Báhay na bató (Filipino for "stone house"), also known inVisayan asbaláy na bató orbalay nga bato, is a traditionalPhilippine architectural style originating from theSpanish colonial period of the Philippines (1565–1898). It is thearistocratic version of the traditionalbahay kubo of the native Christianized lowlanders.[1] It was popular among the ruling upper-class (principalía) and middle-class families in the 19th to early 20th centuries.Báhay na bató are also commonly referred to as "ancestral houses", due to it being the most common style for surviving ancestral family homes.
It is differentiated from thebahay kubo by its incorporation of elements fromSpanish colonial architecture; as well as its use of stone and brick materials, rather than just wood, bamboo, and thatching. It is also referred to asarquitectura mestiza ("mixed architecture") due to it being composed of both wood and stone.[2][3] It retains the basic design of thebahay kubo, which is adapted to thetropical climate and the frequenttyphoons andearthquakes in the Philippine islands.[2]
Báhay na bató is built in a hybrid style ofAustronesian andSpanish architecture; and later, also early 20th-centuryAmerican architecture. The wooden foundations of thestilt house design ofbahay kubo were replaced with stone and were enclosed further in stone or brick walls, forming a "ground floor" (thesilong). This enclosed ground level contains storage rooms, stables (thecuadras orcaballerizas),carriage storage areas (thezaguan), cellars, and workshops. Thesilong is accessed through a large main entrance known as thepuerto, which has one or two smaller inset doors for foot traffic known aspostigos.
The upper floor is accessed by internal stairs (escaleras) and it contains the actual living areas, as it is with thebahay kubo. The upper story is characteristically overhanging thesilong and features balustrades (ventanillas) andcapiz-shell sliding windows.
The roof materials are either Spanish-style curving clay tiles (teja de curva)[4] orthatched with leaves (likenipa,sago palm, orcogon). Later 19th-century designs feature galvanized iron roofs. Roof designs are traditionally high pitched, withgables orhip roofs, or a traditional combination of both (similar to theEast Asian hip-and-gable roof).
An example ofbahay na bato Philippine architecture
Aside from houses, the same architectural style was also used for Spanish-era convents, monasteries, schools, hotels, factories, and hospitals. It was also used for theGabaldon school buildings, during theAmerican colonial period of Philippines (1898–1946). After theSecond World War, construction of these buildings declined and eventually stopped in favor of post-World War IImodern architecture.
Though theFilipino termbahay na bato means "house of stone", these houses are not entirely made up of stone; some are dominated by wooden materials, while some more modern ones use concrete, in contrast to the organic materials that make up thebahay kubo. The namebahay na bato was applied to the architecture over generations.[5]
Bahay na bato were also referred to asarquitectura mestiza ("mixed architecture") by theJesuit priest Ignacio Alzina in 1668 due to it being composed of both wood and stone.[2][3]
Precolonial Philippine architecture is based on traditional stilt houses of the Austronesian people ofSoutheast Asia. The first buildings during the early years of Spanish occupation wereBahay kubo which are made of wood and bamboo materials. It is a type of construction with which the pre-Hispanic indigenous Filipinos had been working expertly since early times and is known asAustronesian architecture. Bahaykubo roofs were made of nipa palm or cogon grass. In its most basic form, the house consisted of four walls enclosing one or more rooms, with the whole structure raised above ground on stilts.[6]
When Spaniards arrived, they quickly introducedSpanish architecture of building a more permanent construction traditions which they inherited from theRomans. They thus began building communities with the church and government as focal points. By the mid-1580s, through the efforts of Domingo Salazar, the first bishop of Manila, and of the Jesuit Antonio Sedeño, edifices began to be constructed of stone. Fr. Sedeño built the first stone building, which was the residence of Bishop Salazar.[7][8][9]
By 1587, Governor GeneralSantiago de Vera required all buildings in Manila to be built of stone. For this purpose, the indigenous Filipinos were taught how to quarry and dress stone, prepare and use mortar, and mould bricks. Thus began what has been called the first golden age of building in stone. This new community setup made construction heavier and more permanent materials desirable. Some of these materials included bricks, mortar, tiles, and stone. Heavily favored accounts of towering palaces and splendid mansions reached the peninsula. However, the ambitious plans of the Spaniards were dashed in 1645 when a terrible earthquake struck Manila.[5]
