A wide-ranging discussion with Royal Pineda and Jorge Yulo
FILIPINO architects Royal Pineda and Jorge Yulo are calling for a more purposeful approach to building design, emphasizing the importance of climate-responsive architecture, cultural identity, and functionality over visual appeal and short-term commercial interests.
Their views emphasize the need for buildings that respond to the country’s tropical climate, preserve its architectural heritage, and provide lasting value to the people who use them.
BusinessWorld spoke with the architects during the sendoff of the World Architecture Festival 2026 Finalists and CRIT book launch on Oct. 20 at the Ayala Triangle Gardens Tower 2 in Makati.
For Mr. Pineda, sustainability begins with the fundamental decisions made during the planning and design stages, rather than with additional technologies installed after a building has been constructed.
“That brings us to the very essence of what architecture should be,” he said when asked how architects could convince developers that climate-responsive features can be more practical and economical than relying heavily on mechanical systems.
“In the basic planning, site selection, and fundamental structure of the architecture, if the bones are already correct, you don’t need too much of what I would call a second line of defense or secondary solutions,” he added.
In a tropical country such as the Philippines, this means designing buildings that maximize natural ventilation, provide shade, and allow daylight to enter without excessive heat. Such measures can reduce dependence on air-conditioning and artificial lighting, lowering operating costs over time.
“If we can work with developers to design residential units and commercial projects that harness natural light and bring in natural ventilation, that means lower operating costs and less investment in technology,” Mr. Pineda said.
“In a way, designing architecture that is sensitive to nature is already the first step toward being practical and sustainable. It should save developers a lot of money in the long term.”
He said the benefits extend to building occupants, who can enjoy more comfortable spaces while spending less on electricity.
“If we can work with developers to design residential units and commercial projects that harness natural light and bring in natural ventilation, that means lower operating costs and less investment in technology,” he said.
KEEPING THINGS REAL IN CLARK
Mr. Pineda applied these principles to the sports facilities in Clark, particularly the stadium and aquatic center, where the design responds to airflow, heat, and the conditions of the site.
For the stadium, the architectural roof was raised, tilted, and extended to protect spectators from direct sunlight while allowing hot air to move upward. The design took advantage of the site’s existing breezes rather than relying on mechanical systems to compensate for poor airflow.
“What really inspired me was that the site itself already offered open breezes and airflow. So, the design process went from the macro to the micro,” he said.
“I think if you approach architecture that way, it will always lead you to the most practical solution. Again, you don’t try to solve things through a second line of defense. You design and solve them at the first line, which is what matters.”
The aquatic center followed a similar principle. Mr. Pineda said the facility did not need to be fully enclosed in glass and maintained at a controlled temperature because the water temperature required by the certifying body was already consistent with Philippine water conditions.
“You just have to listen to nature, and nature will tell you what it needs,” he said.
Mr. Pineda also draws from traditional Filipino architecture, particularly the Bahay Kubo (nipa hut), whose design reflects practical responses to the tropical environment.
“At the end of the day, I’m simply applying the principles of the Bahay Kubo,” he said. “If you look at the project, you won’t see any obvious resemblance to a Bahay Kubo. The stadium itself doesn’t look like one, but it carries the very essence of the thinking behind the Bahay Kubo: its practicality.”
The design also incorporated lahar from Mount Pinatubo, using material already available in the surrounding region instead of simply painting the entire structure.
“Again, it’s a matter of understanding the wisdom of nature and revealing the identity that is hidden. We’re not trying to create another identity. There is already an identity hidden there, and I’m simply revealing it,” he said.
MODERN FILIPINO ARCHITECTURE
For Mr. Pineda, this relationship between design and local context is central to what he calls modern Filipino architecture. He stressed that the concept is not a style to be copied, but a philosophy grounded in authenticity and the continuing development of Filipino identity.
“First of all, it’s not a style. It’s a philosophy,” he said.
His approach begins with understanding whether a client shares that philosophy, rather than attempting to persuade someone to accept a design that does not align with their preferences.
“My first step is always to introduce ourselves to each other and understand whether we’re aligned,” he said. “Before clients leave my office, the last thing I tell them is, ‘Please scout for other architects.’ They have to understand what they’re really looking for because, at the end of the day, they have to work with an architect they believe in.”
He also believes architects should be willing to accept criticism without losing sight of their own principles.
“You always have to take criticism constructively. The only reason you would be offended is if you don’t really know who you are,” he said.
“As an architect and as a person, you have the authority and the choice to decide what represents you and what you want to carry forward.”
ROOTS
This emphasis on identity also informs Mr. Pineda’s view of the direction Philippine architecture is taking. He said more Filipinos, particularly younger generations, are becoming confident in exploring their cultural roots and expressing them through architecture, fashion, and food.
