Rethinking the Tree of Life:

An Analytical Study of the Coconut Palace

CLAIRE TACAN
JESSE MARI SORRILLA
PATRICIA KYLA DE GUZMAN
PRINCE WILLIAM WICO
The named students are in their fourth year of taking a bachelor’s
degree in Architecture at the University of Santo Tomas. As students
of the University, and in accordance to the college’s vision,—
molding globally competitive Filipino Architects that shares
responsibility in developing life-long learners— they were involved in
research projects related to the interdisciplinary work of art,
architecture and design, comparative analysis, and nature of
architecture according to different climatic theories, among others.

Abstract they can keep the environmental and urban conditions at

par with each other.
This paper aims to analyze the widely praised role of
Coconut Palace in the shaping of ‘bioclimatic
architecture’ as a design approach resulting from the Introduction
active imposition of ideal form upon the use of both In the Philippines there is a structure known colloquially
indigenous & traditional architectural framework to an as the “Coconut Palace” or Tahanang Filipino. It is a
urban nature, which hounded us to question if its vast building, somewhere between a presidential palace
effectiveness of a climate responsive architecture is still and an exotic luxury hotel, which was both praised
evident over the course of its life and, implicitly, in all famous for its unique work of architecture and criticized
other aspects of tropical design; considering the changes to be ostentatious for its controversial history.2
that the world has undergone over the past four decades
In the reflection written by M.G. Warenycia, he stated the
have created a dramatically altered global order which
Coconut Palace "a symbol of corruption and
requires a new understanding in the role of bioclimatic
extravagance amid crushing poverty and
architecture in the reconstruction of Filipino architectural
underdevelopment that is the classic picture of the
strategy.
Philippines during the Marcos era”.3 Some of its socio-
The contrasts arising between these different political highlights are that its construction is sometimes
understandings of adaptability in the processes of associated with the Marcoses edifice complex, a term
materialization and analysis, may help us both, in popularized by architectural historian Gerard Lico as the
reorienting our building of the environment far beyond "obsession and compulsion to build edifices as a hallmark
its contemporary understanding of architecture and, thus, of greatness or as a signifier of national prosperity."4 It
to move with all their historical and ecological was built over a 14 month period 1978-1981
implications to our current practices of building and commissioned by the First Lady Imelda Marcos for Pope
design. John Paul's visit in 1981 and estimated at cost PHP 37
million to build; that was partly financed by the coconut
Moreover, the study can present both students and
levy fund, which was set up to be used for the welfare of
architects with better ideas on how a bioclimatic structure
coconut farmers2.
can be managed, say by incorporating both technological
advancement and low-tech methods of creating, and how Albeit, Imelda Marcos was a patroness of art, others

Keywords: architecture, tropical design, vernacular, bioclimatic, coconut palace, analysis, Francisco Mañosa….
1
th e pres ent t ext s a re mini ma lly ed it ed versi on of th e initi al an a lyti ca l res ea rch for th e cou rs e Tropi ca l Desi gn I. However,
and a lth ou gh we ha ve revi s ed th e t ext t o faci litat e th e com preh en si on of ou r h ea vy -hand ed En gli sh, th e obj ec ti ves and
ab st ra ct ha s b een k ept sti ll in ord er t o maint ain th e p revi ou s d isp ositi on of th e res ea rch .
2
Ad rian B ob e (2016, Oct ob er 4 ), The Coconut Pala ce [ A rti cle ] , Phi lippin es, R et ri eved from h ttps :// www. s u nst ar.c om .ph/
a rt ic le/83902, Th e i ssu e i s st ill on goin g up t o th is d a y, with c oc onut fa rm ers fi ghtin g for ju stic e a gain st th e forc ed ta xati on ,
and a sha re of th e C oc o Levy Fu nds ' in vestm ent s
3
M. G. Wa ren yc ia (2013, Oct ob er), Refl ection s on the C oconut Palace , C omin g from hi s pap er, I b rin g forwa rd th e n oti on ,
th ou gh C oc onu t Pa lac e was bui lt a mid p overt y and int ’l stat e i nt erferenc e, it is n ot ac c epta b le as a legi tim at e a rchi t ectu ra l
s ym b ol of st at e p ower. B y m ean s, Mañ osa d ecid es t o achi eve goa ls of i mp rovin g th e qua lit y of li fe of it s p eop le, th rou gh
rej ectin g West erni za ti on and in st ead rely on phi los ophi es of loca l d esi gn, ma rkin g a rchi t ectu re a s an exp res si on of va lues .
4
De Vi lla, Ka th leen, (2017, S ept ermb er 16 ), Imelda Ma rco s and he r ‘ed ific e co mple x ’, R et ri eved from http s ://
bu sin ess .inqui rer.n et/236962 /im elda -m a rc os-edi fi c e-c omp lex, Gera rd Li c o, in hi s b ook “Edi fi c e C omp lex: Power, M yth and
Ma rc os St at e Arch it ec tu re, ” i s very mu ch in flu enc ed b y Mich el Foucau lt ’s dis c ou rs e on p ower a nd kn owled ge.

