John Lloyd B. Navarro, Aile Heydee C. Reolope, and Lyka C. Villamor
Bicol State College of Applied Sciences and Technology
A PROPOSED DOMESTIC AIRPORT IN DAET, CAMARINES NORTE
“Ang bawat alis at dating ba’y biyahe lamang, o daluyan ng ating ginintuang kultura?”
Gold is a pricey material that symbolizes wealth but in Paracale, it is their life. Their sun beneath the muddy cold earth. While gold resists decay, forgetting is the greatest decay in a person’s memory. In the forest, Manide is the keeper of memories the world has forgotten. They take what the earth can give. The forest is their home, and the sea is their friend. They rely on mangroves that shelter many creatures. As well as how the people of Camarines Norte draw their strength to the sweetness of the abundant Formosa pineapple. Their coexistence is rooted beneath the earth’s soil.
This is a revolt to monotonous airport terminal design. Our design resurfaced the soul, not only the necessity. It sees the people, hear the loudest laugh of welcome and the deafening silence of longing after goodbyes. With resemblance to the gold pan called Pabirik in Paracale, our building was shaped to have a fluid circulation that echoes the flow of the water into the pan while adorning the roof with a pineapple pattern.
We used warm gold tones and earthy textures to reflect Camarines Norte’s heritage. Open space to foster socialization allowing visitors to not only pause but have a spark of connection to the locals. This is our way of creating opportunities that showcase the local livelihood of the people, especially the indigenous tribes. Coupled with sustainable innovative design such as water harvester, thin solar panels, and vegetations. This echoes the harmony of nature to the airport. The columns mimic the ability of mangrove forest with multiple roots spreading outward emphasizing stability and resilience. Highlighting the inclusivity of the design, we also considered the users, mainly persons with disability, making them have 2 toilets separating the female and male. As well as, we take careful consideration in having Unisex toilet. The goal of Pagaspas’ design is to incorporate materials that last. An architecture that is not consumed, but rather passed down to the next generation. A structure where culture is alive. An Airport that remembers.
Mula sa ginto ng Paracale at tamis ng formosa hanggang sa mga pares ng mata ng mga Manideng nakatingala sa langit, hindi na muling kakaway pa upang liparin sa malayong himpapawid ang mga kwento at kultura.
Dahil to ay lilisan, babalik at mananatili upang maipakilala at magpakilala.
Ma. Katrina C. Patricio,Gregory Rivera, and Rehd Voltaire R. Taeza
National University – Manila
A Proposed Domestic Airport Terminal in Lingayen, Pangasinan for Enhancing Regional Connectivity
At the edge of the Lingayen coast, where sea, sun, and wind converge, the essence of Pangasinan is revealed. This proposed domestic airport is envisioned as more than a transportation facility; it is a distinct gateway that embodies the province’s identity, offering travelers an immediate and authentic experience of Pangasinan’s culture, landscape, and heritage. Titled “A SCENE of Pangasinan,” the concept draws from a wordplay on asin, the Filipino word for salt, and scene, suggesting both the act of seeing and the place being revealed. The airport becomes a setting where Pangasinan is first seen, experienced, and understood—a terminal that could exist only in Pangasinan and nowhere else.
The architectural concept is grounded in the traditional salt-making process that has shaped Pangasinan’s history, economy, and coastal communities for generations. This process relies on the careful balance of three natural elements: the sun’s crystallizing heat, the wind’s drying movement, and the water’s sustaining presence. These elemental forces serve as the foundation of the terminal’s form, spatial organization, and environmental strategy. Rather than merely symbolizing salt production, the design translates its underlying principles into architecture that responds directly to the site’s climate and geography.
Through the use of parametric design, the terminal’s form is developed as a fluid and adaptive system shaped by environmental data such as wind flow, solar exposure, and coastal conditions. Computational design tools generate spatial configurations informed by the logic of salt-making—gradual formation, openness to natural forces, and responsiveness over time. These principles guide the shaping of the roof, façade, and interior spaces, resulting in an architecture that is dynamic yet deeply rooted in place. The parametric approach enables the optimization of daylighting, creates shaded, comfortable environments for passengers throughout the terminal.