The twin dangers of fire and earthquake gave rise to another type of architecture. Finding European construction styles impractical in local conditions, Spanish and Filipino builders quickly adapted the characteristics of thebahay kubo of the natives and applied it toSpanish Colonial architecture. This type of construction was soon calledbahay na bato. It was also calledarquitectura mestiza ("mixed architecture") by theJesuit priest Ignacio Alzina due to it being composed of both wood and stone.[2][3][5] Under more than three centuries of Spanish initiative, buildings of wood, stone, and brick were constructed all over the archipelago, from theBatanes Islands in the north toTawi-Tawi in the south, fromPalawan in the west toSamar in the east.[5]
Pre-World War II Calle Sebastian (nowHidalgo Street; with theSan Sebastian Church in the background), once dubbed as the most beautiful street in Manila.[10] Manila during the early 1900s was filled withbahay na bato architecture on its streets.
DuringWorld War II, the American and Japanese forces destroyed many of these houses.[11]
Different styles depend on each house's individual appearance. For example, somebahay na bato do not haveventanillas, some do not haveCapiz windows, and some lack both. Some have galvanized, tiled, nipa, or cogon roofs. Ground-level walls may be made of bricks, adobe, coral, or wood, although modern structures typically use concrete. While retaining the basic form, the 19th-centurybahay na bato reflected changing tastes by incorporating motifs from other prevalent styles.[5]
Houses such as theVega Ancestral House that have emerging stone works at the bottom part of the house but have almost wooden materials appearance even to the first level walls are still considered bahay na bato; the namebahay na bato was applied to this architecture over generations, as most of these houses use stone materials, contrary to the precolonial era that used little to no stones at all. The same principle applies to the nipa hut: not all nipa huts use nipa materials; some use cogon.[7]
Though many houses are built in a standard design, many houses are also mixed, arranged, patterned and/or coated with a variety of designs from different architectural styles and cultures connected to the Philippines. This is includingChinese,Romanesque andClassical styles among others. These houses could have an unprecedented mixing and matching of architectural styles, such as havingNeogothic andNeo-Mudéjar orMoorish Revival details in the same corners – that is, on top ofBaroque.[12] Although retaining its basic form, the 19th-centurybahay na bato reflected changing tastes through the incorporation of motifs from prevalent styles such asVictorian,Renaissance Revival andNeoclassical decorations which includedcolumns,pilasters,caryatids,atlases andfriezes adopted fromGreco-Roman architecture, the civilizations from which Spanish culture descend.[7] Classical traditions in these houses also appear inBeaux-Arts later in history.[13] The dawn ofArt Nouveau also greatly influenced the mixing of styles and aesthetics of these houses. Many laterbahay na bato buildings adapted design styles,such asArt Deco during the latter era of American rule, and even through the postwar period of loose restoration.[5] The mixing of so many different architectural styles give thebahay na bato a distinct look that is reflective of the Philippines' unified cultures and society.[14]
The style ofbahay na bato may also vary by area. Each region evolved its own building style, which was in many cases dependent on the materials available. As construction techniques were developed, quarries opened, and kilns constructed, various parts of the country began to show a preference for specific building materials.[5] As a result,bahay na bato have several variations along ethnic lines. Thebahay na bato in Cebu, for example, differs from the one in Ilocos which may include having the façade walls of the second level made up of plastered bricks, but still embedded with a Bahay kubo wooden skeletal frame. This style is also present, albeit rarer, outside the north, but with the use of adobe or coral stones instead of northern tradition of brick materials. The more common style is having a wooden second level façade popular in the rest of the country outside the north.[5]
Manila, the capital of the Philippines, has some of the most diverse styles and materials ofbahay na bato, ranging from the early period of Spanish colonization to the American era. Many were destroyed byWorld War II.[11] The Metro Manila area still has one of the largest concentrations ofbahay na bato houses.[5] Most buildings in Manila andCentral Luzon were of adobe, a volcanictuff quarried from the hills, which is entirely different from materials of the same name found inLatin America (adobe in those Hispanic countries refers to mud and straw formed into rectangular blocks which are then dried in the sun).[5]