1
The Coconut Palace is one of the edifices commonly cited as an example of the Marcoses edifice complex
Im a g e o r ig in a lly ta ke n b y Pr in c e Willia m Wic o (N o v e m b e r 2 0 1 9 )

thought that the projects came with a heavy price as it away from the media. If only walls could speak, it will
cost lives and were tainted with corruption. Perhaps the surely vent out to unmask the many unanswered
only thing worse than a natural disaster is a man-made misfortunes in the country.
one. Add human rights abuses and a complete
monopolization of political power of the country during
that time, the Pope rejected the offer to stay in the The Architect Like No Other
flamboyant house and stayed at the Papal Nuncio’s
The quest for Filipino style has been considered since the
residence instead.2
1950s, in response to the strong American influence on
The Coconut Palace performed the dual function of architecture and other cultural fields, such as literature
official residence of the Vice Presidents of the Philippines and painting. The American modern architecture of the
and guest house for foreign celebrities and dignitaries, “International Style” left no room for domestic
including the late Libyan strongman Muammar al- expression. However, in the late ’60s and ’70s, a world
Gaddafi, Brooke Shields and George Hamilton.5 But in -wide wave of regionalism in modern design emerged.
2016, Maria Leonor "Leni" Robredo who is the 14th and
incumbent Vice President of the Philippines, said that she The Coconut Palace was drawn with a bold and definitive
is looking at ways to use the budget allotted for the statement, coming from the architect who is one of the
Office of the Vice President for things other than renting most influential voices rallied for uniquely-Filipino
the Coconut Palace as her office, according to the news designs, the late Architect Francisco “Bobby” Mañosa.
article written by Rose Carmelle Lacuata.6 The Vice A graduate of the University of Santo Tomas, a member
President eyed the Quezon City Reception House as her of the National Commission on Culture and Arts, and a
simpler alternative to the previous workplace of the Vice trustee of the Katutubong Filipino Foundation.
President.7
In Bobby’s case, imagination was not fantasy, but the
In addition to this, it served as home to the world ability to see things others couldn’t. His ingenious
renowned artworks like the well celebrated mural master designs include the Nayong Pilipino at Bicol Region, the
Araceli Dans and bed posts designed by national artist Shangri-La Hotel at Mactan, the Pearl Farm Resort in
Napoleon Abueva (who was later appointed to the order Davao, which garnered the Kalakbay Resort of the Year
of the "National Artists of the Philippines") .8 A glimpse of Award for 1994 and 1995 and the known Coconut Palace.
these masterpieces is an enthralling visual and emotional His contributions to the development of Philippine
treat with its prime location adjacent to the majestic architecture led to his recognition as a National Artist of
sunset at the heart of the Manila Bay. Sadly, most of the the Philippines for Architecture in 2018.10
artworks that was once displayed in the palace were soon
Mañosa exhorts his fellow Filipinos to infuse their artistry
transferred to the GSIS Museum.9
with nationalism. “I design Filipino, nothing else.”as he
The Palace itself has surely heard so many secrets of declared. As a nationalist, Architect Mañosa always
different regimes as it housed international leaders, implemented traditional vernacular forms of the bahay
politicians and the usually elusive guests that was shy kubo and the bahay na bato, and utilized indigenous