Sustainability is integral to the project’s architectural language. The terminal prioritizes passive design strategies, including controlled solar access, and the use of locally sourced materials that reflect Pangasinan’s coastal character while reducing environmental impact. Open layouts and porous transitions blur the boundaries between indoor and outdoor spaces, reinforcing the connection between the building and its surrounding landscape. In essence, A SCENE of Pangasinan is not only an efficient domestic airport, but a contemporary gateway shaped by nature, culture, and heritage—an arrival experience that clearly expresses where one is, and why it matters.
]]>Gian Karlo D. Agripa,Joshua Vimar T. Cabiles, and Marc Andrew A. Farin
University of Santo Tomas
Located at the topmost part of the Philippines, Batanes is the most isolated and smallest province in the country. Its capital municipality, Basco, holds the one major gateway to the province, the Basco Domestic Airport Terminal. A benefit from this isolation is the preservation of its natural landscape of rolling hills, cliffs, and mountains, which provide breathtaking views for its residents and tourists.
The first inhabitants of the islands of Batanes, the Ivatan are an indigenous Filipino group that has learned to live in the harsh environment of the northern province. Iconic to their culture of resilience is the Sinadumpara, a house designed and built to withstand extreme weather conditions of strong winds and rain through a “Crown” roof. Locally available materials such as limestone and thatched grass and leaves are used as construction materials and as protective clothing, Vakul, against the sun and rain. Despite this rich heritage of Batanes’ indigenous people, it experiences cultural erosion as contemporary development is slowly becoming the norm.
“Una” connects both modernity and tradition instead of drawing a divide between them, seeking to strike a balance between cultural roots and forward-looking design. “Una” is driven by the heritage and culture of the Ivatan, the mountainous landscape of Basco, and the presence of strong winds. Through the method of architectural abstraction, these memorable motifs of Batanes become the bases to translate memory and environment into form.
The Sinadumparan’s architectural solutions to the extreme weather are expressed through horizontal massing and roof-dominant expression. The sacred Mount Iraya dominates the mountainous island of Basco, which can be seen in the background of the existing airport. This is abstracted making the airport an extension of the terrain rather than a standalone object. In addition are accents of rhythmic ribs and openings shaped by the province’s strong winds, expressing the transition from land to air.
To ground the airport in reality, locally available materials are mainly used alongside preserving aspects of the existing airport. Alongside is the addition of a civic park beneath the crown serving as a public space for the community and a waiting space with an open view of the surroundings for travelers. “Una” merges ideas from the Ivatan vernacular, contemporary culture, and the environment to redefine airport architecture as a first of its kind, not simply as infrastructure but also as a cultural space that remembers history, envisions the future, and empathizes with nature.
]]>Arman Luis D. Lopez, Enjay Mico S. Paule, and Einor Asher C. Tayao
Pampanga State University
Gliding Through Heritage
Paragos embodies a design philosophy that harmonizes national identity, regional heritage, and environmental responsiveness, positioning the airport terminal as a cultural landmark and contemporary gateway to Zambales. The overarching concept, Structured Softness, fuses disciplined structural clarity with organic, culturally inspired forms, resulting in
an architecture that balances strength and gentleness, efficiency and expression.
The terminal’s defining architectural gesture is its petal-shaped roof, inspired by the
Sampaguita, the Philippines’ national flower. Floating above the building, the roof symbolizes
unity, purity, and the uplifting spirit of travel, while its flowing geometry conveys lightness and
continuity. Encasing the structure is a woven, nest-like façade derived from the indigenous
craftsmanship of the Aeta communities, translating traditional weaving into a contemporary
architectural skin. This layered envelope softens the building’s mass, provides shading and
ventilation, and establishes a strong sense of place rooted in local culture.
Spatially, the airport is organized around hierarchy, openness, and cultural storytelling.
The Main Lobby serves as the communal heart of the terminal, defined by soaring timber columns that branch into intersecting trusses, evoking forest canopies and vernacular construction. Suspended above is an installation of floating Sampaguita petals crafted from bamboo and rattan, reinforcing narratives of flight, transformation, and cultural continuity. Clerestory lighting enhances spatial warmth and orientation. The Check-In Hall integrates weaving-inspired textures and natural materials into functional surfaces, guiding passengers intuitively through the space. Beyond security, the Concourse Lobby transitions into a calmer, more private environment that balances serenity with operational efficiency and visual continuity.