In Manila, the largest, fanciest, and most prestigious companies eventually established themselves along theEscolta; by the second half of the 19th century it was the most important commercial district in the country. The opening of Manila as a free port encouragedBritish people,Germans,French people, and other foreigners to set up businesses on the Escolta and adjacent streets, causing many majesticbahay na bato buildings to be built.[5]
Northern Luzon has some of the best preservedbahay na bato in the Philippines. The unique style of the north, commonly in theIlocos Region, usually bases its design on brick materials. This material is commonly used inbahay na bato buildings, houses, churches, walls, monuments andfortification of the region.[5]
Brick was the essential building material in northernLuzon; houses and churches of brick were also built in scattered areas of the archipelago.[5] Unique designs of the north may include having the façade walls of the second level made up of plastered bricks, embedded with a wooden frame. Although the wooden second level façade inbahay na bato are also present in the north.[5]
In Vigan, the capital ofIlocos Sur, many homeowners built both stories in brick, which was available in large quantities. With the massive walls, thevolada (an overhanging balcony) disappeared in many residences, and the kitchen became an extension in stone, with vents piercing the walls to let out smoke.
The Northern Luzon variant's most common feature is brick up to the second floor facade, in contrast with the common wooden second floor facade in other provinces. This particular building is the convent ofSarrat Church in Ilocos Norte
Southern Tagalog, especiallyCalabarzon has some of the most thoroughly preserved heritage houses, built mostly using adobe stones.[15] Towns along the coasts of Luzon, especially inBatangas, used roughly hewn blocks of coral and adobe stone.[5]
Thebahay na bato inBulacan and the rest ofCentral Luzon are famous for their carvings. The most notable ones are in theMalolos, in its heritage core, where ancestral houses are located.[5] Since adobe lends itself to sculpture, houses in Bulacan had façades decorated with carved flowers, leaves,Classical motifs,Mudéjar motifs and religious symbols.[5]
Many constructions in the Bicol peninsula took advantage of the abundant volcanic stone from nearby volcanoes. One characteristic of houses in Bicol is that ground-floor overhangs are common, considering the region's rainy climate and decorations tend to be minimal for these houses. Larger towns in Bicol boast manybahay na bato homes.[5]
Painting of 1800s Nueva Caceres (modern-day Naga), with its buildings and houses
MostVisayanbahay na bato use coral stone, though many are still adobe and bricks. Cebu, Bohol, Negros, and Iloilo are famous for theirbahay na bato houses.[5] Throughout the Visayas, the craft of cutting coral stones was virtually elevated into a fine art, with blocks fitting so precisely into each other that not even a razor blade could be inserted between them. The material was so durable that it did not have to be protected with a layer ofpaletada.[7] Non-wooden (stone), second level façade walls styles are also present outside in cebu particularly, the 1730 Jesuit house ofCebu.[5] Aside frombahay na bato, Visayan noble settlements are also dominated by mansion-typepayag (bahay kubo), which are built likebahay na bato but use wooden walls instead of stone walls covering the bottom floor. These arts were brought by the Visayan settlers to the coastal towns ofMindanao.[5]
Bahay na bato inCebu with its Coral stones typical toVisayas
TheIvatan people ofBatanes have a very different style ofbahay na bato. As the islands of Batanes were absorbed by the colonial Philippines much later through Spanish conquest, theirbahay na bato developed much later as well. Structures combined the pre-colonial Ivatan-style (presumably thejin-jin) and colonial Filipino-stylebahay na bato, particularly the northern style from Ilocos and Cagayan, but with the use of thick limestone blocks instead of the bricks traditionally used in the northern mainland. In addition, structures incorporated practical methods suitable to their unique environment prone to destructive typhoons. Their variant styles include the commonsinadumparan, which is similar to the mainlandbahay na bato, having storage areas below and living quarters above. However, the storage floor is partially underground, acting as a basement, and the first floor serves as living quarters, appearing as a one-story house. Therakuh style, however, upholds the mainland tradition of having the first floor as storage and the second floor as living quarters, appearing as a two-storey house. The mainlandbahay na bato influence is very much clear in therakuh building.[16]
Many convents, monasteries, schools, hospitals, offices, stations, etc. also adapted thebahay kubo architecture to the Spanish colonial style. As a result, many of these buildings end up beingbahay na bato as well.
