The history and culture of the Philippines are reflected in its architectural heritage, in the dwellings of its various peoples, in churches and mosques, and in the buildings that have risen in response to the demands of progress and the aspirations of the people.

Architecture in the Philippines today is the result of a natural growth enriched with the absorption of varied influences. It developed from the pre-colonial influences of our neighboring Malay brothers, continuing on to the Spanish colonial period, the American Commonwealth period, and the modern contemporary times. As a result, the Philippines has become an architectural melting pot-- uniquely Filipino with a tinge of the occidental.

The late national hero for architecture, Leandro Locsin once said, that Philippine Architecture is an elusive thing, because while it makes full use of modern technology, it is a residue of the different overlays of foreign influences left in the Philippines over the centuries: the early Malay culture and vestiges of earlier Hindu influences, the more than 300 years of Spanish domination, the almost 50 years of American rule, the Arab and Chinese influences through commerce and trade over the centuries. What resulted may have been a hybrid, a totally new configuration which may include a remembrance of the past, but transformed or framed in terms of its significance today.

The Philippine's architectural landscape is a contrast among small traditional huts built of wood, bamboo, nipa, grass, and other native materials; the massive Spanish colonial churches, convents and fortifications, with their heavy "earthquake baroque" style; the American mission style architecture as well as the buildings of commerce with their modern 20th century styles; and today's contemporary, albeit "modern mundane" concrete structures of the cities.

Construction of rural native huts has changed little in the centuries. Design vary by region, but common features include steep roof over a one-or-two room living area raised on posts or stilts one to two meters above the ground or over shallow water. Some huts have balconies. Floors may be of split bamboo to allow dirt and food scraps to fall through to pigs and poultry. The space beneath the hut may be used for storage or as a workshop; it also allows air to circulate and safeguards against flooding, snakes, and insects. As families become more affluent, they frequently replace the thatch roof with galvanized iron which lasts longer but makes the house hotter and aesthetically more mundane. The bahay-kubo (nipa hut) is a typical traditional house found in most lowlands all over the Philippines. Originally built as a one-room dwelling, the nipa hut changed as family needs become more diverse.Modern urban dwellings, on the other hand, are typically two-story structures with a concrete ground floor, sides of brick, concrete blocks, or wooden slats, and an iron roof. During the 19th century, wealthy Filipinos built some fine houses, usually with solid stone foundations or brick lower walls, and overhanging, wooden upper story with balustrades and kapis shell sliding windows, and a tiled roof.

The Rizal house in Calamba, Laguna and the Luna house in Badoc, Ilocos Norte are good examples. Vigan, Ilocos Sur as well as Taal in Batangas have the best surviving Spanish quarters. The city of Manila, Ilo-ilo and Cebu also have some notable old houses. Other areas of the country present different forms of tribal architecture as compared to the low-land bahay kubo which is influenced greatly by culture, and in some cases, climate and the environment. In the upland regions of the Cordillera Mountains, the houses, though still using native materials, is a bit more secured. Where the low-land bahay kubo is ventilated on all sides, the mountain huts, Bontoc, fayu; Ifugao, bale; Kalinga, binayon; Kankanay, binangiyan, and others typify a more insulated dwelling. The Maranao torogan, on the other hand, is designed for royalty and thus built with much ornamentation and elaborate details. Being an isolated and wind-frequented area, the Batanes Islands, exhibit the bale; Kalinga, binayon; Kankanay, binangiyan, and others typify a more insulated dwelling. The Maranao torogan, on the other hand, is designed for royalty and thus built with much ornamentation and elaborate details. Being an isolated and wind-frequented area, the Batanes Islands, exhibit the most different of all traditional architecture in the Philippines. The Ivatan`s rakuh is built solidly on all sides, made of a meter thick rubble work covered by thick thatch roofing to withstand gales which frequent the area.

The arrival of the Spaniards in 1571 brought in Antillian architecture. Though not specifically suited for the hot tropics, European architecture was transposed via Acapulco, Mexico into a uniquely Filipino style. The style traces its roots from the Antilles, in Central America rather than from mother Spain. The Christianization of the islands created the need to establish religious structures to support the growing number of religious organizations. Though they don't compare with those seen in Europe or in Latin America, Philippine colonial churches are unique in their own sense. Some of the best preserved colonial churches in the country are found in the Ilocos Regions, as well as those in the provinces of Laguna and Batangas, as well as the Visayan islands of Panay, Cebu and Bohol. These colonial churches were typically designed by anonymous friar-architects and built between 1600 and 1750. Most were initially constructed with bamboo and nipa, but the friars realized that to instill a sense of awe, as well as to caution against the terrible menace of fire and earthquake, more grandiose buildings had to be erected. In spite of technical and material limitations, they managed to erect massive structures that often took years, even decades to complete, that have survived to the present.

In time, the friars' task was taken over by Filipino and Chinese master-builders. These craftsmen have sometimes left their native stamp in the decorative motifs: tropical vegetation by Filipinos, lions and dragons by Chinese. The churches were built with an adjacent convento (priest house and office: also served as school, tribunal, prison and evacuation house during calamities), attached or detached belfry (as seen in the Ilocos Region where the belfry was built a couple of meters away from the church structure, this to anticipate a collapse of the belfry in times of earthquake) and walled forecourt. The large three-story belfry, affording a good view of the surrounding land and sea, were used as watchtowers for approaching enemies. Individual churches vary in the amount and style of their interior and exterior decoration. Many have an ornately carved facade and reredos, backdrop of the altar). Today, some churches are in their original form, while others have been spoiled by tasteless renovation. Many churches are the result of successive restoration and renovation projects which superimposes on earlier foundations. The Spanish colonial period also brought with it military architecture as seen in the fortifications they built all over the archipelago. Foremost of which is Intramuros in Manila. Intramuros which literally means within the walls, is a defensive network composed of raveling and bulwarks to protect the Spanish city from attack. It also contains the foremost military outpost during the Spanish reign, Fort Santiago named after Spain's patron saint.

Commercial structures which developed only during the latter part of the Spanish period evolved primarily from the typical Filipino noble house or the Bahay na Bato. The Bahay na Bato is a derivation of the traditional Bahay Kubo with more sturdier materials as the main form of construction. Using the same spatial arrangements of the Bahay kubo, the Bahay na Bato continued the principle of open ventilation and elevated apartments as that of its predecessor. The only difference being that the Bahay na Bato, which translates as Stone House, is made in most cases of stone instead of the more traditional bamboo. Other versions of the Bahay na Bato would be constructed of a stone- or brick-supported lower level and a hard wooden upper level covered by tiles or in later cases galvanized iron. The window of the house is unique in architecture for it opens not just from mid-level but from floor to ceiling. This enables tropical wind to circulate freely into the structure enabling the house to be ventilated tropically. The upper level, or the piano noble of the house contains the most luxuriously furnished apartments, this level overhangs the ground level which contains mostly storage and carriage depots.

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