5
Dacu m os, Jan e (2012, Ju ly 20), Th e Co conut Palac e [ Tou ri sm Ar ticl e] , R etri eved from http s ://ww w.viga ttintou ri s m.c om/
6
La c uat a, R os e Ca rm elle, (2016, Ma y 31 ), Mas yadong mahal? Why Leni do esn' t li ke Coc onut Palac e [ New s Ar ticle ] ,
R et ri eved from h ttps ://n ews .ab s -cbn.c om/n ati on/05/30 /16/ma s yad on g -m aha l-wh y-len i-d oes nt -lik e-c oc onut -pa lac e
7
De J esus , Ju llian e Love, (2016, Jun e 14 ), Rob redo to h old of fice at QC Rece ption Hous e [ New s Art icle ] , R et ri eved from
http s :/ /n ews in fo.inqui rer.n et/790655/ rob red o -t o-h old -offic e-at-q c-rec ept i on -h ous e
8
Nat i ona l C om mi ss i on for Cu ltu re and th e Art s of th e Phi lippin es, http ://ncc a. gov.ph /ab ou t -n cca/ org-a wa rds/ viua l-art s/
nap oleon_abu eva.php

R e t h i nk i n g t he Tre e o f Li fe : An An a l y t i c a l S t u d y o f t h e C o c o n u t Pa l a c e 2
A tranquil moment with his wife Denise, in the master bedroom he designed for his house. Opening into a landscaped garden and a pond stocked
with fish and turtles, the room embodies Bobby Mañosa’s concept of Filipino space as one of convivial sharing between family members.
Im a g e p o s te d a t Life s ty le . IN Q h ttp s ://life s ty le . in q u ir e r. n e t/3 2 5 3 5 9 / t he -b o b b y -m a n o s a -i - k n e w-a -f i l i p i n o -a r c h i t e c t-l i k e -n o - o t h e r /

materials applied with state-of-the-art building Grown throughout the tropical world, coconut was known
technology to all his works, which were all perfect for our as one of indigenous Filipino material. the Coconut
country’s culture and tropical climate. tree is often referred to as “man’s most useful tree,”
”tree of abundance,” “tree of heaven,” and “tree of
When Imelda Marcos asked him to design the Tahanang
life”. Known in the science world as Cocos nucifera, it is
Pilipino to serve as guest house for visiting artists
the most important of cultivated palms and the most
performing at the Cultural Center of the Philippines, the
widely distributed of all palms because of the endless
only brief was that he make as much use of the coconut
products derived from its various parts. According to
as possible. The coconut industry was replacing all old
Philippine Statistics Authority, with an annual production
trees with a hardier, higher-yielding variety, hence a
of 15 million tons of coconut, the Philippines is the
massive oversupply of coconut lumber.11
second largest coconut producer worldwide after
Although the controversy and the relative disuse of the Indonesia. 12
building since its construction, the Coconut Palace has
Manosa have always referred to the significance of this
come to be recognized as one of the most prominent
material as one of the traditional architectural strategy in
examples of Philippine neovernacular architecture, and
the Philippines due to its advantages with respect to
made Mañosa a highly-sought-after artist.
moisture prevention, and minimal environmental
“The Tree of Life” impact.11 A showpiece on the versatility of the coconut
and its viability as an export.
Tropical modern architecture is an adaptation to the
The Coconut Palace is made from several types of
tropical conditions of the Philippines, particularly with
Philippine hardwood including tugas and balayong
regard to the climate.
coconut shells and the Imelda Madera a specially
There are two distinctive models of traditional engineered and chemically treated coconut lumber used
architecture for most Filipino architects: the bahay kubo as the solid foundation of the building.9
and the bahay na bato. The bahay kubo is basically a
The texture of its wood is quite unique consisting of
raised hut resembling a “floating mass”, covered with
denser black fibers that create its strength durability and
local materials or products similar to traditional tropical
light areas. The black fibers seem to run as columns up
huts in South-east Asia, such as coco lumber (produced
and down the tree. Lack of branches on the coconut tree
through coconut tree), among others. While bahay na
mean that there is no knotting in the wood.14
bato components are compact and solid, though
originally introduced by the Spaniards, has been In the ground floor an ornately designed 24-seat table
repurposed to suit the native climate. These vernacular with 40,000 tiny pieces of inlaid coconut shells inside the
forms were combined by Manosa to create an adapted splendid dining room is one of the main attractions
structure to our tropical climate. 13 together with the library where the Marcoses used as