The Register became part of Presidential Decree No. 1616, as amended, when it was gazetted by theOfficial Gazette of the Philippines on June 17, 2022.[17] TheIntramuros Administration is the agency of the Philippine Government responsible for the implementation of the Register of Styles.
Intramuros in Manila is the only locality in the Philippines where, for cultural reasons, the use, height, scale, and aesthetics of all new constructions and development are pre-determined and strictly regulated under the force of national law. The Register of Styles, as an integral part of Presidential Decree No. 1616, is the main legal document prescribing and guiding the implementation of pre-war architectural colonial styles in Intramuros.[18][19]
The Register of Styles is the first document to detail the historical styles of Intramuros. It was authored by Rancho Arcilla, who was then the Archivist of the Intramural Administration, and under the initiative ofGuiller Asido, the former Administrator of Intramuros.[18]
Plaza San Luis complex courtyard
By form, the urban landscape of Intramuros mostly lacked setbacks, with buildings that were mostlyterraced (rowhouses).Courtyards or backyards were exceptionally well adapted to the climate. The Intramuros style was described as bothvernacular and cosmopolitan. While its Church and State buildings were European in orientation, albeit adapted and localized, most of the buildings were enclaved within its walls and embraced tropical vernacular constructions as exemplified by theBahay na Bato. Churches, fortifications, and palaces fashioned in European styles, though few, became icons and objects of popular imagination. In contrast, the vernacularBahay na Bato, which was adopted in majority of buildings, prevailed in terms of number of constructions. Except in certain instances, the Register of Styles prescribes tha\eBahay na bato as the default style for new constructions in Intramuros.[19]
As with any vernacular architecture, different features ofbahay na bato vary from building to building, many of which was from Classical principles that was employed to refined the proportion, syntax and detailings.[20][21] Houses may have or lack certain elements from the following list:[22][23][12]
Accessoria – Apartment-type dwelling characterized by common party walls shared by adjoining units with a separate door in front of each
Aparador de tres lunas – Armoire with three sections
Arko – Arch
Azotea – Open-air balcony beside the kitchen that housed a cistern (aljibe) and the bathroom, and was usually a work area
Atlas, atlantes – A column, pilaster and other decorative features in the shape of a man
Balconaje, Balcon – Balcony
Banggera – A wooden dish rack that extends outside the kitchen window. After the dishes are washed, they are placed here to be air-dried. The inverted cups are placed on the ends of the wooden sticks and the plates are placed in between or above the slats. On the far left is a tapayan/banga, an earthenware jar that keeps water cool
Bañera – Bathtub
Baño – Bathroom
Barandillas – railing or balustrade (usually wooden)
Barrigones – "Buntis" (or bombere, pregnant) grillwork on windows, to accommodate planters
Batalan – The rear part of the house used for washing and water storage, with a flooring often made of slatted bamboo; more a part of abahay kubo (but may be present as well at the rear of abahay na bato)
Baul mond – Traveling trunk
'Bentwood beech chairs and other furniture – Imported dark wood furniture
Brackets – Series of often diagonal braces placed in support of the volada on the second floor
Butaka – A version of silla perezosa with no leg rests
