MANILA, Philippines - Our country has been beset by natural calamities year after year. On the average, 20 tropical cyclones visit the archipelago yearly. Heavy downpours coupled with improperly disposed garbage that clog waterways, inadequate planning and ravaged watersheds result to massive flooding. Landslides and mudflows due to deforestation occur when torrential rains arise. The fact that we are in the Pacific Rim of Fire is a cause for concern as well. A study by the Congressional Policy and Budget Research Department of the House of Representatives ranks the Philippines as the “most disaster-prone country in Southeast Asia.” According to the report, “Historically, natural disasters not only affect the country’s economy, properties, agricultural crops, and other natural resources but also have led to loss of lives. People who live in poverty and dire socio-economic conditions are highly vulnerable to disasters.”
News reports of various tragedies in recent years prompted Mary Mattingly, an American visual artist based in New York, to travel to the country for her fellowship. This is in conjunction with the smARTpower, an initiative of the US Department of State’s Bureau of Educational and Cultural Affairs, administered by the Bronx Museum of the Arts, with additional support from the Robert Sterling Clark Foundation; and Lori Schiff Chemla and ALTOUR. Green Papaya Art Projects through its team composed of Lian Ladia, Merv Espina and Sidd Perez have been assisting Mattingly in implementing her program.
According to Perez, “Mary’s work addresses nomadic themes within current and future global environmental and political conditions, focusing on the interdependence of communities facing challenging political and climatic conditions.”
In order to carry out the program, a Wearable Portable Architecture workshop was held. The call for participants stated a promising as well as interesting goal: “Mary Mattingly’s Manila-based workshop will focus on designing mobile public spaces that can be assembled and disassembled with ease, utilizing location-appropriate materials and tools. In disassembled form, individual units might be carried and even worn; when a group of individuals meet up with these units, they may join them together to make a community structure, assembling spaces that not only protect but also collect water, store food, and produce power. This workshop thus considers a time when a person will connect a unit to a group of strangers’ units as needed, sharing tools, stories, and even a meal.”
Could this be apt for our local setting? Can it be applicable and adaptable to our urban planning concerns?
Greeting the diverse group of 20 participants was this huge tarpaulin that posed these queries:
How could our urban surroundings function if our built environment is designed to move?
Why design, build and dwell in a mobile city?
What are the advantages to modular building?
How can we use art and creativity for our everyday surroundings?
High school and college students, artists, teachers and architects pondered these questions as they eagerly listened to the set of speakers that were lined up for the first day. Ross Arayata, an environmental activist, spoke on climate change, Architect Paulo Alcazaren regaled the audience with his architectural designs and ingenious solutions to address flooding and other environmental issues, while Major Reynaldo Balido Jr., a representative from NDRRMC, discussed disaster risk management.
The succeeding workshop days were spent in discussing materials, patterns, designs and solutions. “The only limitation was the basic size and shape. This was so everything could be joined together in the frame. Other than that, they were free to execute their designs and exercise their creativity. I am glad that they organically worked together on this project,” intimated Mattingly.
The whole team was on hand for consultation and ready to provide any resource or material that the participants required during the workshop. “Whatever we needed, all we had to do was ask. The team was very open with our ideas, while my co-participants and I shared with each other as well. It was a good thing to see something concrete from all that sharing. It made the process more collaborative.
“We have a lot of informal settlers in the country so I feel that if this can be developed they can benefit from this,” shared architect Racsianne dela Cruz.
From idea formulation to creating studies to the actual execution, the group was very motivated in seeing the whole thing through.
For Eva Perez, a science teacher from Quezon City High School, “I realized that I, too, can design. My creativity surfaced and I am glad that my individual work is part of a bigger whole. How art can be concretely used as a means for intervention and education regarding climate change was a pleasant surprise for me.”
Mariel Ballena, a student of Perez interjected that, “It was the best experience for me. It taught me how to be independent when it came to coming up with my work. I also realized that art is not just about painting or sculpture; it is also about enjoying what you wish to express.”
Classmate Arnhel Romano felt that, “The workshop helped in formulating my ideas. It broadened my perspective in thinking of designs that can help our surroundings.”
“This has been like a two-week durational performance. The idea is for 20 individual components to come together to form one sphere. Each design can be used separately but once joined it can be one sturdy structure,” stated Ladia. This was reiterated by workshop participant Marc Gaba: “We are individuals but we are also part of a community. The outputs of the workshop are both symbolic and possible solutions to a probable future. I loved the experience because it ‘physicalized’ things that I was already thinking about with regard to the future; like scarcity of resources, energy and food. This was an opportunity to work with my hands and create tangible answers to the mental questions. I don’t have to be completely anxious with the apocalyptic scenario that has been painted before us by scientists because I actually used my body to do something.”
Floatation devices, jumpsuits, hats, rain coats, peacoats, capes, and an array of bags (office bag, shoulder bag, body bag, back pack, etc.) figured into the various designs. Made from various fabrics, textiles and materials these were transformed into wearable portable architecture indeed.
“If there was any problem in relation to this whole exercise, it was the short amount of time. We would have wanted a longer schedule to further the program and maybe to project how this could be developed. Other than that, we are all happy with what we have,” said Espina.
The excitement to see the result was palpable. When the huge sphere was finally assembled with the individual components, everyone helped in carrying it to the Quezon City High School quadrangle three blocks away. A modern take on the “bayanihan” perhaps. “I feel that I have learned more than I am giving. I am truly thankful for everyone’s openness, ingenuity, craziness and creativity,” said Mattingly.
It is never too early to plan for the future. The need for mobile settlements may still be unthinkable for some but it will not hurt to posit such ideas to be better equipped and prepared. Art projects like this help in conceptualizing possibilities and harnessing prospects and opportunities.