9
Th e C oc onut Pa la c e was n ot op en t o pub li c. However, since Dec emb er 2011 , i t is op en for wa lk -in t ou rs from Tu esdays t o
Thu rsda ys . And s o, we a re grat efu l t o M rs. Donna C omia , for b ei n g ou r t ou r and th e d edi cati on and supp lem enta ry
in formati on with whi ch sh e s ervic ed t o us du rin g th e sch eduled t ou r.
10
Nat i ona l C ommi s si on for Cu lture and th e Art s of th e Phi lipp in es , http s ://n cca . gov.ph /ab out -cu ltu re-and-a rt s/cultu re -
p rofi le/nati on a l-a rti st s-of-t h e-phi lippin es/ franc isc o -m an osa/
11
Ca run ch o, E ric S . (2019, Februa ry 24 ), The Bobby Maño sa I knew –a Fil ipino a rchi tec t li ke no oth er , Phi lipp in e Da i ly In qui rer
12
Bau tis ta, B. C. (2000 ) Ph i lippin e Archit ectu re 1948 -1978. R eyes Pub li shin g In c .
13
P hi lipp in e St ati stic s Auth orit y, http s :/ /ps a. gov.ph /n on -food/c oc onut
14
Kn owles , Ch ris (2018 ) http s :// cjkn owles 1972. wordp ress .c om /2018/12/28 /c oc onut -p a lm-wood-and-en vi ronm en ta l-b en efit s/

R e t h i nk i n g t he Tre e o f Li fe : An An a l y t i c a l S t u d y o f t h e C o c o n u t Pa l a c e 3
 a study area way back then.
Each of the seven suite in the second floor are named
after the different (and random provinces) in the
Philippines. Deemed only seven because it was
considered as the Marcoses lucky number. 9
Coconut Palace Rooms:
1. Zamboanga Room - dominant use of coconut
within the room structure and furniture. It
highlights the use of coconut parquet as
flooring.
2. Pampanga Room - notable part of this room is
the overlaying bedsheet made of Jusi Fibre
or fibre from the banana tree.
3. Marawi Room - representing Muslim Mindanao
this room is adorned in the colors purple
and green, the official color of Muslim
people.
4. Bicol Room - this room faces Manila Bay and
one can experience the best sunset making
it Imelda Marcos’ favorite room.
Noteworthy are the hexagonal-shaped
table.
5. Mountain Province Room - a picturesque
historical treasure room filled with
traditional Ifugao tribal artifacts.
6. Iloilo Room - room where it showcases Iloilo’s
best handicrafts.
7. Pangasinan Room - it has a large bathroom
and a remarkable bedspread made of
Pineapple fibers or Pina fibers.

It is said that nearly 70% of the structure is made from

the coconut tree. Everything from the tree’s roots to its
trunk, bark, fruit, flower and shell were used to design
and decorate the palace as a demonstration of the
versatility of the humble coconut.

Scope and Method of Study

The research was guided by several studies on tropical
design and historical concepts of Filipino architecture,
published journals, comparative analysis, and on-field

“ I design
observation (tour). In order to achieve the objectives and
come up with a well grounded qualitative research, the
approaches applied were:

Filipino,
(1) coordination and information gathered from the
course studies and related literature,
(2) secondary data gathering/collection of previous
documentation of works, and
(3) field study done in group in which involves the
direct observation of the built structure in its
natural setting.

Nothing else ” In this study, principles were highlighted: the

unprecedented mixing and matching of architectural
styles, realities and dialecticities of both tropical and
- Francisco 'Bobby' Mañosa 70’s architecture, and the average Filipino perception of
comfort.