Caida – Landing on the upper entrance hall; foyer of the second floor; also called "antesala"
Calado – Lace-style fretwork or latticework used to adorn room dividers and to allow air to circulate
Capilla – Long bench, a staple item in the caida
Ionic columnsCapital – Topmost member of a column (or pilaster) mediating between the column and the load
Capiz windows – Typically sliding windows made with capiz shells cut into squarescapiz-shell window panel
kama or Bed
Caryatid – A sculpted female figure serving as an architectural support taking the place of a Pilaster, column or a pillar etc. supporting an entablature on her head
Clerestory – Any high windows above eye level to bring outside light, fresh air, or both into the inner space
Cocina – Kitchen, which was typically built separately from the house
Colonette – A small, thin decorative column supporting a beam (horizontal timber) or lintel (beam spanning a door or window)
Comedor – Dining room
Comun – Toilet; also called "latrina"
Corbel – A projection jutting out from a wall to support a structure above it; also "braces"
Cornice – A ledge or generally any horizontal decorative moulding that crowns a building or furniture element
Court, courtyard – A space enclosed by walls and is open to the sky; has a balcony
Cuartos – Rooms
Cuatro aguas – Hip roof, which has more corners and angles, making it stronger than the dos aguas (gable) or high-pitched roof due to stronger aerodynamics (i.e., more wind resistance); also has the advantage of providing an overhang, which is effective for protecting the house from rainwater and from direct sunlight
Dapugan – A platform in the kitchen where the kalan or clay stove is placed
Despacho – Office; also "oficina"
Dispensa – Pantry
Dos aguas – Gable or high-pitched roof
Eave – Bottom edge of a roof
Engaged column – Column in support of the roof above
Casa OletaPililla, with noticeableSolomonic column furnitures. Rizal Ancestral house interior.
Entresuelo – Mezzanine; literally meaning "between floors", this is the area where clients, tenants or estate managers (if the owner was a rich landowner) wait before being admitted to the oficina (office)
Escalera – Stairway
Escritorio – A large chest of drawers, commonly adorned with inlay work
Estante – Dining room cabinet where chinaware and silverware are displayed
Finial – A usually foliated ornament forming an upper extremity
Fresquera – Storage room for salted food, etc.; placed on the wall of the house facing outside
Gable – The part of a wall that encloses the end of a pitched roofStairSala
Gallinera – Literally, "chicken seat"; "usually found outside the oficina of a landowner; coming from the Spanish word 'gallo' (chicken), this church bench-inspired settee is used for farmers to place chickens on the cage underneath in exchange for paying cash" (Old Manila Nostalgia blog)
Gargoyle – A carved stone grotesque with a spout designed to convey water from a roof and away from the side of a building, thereby preventing rainwater from running down masonry walls and eroding the mortar between
Gingerbread trim, running trim – 19th-century Victorian style of fancifully cut and pierced frieze boards, scrolled brackets, sawn balusters, and braced arches, to transform simple frame cottages into one-of-a-kind homes; usually attached to the eaves to make it more decorative and to curving iron rods that help support the media agua
Haligi - A woodenposts supporting the whole elevated structure.[24]Interior view of the ground floor wooden posts, being the true support frame of the elevated structure, a tradition fromBahay kubo. While the stone walls acts merely as a curtain cover.
