral

Audiger, S. (n.d.) Manila Cathedral: A Beautiful Neo-Romanesque Building in Intramuros.
Retrieved from: https://ph.hotels.com/go/philippines/manila-cathedral
Santos, J. P. (2020) Manila Cathedral: History and Architecture.
Retrieved from: http://www.artesdelasfilipinas.com/archives/117/the-history-of-the-manila-cathedral
Dr. Petzold, A. The Morgan Leaf from The Winchester Bible.
Retrieved from: https://www.khanacademy.org/humanities/medieval-world/romanesque-art/romanesque-
art-england/a/the-morgan-leaf-from-the-winchester-bible

4. Binondo Church

Alarcon, I. (2003) Philippine Architecture During the Pre-Spanish and Spanish Periods.
Retrieved from https://www.orientalarchitecture.com/sid/701/philippines/manila/binondo-church
Wagner, D. (2019) Binondo Church.
Retrieved from: https://www.fabulousphilippines.com/binondo-church-manila.html
Gardner, R. (2004) The "City of God": Churches, Convents and Monasteries.
Retrieved from: http://www.aenet.org/manila-expo/page16.htm
Hart-Davis, A. (2009) Baroque, in art and architecture.
Retrieved from: http://www.essential-humanities.net/western-art/architecture/baroque/
Sawe, B. (2017) What Was The Baroque Art Movement?
Retrieved from: https://www.worldatlas.com/articles/what-was-the-baroque-art-movement.html

5. INC Central Temple

Guia J. (2017) Iglesia Ni Cristo Central Temple
Retrieved from: https://www.vigattintourism.com/tourism/articles/Iglesia-ni-Cristo-Central-Temple
Stefon M. (2015) Iglesia Ni Cristo Filipino Church
Retrieved from: https://www.britannica.com/topic/Iglesia-ni-Cristo
INC (2019) Iglesia Ni Cristo Wiki
Retrieved from: https://iglesia-ni-cristo.fandom.com/wiki/Central_Office
Maison M. (2018) Neo-Gothic Style
Retrieved from: https://www.marcmaison.com/architectural-antiques-resources/neo_gothic_style

divinity.

ad honorem.