R e t h i nk i n g t he Tre e o f Li fe : An An a l y t i c a l S t u d y o f t h e C o c o n u t Pa l a c e 4
S c a le d Mo d e l cr a fte d by 2 AR2 (S Y 2 0 1 7 -1 8 ) o f U S T C o lle g e o f Ar c h i te c t u r e
Analysis
Located in the southeast part of Asia, consists of lands Thermal comfort
mainly forest and/or savannahs. Though near the
Thermal comfort is the response of satisfaction
equator, the weather in the Philippines can change from
considering the heat and thermal environment. On its
tropical rains to a hot summer day.
relation to architecture, creating a thermal balance means
Commonly vernacular architecture in the country gives providing a set of solutions to consider the well-being of
focus on the structure of the roof instead of the walls, the user to the environment. Considering the user’s
and usually made up or constructed through the use of reaction to radiation, convection and evaporation, the
wood, and timber skeleton. study shows how the Coconut Palace solved certain site
problems to achieve thermal comfort.
Originally the roof of the Coconut Palace was made up of
coconut shingles, but then due to its location— being
near the salty waters— it had changed to asphalt tiles for
better maintenance. The roof of the palace is designed
with hierarchy, having double (octagonal) roof to provide
better heat insulation from the outside (see Fig. 1).

Fig.1
Roofing of the
Coconut Palace
showing its
double octagonal
roof
Im a g e ta k e n by
J e s se Ma r i S o r r i l l a
(N o v e m b e r 2 0 1 9 ) Fig.2 Interior of the building showing its means of
ventilation (open windows, large openings,
centralized aircon)
Im a g e t a k e n by Je s se Ma r i S o rr i l l a (N o v e m b e r 2 0 1 9 )

1. Radiation (mean radiant temperature)

Windows are inspired from the classic
“bahay-na-bato” and “bahay kubo” designs: The main
In a warm-humid Island Climate
window can be opened in a way similar to the bahay kubo
The Philippines is categorized in a warm humid island window: A pole is placed on the center , to open the
climate. Typhoons and hurricanes are seasonal, and there window, and the awning of the window serves as a shade
is high salt content in the atmosphere because of the to the sunlight and heat. The windows have jalousie panels
bodies of water, and this factor might encourage that serve as small wind and heat ingress whenever the
corrosion in coastal areas. window is closed.

R e t h i nk i n g t he Tre e o f Li fe : An An a l y t i c a l S t u d y o f t h e C o c o n u t Pa l a c e 6
Site analysis of the Coconut Palace
Im a g e o r ig in a lly e d ite d b y J es se Ma r i S o rr illa (N o v e m b e r 2 0 1 9 ) Tropical Design: A Failure?
Because of the orientation of the building in consideration
with its shape, the wind flow scatters all around the
building, and having the large openings and balconies with
the hexagonal shape maximizes the air flow inside the
palace. The low rise building considers the orientation
according to wind direction since it is more advisable in a
tropical climate. The roof extends far beyond the line of the
walls, for means of shading. All bedrooms are scattered in
the palace, unlike the recommended design where in
bedrooms are in the east side. There is a need for maximum
ventilation because of high humidity and the warm
temperature of the site. Cross ventilation is achieved
throughout the palace because of small courtyards on both
sides and the large windows and doors. The building shape
Fig.3 Exterior perspective of the Coconut Palace at its
is spread out, providing generous shade for direct and west direction showing the placement of pool
diffused radiation.
Im a g e t a k e n by Pr i n c e Wi l l i a m Wi c o (N o v e m b e r 2 0 1 9 )

2. Convection (air temperature and movement)

Several concepts applied on the Coconut Palace were
The palace has large windows and balcony on bioclimatic architecture. The design is very applicable for
each bedroom that serves as openings for passive cooling all the climate back then. Some parts of the designs though,
throughout the house. These openings create a way for the are not as appropriate for the climate nowadays.
cool winds to work its way from the outside to the inside.
Large doors on the balconies, and the entrance and exits of The Coconut Palace on the rear opens to a large
the house also serve as natural cooling ventilation. terrace with a small pool on the center. The terrace’s
pavement is made of cement. The lack of vegetation on
3. Evaporation (relative humidity and air movement) the open part of the house makes the terrace unshaded.
The unshaded terrace moves the heat through air, from
Though the design uses cross ventilation,
the sun, to the inside of the palace through its number of
mechanical cooling is also provided on each room. Before,
doors to the inside. The lack of trees also does not
the rooms were cooled using a centralized air-conditioning,
provide any shade to the interior of the palace.
but for better maintenance, each room was provided with a
split type air-conditioning. The large windows on each room do provide great
cross ventilation, although at times when there are no
The Coconut Palace considers both natural and mechanical
prevailing winds , the palace tends to be hot or warm on
ways of cooling to achieve thermal comfort. Though because
the inside, especially on daytime. Although, the design is
of the needed maintenance, a lot were changed from the
provided with mechanical ways of ventilation in terms for
original like the materials, and means of heating and
alternative.15
ventilation purposes.