Kalaka (Philippine Spanish:calaca) - halved bamboo sections that are fitted together alternately (similar to clay tiles), used for roofing.[25]
Kama – Four-poster bed
Kama ni Ah Tay – A once popular signature four-poster bed design that was carved by a famous Chinese furniture maker named Eduardo Ah Tay. To have this bed was considered a symbol of status during the Spanish era.[26]
Kantoneras (brackets) – Either plain calado cut-outs or fully carved embellishments usually placed where beams and columns intersect especially under the soffit or overhanging ceiling outside the house; also seen to decorate door or window openings, hallways or simply dividing spaces
Lansenas – Kitchen sideboards
Latrina – Comun
Load-bearing wall – Wall used in place of posts to bear weight
Machuca tiles (formerly known as "baldozas mosaicas") – colorful Mediterranean-style cement tiles used for the zaguan flooring, often in harlequin pattern; manufactured by the Machuca company; another brand is Majolica
Mascaron – An architectural ornament representing a face or head, human or animal, that is often grotesque or frightening
Details of intricateCorinthian woodwork at the Lopez House in Balayan, Batangas
Media aguas – Canopy or roof shed, consisting of a piece of metal roof that protects the window from rain or heat; not to be confused with awning
Mirador – Lighthouse; lookout towerZaguan
Moulding, molding – A strip of material (such as wood or metal) with some design or pattern that is used as a decoration on a wall, on the edge of a table, etc.
Oratorio – Prayer room with an altar of Christ, the Virgin Mary, and the saints
Painted metal sheet ceiling – Pressed tin or copper ceiling from maybe late Victorian to early American colonial period, to prevent decay by moisture or worms (or even mouse)
Paminggalan – A cabinet where leftover food and preserves are stored. The doors of the cabinet have slats so that they can absorb air and room temperature inside. To avoid ants from coming up and getting to the food, the legs of the cabinet are placed on containers filled with kerosene or any liquid
Pasamano – Window ledge
Persiana – Louver window
Piedra china – stone dressed by Chinese-Filipino immigrant stoneworkers used to pave the floor of the zaguan
Pilaster – False pillar used to give the appearance of a supporting column and to articulate an extent of wall, with only an ornamental function
Ground floor chamber
Platera – Aparador or cabinet for kitchenware (chiefly china)
Porte cochere – Horse carriage porch or portico at the main entrance
Portico – "(From Italian) a porch leading to the entrance of a building, or extended as a colonnade, with a roof structure over a walkway, supported by columns or enclosed by walls"
Puerta – "Door of the entrada principal (main entrance)"
Puertita – "small cut door that is part of the puerta"
Pugon – Clay oven
Punkah – Ceiling cloth fan
Sala mayor – Main living room, a place for late-afternoon parties called tertulias and dances called "bailes"
Sala menor – Secondary living room
Sillas americanas – "American chairs, considered the Monobloc chairs of their time (due to ubiquity)"
Silla perezosa – Lazy chair
Solihiya – Typical wicker weave pattern in furniture
Stained glass – "Glass colored or stained (as by fusing metallic oxides into it) for decorative applications (as in windows)"
Transom – "Transverse horizontal structural beam or bar" often in floral tracery design
Trompe-l'œil – "A style of painting in which things are painted in a way that makes them look like real objects"
Tumba-tumba – Philippine rocking chair
Tympanum – triangular decorative wall surface over an entrance, door or window
Valance – "A length of decorative drapery hung above a window to screen the curtain fittings"
Ventana – "Wooden window panel that uses a grid pattern with flattenedCapiz-shell panes"; often in sliding style, as opposed to flinging outSome Bahay na Bato are falling into abandonment.
Ventanilla – Literally 'small window'; "sliding panels between the floor and windows" to allow more air and light; "usually protected by balustrades which can either be wooden or wrought iron grills"
Volada – "An enclosed overhanging balcony"; "a gallery (along the elaborate system of windows) which protects the rooms from the heat of the sun"
Yerong pukpok – Gingerbread trim
Zaguan – Ground floor (literally "passageway" in Arabic) to accommodate horse carriages and carrozas (processional carriages)[12]
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