“One thing we’re doing right, and something I’m very proud of, is that we’re starting to look for our roots,” he said.
“The next thing we need is a mindset that I call the ‘culture of betterment.’ We should always ask what can be better because Filipinos deserve better.”
He said the concept is meant to challenge the tendency to settle for what is merely acceptable, or puwede na, instead of continually seeking improvement.
“Modern Filipino architecture should represent a better Filipino,” he said.
THE OCCUPANTS
Mr. Yulo approaches the question of architectural value from the perspective of the people who spend the most time inside buildings. While owners and visitors may initially appreciate a structure’s appearance, regular occupants often develop a deeper understanding of its design through everyday use.
“The people who spend the most time in a building are often the ones who experience it most deeply,” he said.
Even details that may escape first-time visitors can become meaningful to people who work or live in a building every day. These details, he said, reflect the architect’s intentions and can be discovered gradually as occupants become more familiar with a space.
Mr. Yulo described designing such features “like designing a surprise for somebody you haven’t even met yet.”
“When they finally discover it, I get satisfaction from knowing that something I thought was witty was communicated through my architecture, even without my presence,” he said.
For him, a building should continue revealing aspects of its design long after its completion. This can create a more lasting relationship between the structure and its occupants, making the experience of living or working in a space more meaningful over time.
“It’s beyond what clients need. It’s what they’ll want in the future,” he said.
“If you design something they can easily explain in words or compare with something they’ve seen in a magazine, they’re more likely to get tired of it sooner than something they discover themselves.”
Mr. Yulo said this approach also requires clients to look beyond the immediate satisfaction of owning something new. A building that becomes more meaningful as it ages can provide a different kind of fulfillment from one designed mainly to impress at first glance.
“It’s like other things, such as wine, vinegar, or balsamic vinegar, that become more precious as they age,” he said.
“The joy of owning something beautiful that has aged is different. It’s a more genuine kind of satisfaction. It’s not just the satisfaction of appreciating a detail; it’s the satisfaction of living in and experiencing the space.”
FORM VS FUNCTION
For this reason, he believes conversations about architecture should focus less on appearance and more on how buildings function, how they are assembled, and how people make them their own.
“Definitely the way it works and functions, and how it is put together,” he said when asked what he wished people would pay more attention to.
“More importantly, what makes a building last and allows people to appreciate it more is how they use it and make it their own place.”
This focus on functionality also shapes his view of artificial intelligence (AI) in architecture. While he recognizes that AI can change how architects produce and present their work, he cautioned against treating attractive digital images as proof that a design will function well in reality.
“A lot of AI-generated images look really beautiful, but if you imagine yourself inside the projected space and start feeling your way around it, you sometimes discover that it’s just like a Hollywood set,” he said.
“It looks beautiful, but the spaces haven’t really been worked out.”
Mr. Yulo clarified that he does not consider AI inherently bad, but believes it must be used carefully and with a clear understanding of its limitations.
“I’m not saying AI is bad. I’m just saying it should be used conscientiously and correctly,” he said.
HERITAGE VS DEVELOPERS
Beyond the design of individual buildings, he also raised concerns about the loss of historical structures as older properties are demolished to make way for new developments.
“What we’re getting wrong is our sense of historicity and preservation. There’s still a strong trend of tearing down old buildings to make way for new ones. This is being done for the benefit of a few people’s profits,” he said.
“What you see here, all these new buildings, are like monuments to a few people’s profits.”
He said the country risks losing an important source of distinction if it fails to preserve its architectural heritage, particularly as newer developments increasingly favor repetitive designs that prioritize financial returns.
“But if we have history, that’s something they don’t have,” he said, referring to the advantage that heritage can provide compared with cities that are more advanced in other respects.
Mr. Yulo also attributed the prevalence of bland, repetitive buildings partly to developers seeking quick returns on their investments.
“They want to see returns on every peso or dollar they invest in a building,” he said. “That’s why you get these cut-and-paste, bland buildings. They’re focused on the bottom line.”
For both architects, improving Philippine architecture requires looking beyond the immediate appearance or commercial value of a structure. It means designing for the climate, understanding local identity, and ensuring buildings remain useful and meaningful as people continue to occupy them.
Mr. Pineda’s approach emphasizes authenticity and a continuing effort to improve Filipino design, while Mr. Yulo stresses the importance of functionality, heritage, and the experiences that emerge as people live with architecture over time.
For young architects, Mr. Yulo offered a simple reminder to retain their curiosity and imagination as they develop their craft.
“Never grow up. Never grow up. Keep dreaming,” he said. — Kaizzer Angela Marie V. Manuba