Arrival and departure gates extend this narrative through panoramic views, warm timber
finishes, and woven accents, maintaining a visual connection to the region throughout the
journey. Pasalubong Centers celebrate local culture and commerce through curated zones for
indigenous crafts, regional delicacies, and coastal lifestyle, each expressed through distinct
materiality and lighting. Even the Iconic Toilet is reimagined as a biophilic space, employing
natural textures and green tones to elevate a typically utilitarian function.
Structurally and environmentally, the design integrates performance with expression.
Tree-like columns and modular trusses support expansive roof spans, while façade porosity,
shading strategies, and building orientation optimize daylight, ventilation, and thermal comfort.
Titled Paragos, a traditional carabao-drawn sled, the project subtly reflects the airport’s role as a
vessel of passage—steadily carrying people, culture, and movement forward—complementing
the ethos of Structured Softness without redefining.
Edrian Miguel A. Marave, Bien Dustine B. Morelos, and Dwight Denzel M. Picardal
National University – Lipa
HINGAHAN NG DAGAT, TAHANAN NG PAGLIPAD
Indayog is conceived from the sea that shapes the enduring rhythm and identity of Bagasbas. The wave, ever in motion yet guided by natural forces, becomes the central design concept, symbolizing travel and transition, continuity. The architecture of this airport is shaped by climate, circulation, and human movement—just as wind, tide, and shoreline shape a wave. The terminal responds fluidly to these forces, creating an environment where spaces unfold seamlessly and movement is intuitive.
The dynamic character of the wave is translated into the building envelope: curved
rooflines, layered facades, and flowing spatial sequences continue the motion of water, while
making the architecture expressive as well as aerodynamic. These forms are not merely
symbolic; they enhance environmental performance through natural ventilation, controlled
daylight, and climatic responsiveness suitable to the coastal context of Camarines Norte.
Anchoring this fluidity is the starfish-a familiar coastal organism along the shores of
Bagasbas-which serves as the spatial and organizational inspiration for the project. While the
wave represents motion, the starfish embodies balance, orientation, and connectivity. Its radial
geometry informs the planning strategy wherein a central core acts as a primary node from
which spaces radiate outward. Clearly branching from this center are the landside, airside,
public, and service zones for clarity in movements and operational efficiency.
The connection between waves and starfish creates a dialogue between structure and
movement. The wave defines how the building moves and flows, while the starfish influences
how it is anchored and understood. Like tidal currents meeting at a shoreline, circulation paths
come together and split apart. This makes it easy for passengers to move around the terminal
and see where they are going. Moments of pause, orientation, and gathering emerge naturally
within this system, reflecting the starfish’s quiet stability amid constant motion.
Jasmine T. Bugarin,Fernandino Ariel A.Rosario, and Abigail M. Rubia
Pampanga State University
Before the development, the site in Balanga City exist as an open undeveloped landscape. With the land functioning primarily as a passive backdrop rather than for connectivity, the movement through the area is minimal. Despites its strategic location within the province, the site lacks a clear identity and contributes little to public experience. Environmental factors such as sunlight, wind, and seasonal weather patterns dominate the space, yet remain unmanaged and unarticulated in spatial form.
The site is transformed into Twinspire, a domestic airport that organizes movement and establishes a strong sense of place. Structured landside and airside systems replace ambiguity with clarity, while architecture responds to climate through shades of spaces and open layouts. The once passive landscape becomes an active gateway, connecting Bataan to the rest of the country while embedding cultural meaning, environmental balance, and calm within the travel experience.
THE INSPIRATION
Twinspire is a domestic airport situated in the capital of the province, Balanga City, and serves as a vital symbol of connection among provinces across the country. Taking inspiration from Bataan’s two mountain peaks, it embodies the values of unity, co-existence, and balance by connecting every Bataeños to every province in the Philippines, while also making a gateway for tourists to see Bataan’s rich heritage and culture. Through architecture, Twinspire created harmony between nature and man-made environments, making passengers’ experience a calming journey, mimicking Bataan’s vast fields of green and agricultural land.