15
Th e an a lys is and findin gs wa s d ra wn from c la ss d is cus si on ca rri ed ou t in th e c ours e Tropi ca l Desi gn I, s ervin g as a guid e
for th e stud y. R es ea rch m eth od s were q ua lit ati ve and inc luded : s emi -s t ructu red supp lem enta ry qu est i on, s om e of which wer e
c ondu ct ed wi th th e a ss ist anc e of a t ou r gu id e; and pa rt icipant obs ervati on.
R e t h i nk i n g t he Tre e o f Li fe : An An a l y t i c a l S t u d y o f t h e C o c o n u t Pa l a c e 7
Responding to climate, the most dominant element of the structure are its window openings, with ventanillas at the lower part
Im a g e o r ig in a lly ta ke n b y Pr in c e Willia m Wic o (N o v e m b e r 2 0 1 9 )

Elements of Design
The building is diagonally oriented facing the north which
gives maximum entrance for the prevailing winds. The
open plan of the building have also contributed to the
airflow within the building.
There is also a part in the building where it is shaped to
enclose an open area that is filled with vegetation, thus
contributing to the lowering of temperature within the
said area.

Fig.4
Form alignment of
the structure
showing its
surrounding
placed with few Fig.5 Interior of the sala showing its large louver type of
vegetation window
Im a g e t a k e n by Ky l a Pa t r i c i a D e Gu z m a n (N o v e m b e r 2 0 1 9 )

Im a g e ta k e n by the room lean more on the warmer side.

K y la Pa tr ic ia D e
G u z m a n (N o v e m b e r The high pitched salakot-inspired roofing helped the
2019)
circulation of air within the building better. The coconut
palace used double roof which causes “stack effect” or
“chimney effect”. The stack or chimney effect can be
defined as the in and out movement of air in a building that
causes air buoyancy. The occurrence of the said buoyancy is
due to the difference of air density from indoors to outdoors.
The large amount of buoyancy force may be caused by a
The windows are louver type which maximizes natural large thermal difference and height of the said structure.
ventilation by allowing airflow through the whole
enormity of the windows. An additional advantage of the
windows is the ability to leave them partly open in order Fig.6
to let airflow while keeping the rain or sunlight from
entering the building. On the downside, these types of Form of the
structure showing
windows has poor resistance to penetration from water, its salakot-like
thus causes some leakage. roofing
All of the rooms have balconies, which also helps with Im a g e t a k e n by
K y l a Pa t r i c i a D e
passage of air, except for the mountain province room. G u z m a n (N o v e m b e r
The only reason why it is the only room that does not 2019)
have a balcony is because the architect wanted to keep
the building’s hexagonal and honeycomb shape.
However, with windows as its only ventilation, it made the

R e t h i nk i n g t he Tre e o f Li fe : An An a l y t i c a l S t u d y o f t h e C o c o n u t Pa l a c e 8
 FRONT ELEVATIONS
ELEVATION ANALYSIS MAIN MATERIALS USED:

Being the champion of neo-vernacular architecture

here in the Philippines, Arch. Francisco Manosa was
able to reflect Filipino Tropical climate with his WHITE COCONUT COCONUT COCONUT
designs, in our case the Coconut Palace. The BRICKS LUMBER TRUNKS SHELLS
Coconut Palace’s design was patterned after the SECOND ROOF
FIRST FLOOR
colonial architecture during the Spanish period, the FLOOR

famous bahay-na-bato with stone-built walls on The Coconut Palace is oriented with its front facade
the ground floor matched with wooden, facing northeast as suggested to maximize wind
lightweight and cool upper level/s was achieved. flow coming from northeast and southwest (shown
Aesthetically consistent, the house was also in favor on Site Analysis) with equal distribution of natural
of old structural components that was used before air flow within the building, coming out on the
other than that of the stone reinforcements. The continuous hallway (entresuelo) on the rear part on
Palace remains true to itself using coconut lumbers
and coconut shells as main building materials, but
later on, would result in definite renovations and
alterations due to maintenance purposes.

