Leandro Locsin: The nation builder

The accolades are absolutely monumental. He has produced 244 buildings, 108 residences, 53 public and private establishments, 48 commercial structures, 40 offices, 21 churches and chapels, 13 hotels and resorts, six housing projects, and even an airport terminal! Moreover, he is best remembered for the Cultural Center of the Philippines (CCP) Complex and the Philippine International Convention Center.

But who could have constructed all these longstanding architectural masterpieces? The name is Leandro Valencia Locsin, Sr., National Artist for architecture.

Born in 1928 in Silay, he was named after his paternal grandfather, the first elected governor of their home province of Negros Occidental during the American regime. The family quickly adopted the nickname Lindy, from the aviator Charles Lindbergh, known for his unprecedented solo flight across the Atlantic.

He pursued pre-law at the De La Salle College in Manila, before shifting to an Associate in Arts, major in Piano degree at the University of Santo Tomas. However in his senior year, when everyone else had their futures meticulously planned out, he did the unthinkable: he shifted to architecture. And the rest, as they say…

Locsin married Cecilia Yulo, the heiress of the Canlubang Estate. Together, they have two sons, namely, Andy and Tito.

Today, the legendary legacy is honored in The Poet of Concrete: The Architecture of National Artist Leandro Locsin, an exhibit which spotlights his exemplary life and stellar works.

The show is the swan song of De La Salle-College of Saint Benilde Center of Campus director Gerry Torres.

The depository housed the original plans of the CCP and the National Theater, while we spotted young students peering over the Brutalist scale models. They even got up close to the well-documented images to study all the details of the creations.

The showcase likewise touched on the residences he had built throughout the decades — names include the who’s who of the country, such as the Zobel de Ayalas, Lacsons, Aranetas, Cojuangcos, Montinolas, Consunjis, Jalandonis, Magsaysays, Neris, Siys, Cosetengs, Yaps, Foreses and Chongbians just to name a few!

We likewise had insights into the Saint Andrew the Apostle Church in Bel-Air Village, City of Makati, which was based on the martyr’s crucifixion on an X-shaped cross.

I recall with fondness the eye-catching and rather intriguing Philippine Pavilion design for the 1970 World Expo in Osaka, Japan.

If memory serves me right, built on a small corner lot, it needed to proclaim a bold statement to command the attention from its equally attractive neighbors. And thus, Locsin created a sweeping roof which spiked through the skies and demanded the awe of attendees. At the end of it all, the country’s very own setup was deemed to be one of the most popular of the World’s Fair — the building was an attraction in itself!

Locsin’s last projects included the Church of the Monastery of the Transfiguration in Malaybalay, Bukidnon. Meanwhile, the Aquino Center in Hacienda Luisita, Tarlac, remained unbuilt, a reminder he never stopped until his last dying breath. He passed on in 1994.

We sadly reviewed the blueprints and images he once built of the Lost Locsins, or those that since been torn down. These include the Hotel Intercontinental Manila, the Mandarin Oriental Hotel, the former Ayala Museum, and the Philippine Center for International Trades and Exhibition, which were familiar to those from the travel and tourism and trade industry.

In addition, though we have lost some Locsins, others say it is rather disappointing a number are on the brink of demolition. The Folk Arts Theater, the PLDT Building, and the Sofitel Philippine Plaza Manila have been identified to be endangered.

Do not miss the separate section for a coveted collection of medals for all of his past awards — neatly lined up. We were just in awe!

In 2011, Leandro V. Locsin Partners (LVLP) was hailed as the winner of the Cultural Center of the Philippines Architectural Design Competition. Their rendition of the Artists Center and the Performing Arts Theater triumphed above the rest. We gleamed some insights on its vision — to be a welcoming space which contrasts the solid form of the CCP Main Theater.

Guided by architects Jim Caumeron and Kyle Nuestro, students who pored over each panel, inspired by Locsin’s works, produced draft and scale models of edifices, which all harken back to his genius. To go further, some Benildeans have joined the LVLP office and shared their experiences being a part of a leading architectural firm.

Moving forward, the exposition had videos of several LVLP partners, to include his son Andy — the LVLP administrator and design consultant — and several partners who are optimistic on the future of Locsin’s legacy.

To that, we must gladly admit: the Locsins are in good hands.

¡Enhorabuena!

The Poet of Concrete: The Architecture of National Artist Leandro Locsin runs until 14 December at the 12F Gallery of the Benilde Design + Arts Campus, 950 Pablo Ocampo Street, Malate, Manila.