Twinspire’s objective is to break the stigma about airports in the Philippines by providing more than a transportation gateway, but a model for inclusive, sustainable, and culturally rooted infrastructure. By mixing local culture, agricultural landscapes, and communities of Bataan in the design, Twinspire becomes a bridge for development and connection, making it a standard for future domestic airports in the country.
]]>Celso S. Barredo III , Leoncio Delfin B. Duran III, and Jan Gil Laurenze R. Hernandez
National University – Mall of Asia
The reconstruction and redesign of the domestic airport in Busuanga, Palawan—Layagan Airport—was conceived as a response to the growing demands of tourism while remaining deeply rooted in the identity of Coron and the wider Calamianes Islands. As a gateway to a culturally diverse and ecologically sensitive region, the airport is envisioned not merely as an infrastructure project, but as an architectural narrative that reflects history, culture, and place.
The concept of juxtaposition is central to the design. Coron’s identity is shaped by layers of history—from its early seafaring inhabitants, the Tagbanua and Calamianes, to later settlers from Cuyo, Visayas, and Spanish-era immigrants. Even the name “Coron” speaks of this layered past, possibly derived from the Cuyonon word for “pot” or the Tagbanua word meaning “enclosed,” referencing its mountainous landscape. These contrasts between enclosure and openness, tradition and modernity, are translated into the airport’s architectural language. The new structure balances contemporary airport requirements with vernacular forms inspired by local dwellings and craft traditions.
Embedding culture into the design was a primary objective. Local manufacturing practices—such as the production of sawali, banig mats, baskets, and other handicrafts made from bamboo, rattan, and pandan—served as key references. These materials informed textures, screens, and façade treatments, allowing the building to resonate with the community’s craftsmanship while supporting local identity. In this way, the airport becomes a cultural threshold, introducing visitors to Coron’s heritage upon arrival.
Vernacular architecture principles were further integrated through the use of natural ventilation and passive cooling strategies. A double façade system was employed to reduce heat gain while allowing airflow, echoing traditional building methods adapted to the tropical climate. This system enhances thermal comfort, minimizes energy consumption, and responds to the island’s environmental conditions.
As Coron continues its shift from mining and manufacturing toward ecotourism, the redesigned airport addresses the inadequacy of the existing structure in handling increased passenger flow. At the same time, it acknowledges the paradox of tourism—serving as both an economic opportunity and a potential threat. Through thoughtful design, the airport aspires to protect the island’s character, ensuring that growth does not come at the cost of cultural and environmental integrity.
]]>Kylle Bryan A. Balderas, Christine Marjorie C. Bautista, and Anne Marie G. Valente
Mapúa Malayan Colleges Mindanao/strong>
Plowing through Obstacles, and Soaring to New Heights
Akin to a white egret’s chronicle of swift ascent from lush green plains, and vigorous flight through the challenging blue skies, the Central Mindanao Airport in Tawan-Tawan, M’lang, Cotabato, Philippines stands as a humble emulation of such perseverance and magnificence. Through the theme: “Liparan: Creating gateways that connect cultures”, this proposed project aims to be an enlivened model that pays tribute to the very land, culture, and people that mold and provide identity for the chosen site, as well as materialize as a host for the fulfillment of the goal of economic progress, community empowerment, culture enrichment, and sustainability. Following this, the proponents take inspiration from the agricultural scene of M’lang, Cotabato, as an identified glue that binds the municipal to the regional quintessence of region 12: SOCCSKSARGEN or Central Mindanao.
M’lang’s agriculture is the municipality’s hallmark of pride, and harbinger of progress, and in the aspect of this project, it is utilized as a blueprint for the airport’s identity, and expression of its purpose. Moreover, the project is specifically inspired by scenes in the rice fields where the blades of mechanical plows that rummage through the soil, and wetland birds, such as the egret, that lay perched in the puddled plain, paint a picture of endurance, adaptability, and progress. Aside from this, the municipality’s namesake, M’lang taken from the word “Tamlang” meaning bamboo, is also considered as the focal adornment for the interior of the airport where its abundance serves as a reminder to the users of its relevance to the municipality’s identity and origin as the users socialize and explore the terminal. With this, the proposed airport greatly values designing in harmony with its surroundings rather than dominating and rearing away from the terrain that cloaks the land in which it sits, as well as serving as a monumental gateway that can be distinguishable from other
Through such endeavor and approach, the proponents aim to establish Central Mindanao Airport as a unique and competent gateway to M’lang and the region’s culture, people, and economy; and following the prospects of technological integration 50 years from now, the proposed airport hopes to stand as a reminder of M’lang’s economic driver, its agriculture, as a way to juxtapose its relevance to technological advancement.