The ground floor perimeter at the front part has a

flat surface of both the first and second floor built
mostly with white-faced bricks on the exterior part
and wood panels on the upper floor filled with
openings through the ventanillas (Lower window),
callados (Transom windows), and the vintanas
(Window) itself, with its rear part of the ground
level recessed with cantilevered second levels
casting shadows on both sides of the building as
the sun sets on the west. Almost all openings
(doors and windows) are somewhere near the

“ I design
ceiling or bottom of beams making it almost open
to the outside environment. The roofs has
suspended covers with capiz shells to block it

Filipino,
during the afternoon or during summer solstice,

Nothing else ”
R e t h i nk i n g t he Tre e o f Li fe : An An a l y t i c a l S t u d y o f t h e C o c o n u t Pa l a c e 9
 Concluding Discussion
Antonio De Morga (1609), a Spanish soldier who visited reater understanding of the power of architecture and the
the Philippines in 1595 and 1603, noted in Sucesos De Las architecture of power.
isles Filipinas (Historical Events of the Philippine Islands):
Historically, tropical design was introduced with its
“The temperature on this island [Luzon] is not concept of sustainability in the past years and Manosa’s
invariable…” (De Morga, 1609, p 242) Coconut Palace is a manifestation of it (with its salakot-
like roofing, large openings, locality of materials, among
With this in context, concludes that historically, the
others). But as this research stated and put depth into,
Philippine climate itself have higher temperature as
the changing definitions of comfort among Filipinos
compared to countryside or the East Indies. Filipinos has
attests that in fact there is no fixed measure of
created and paved ways in designing tropical homes,
“adaptability” nor “sustainability” since over the
despite the fact that there was no architecture course
time, the societal understanding of comfort and its
available in that era, our ancestors have created a perfect
transition is malleable.
example of Tropical Architecture in accordance to their
living patterns. We Filipinos adapt to as well as modify our environments
in our quest for comfort and so, it is plausible to imagine
In the case of the Coconut Palace, it was built serving a
that there will always be an everchanging concept of a
purpose of being a Filipino dwelling and an icon of
bioclimatic Philippine architecture arising in the future.
tropical design. Traditionally Filipino activities includes
mainly of outdoor routines and habits in terms of
economic and social life. As Heschong (1979) stated,
these daily social routines exemplify distinct ways of
coping with the climatic conditions to achieve comfort.
Their strategies and systems of thermal regulation
embedded in local cultures and contexts are thus imbued
with symbolic status, cultural meaning and social value.
However, the Philippine concept of thermal comfort is no
longer defined with the means of large open windows,
but rather by the ‘mass’ thermal preferences— the
physical definition of comfort driven by consumer
expectations. Over the time with the technologies of the
modern world, dependence on mechanical systems in the
built environment became the norm.
Coconut Palace might have been a perfect definition of a
indigenous dwelling combining both ways of the 70’s
architecture, promoting an identity within the field of the
architecture. However, Manosa’s concept of
sustainability and identity among the field was more
dependent on the majesty, wielded by a conjugal
dictatorship. This having stated, the Coconut Palace failed
to actually be true to itself. With its continuing unknown
function, a stand structure that mainly serves now as a
display rather than being utilized, the nonobservance of
the changes in social, economic and cultural system in
the country. Hopefully, the Palace itself will lead to a

Im a g e s o r ig in a lly ta k e n b y J e ss e Ma r i S o r iilla (N o v e m b e r 2 0 1 9 )

R e t h i nk i n g t he Tre e o f Li fe : An An a l y t i c a l S t u d y o f t h e C o c o n u t Pa l a c e 10