]]>Dave N. Dionisio
Bulacan State University
The Philippines is ripe of adventure and cultural tourism. The demand for more places to
discover and explore will only grow larger moving forward. As it happens, the tourism frontiers that the country must develop and enrich are also themselves, abundant of indigenous groups protecting them, who are currently facing pressure from modernization and subsequent cultural decline. As such, it is imperative that today’s Filipinos must take steps to honor and preserve these unique cultures as well. An example of this is the Mandaya people of Davao Oriental. The province is still rich from undiscovered wonders, on top of its world-class hotspots like its tropical beaches. While there is great benefit to further developing and preparing it for tourism, it is also important to respect and help preserve the culture that had inhabited them for hundreds of years.
This is a point where the tourism goals and cultural appreciation and preservation start to converge. It is of paramount importance that those who take the lead in engineering the ideas that will utilize both are able to serve their mission with as much advantages as possible. In a quest to develop a project that shall accommodate domestic travel and civil aviation while celebrating the Mandaya heritage, the design shall find itself a true cultural gateway that will converge people within its halls.
This is the home of the Mandaya, the mountain range encompasses their domains and heritage. The mountain range is the witness of their history. To embody this stalwart image is to exemplify the sincere attempt to celebrate their culture now and onwards. Borrowing the Spanish word “Sierra” which Filipinos know to refer to mountain ranges, it shall converge with the Mandaya to form the name and conceptual foundation of cultural gateway. A mountain range of Mandaya experiences and heritage, a mountain range where you can feel the long history of expressions of these people, their skills, their crafts, and a testament to their resilience that bested the test of time.
]]>John Nicolo P. Raz and Ma. Jalen D. Tormes
National University – Manila
Tarangkahan, the Tagalog word for “gate”, embodies the essence of the airport. It is more than just a transportation hub; the terminal serves as a cultural gateway. This concept
symbolizes the journey and reminds travelers that they have arrived in Occidental Mindoro, a
province renowned for its natural beauty, rich heritage, and vibrant marine life.
The terminal is inspired by Mangyan architecture, reinterpreted in a modern context. The
central roof opens upward, serving as a welcoming gesture that invites visitors to enter,
explore, and fully experience what the province has to offer. The deep overhangs and wood-
clad curtain walls are designed to respond to the south-facing orientation of the site that
provides shade and enhances thermal comfort. The building envelope incorporates heat-
mitigation strategies, including extended eaves, wooden screens, shaded walkways, and
naturally ventilated pathways. These features help reduce direct solar gain and create a more
comfortable environment for passengers both inside and outside the terminal.
The façade features wavy wooden cladding inspired by the waters surrounding Occidental Mindoro, which is recognized as a “marine wonderland”, particularly highlighted by Apo Reef.This wave-like design symbolizes movement, travel, and discovery. Incorporated into the design are animal symbols native to the region, including the manta ray, sea turtles, reef
sharks, whale sharks, beaked whales, and the Napoleon wrasse. These symbols are crafted
from Mindoro jade, a material well-known locally. Additionally, architectural elements such as
wooden eaves and square panel screens draw inspiration from Mangyan textile patterns and
basket weaving, allowing local artistry to be integrated into the building’s visual language.
Inside the terminal, there are spaces dedicated to local cuisine and retail areas that showcase crafts and products sourced from the region. Outside the terminal, public seating and
communal areas are integrated into both the park and parking zones, creating shaded and
comfortable spaces for passengers, families, and the community to gather, wait, and relax.
These outdoor areas enhance the concept of the “tarangkahan,” transforming the airport into
not just a transit point, but also a welcoming public space.