ARC LICO

09/05/2026

09/05/2026

At the water’s edge of Valenzuela rises a new beacon of place: the Tagalag Lighthouse, designed by ARC LICO as part of the evolving waterscape of Tagalag Fishing Village, the boardwalk, and the riverwalk.

More than a picturesque landmark, the lighthouse is a symbol of return—to the river, to community life, and to the quiet dignity of Valenzuela’s water-based heritage. Its form takes inspiration from the geometry of the belfry of San Diego Church in Polo, Valenzuela’s old poblacion, allowing the new riverside landmark to echo one of the city’s enduring historic silhouettes.

Here, architecture becomes memory translated into light. The lighthouse stands as a vertical marker against the long, gentle movement of the boardwalk, guiding not ships at sea, but people back to heritage, leisure, ecology, and civic pride.

By day, it anchors the promenade as a destination. By night, it glows like a small monument of hope, transforming the riverfront into a luminous public rotunda.

The Tagalag Lighthouse reminds us that architecture can do more than build structures. It can recover forgotten landscapes, honor local livelihood, and give a city a renewed image of itself—rooted in the past, alive in the present, and looking toward the future.

24/04/2026

The Artemio Reyes Residence (1959) on Araneta Avenue, designed by Marcos C. De Guzman, is not only one of the most striking expressions of the Space Age in Philippine domestic architecture; it is also a fragile witness to Quezon City’s vanishing modern heritage. Built at a time when the city was expanding as a landscape of postwar aspiration, the house captured an era that looked to the future with almost boundless confidence. The 1950s drew heavily from the imagery of rockets, satellites, observatories, and flying saucers, and architecture responded with bold forms that seemed to defy gravity itself. In this house, modernity was not timid. It was theatrical, optimistic, and unafraid to dream.

Marcos de Guzman gave this optimism a memorable and almost cinematic form. The residence’s great saucer-like concrete shell, pierced by bubble skylights and ringed by a continuous band of windows, appears to hover above the ground like a craft poised for lift-off. Its crescent-cut tower, with its projecting observation deck and antenna-like device, completed the fantasy of interplanetary communication. Yet beneath this playful futurism lay real architectural intelligence: the aerodynamic roof naturally shed water, resisted winds, and created a luminous, well-ventilated interior. It was a house that translated the technological imagination of the Space Age into a distinctly local tropical modernism.

Today, however, the Artemio Reyes Residence stands in a poor state of preservation, and its condition mirrors the broader erosion of Quezon City’s modern architectural legacy. Too many postwar houses, civic buildings, and commercial landmarks have disappeared quietly under the pressures of redevelopment, neglect, and historical amnesia. These structures are often dismissed as merely old, eccentric, or unfashionable, when in truth they embody a vital chapter in the city’s cultural formation. They tell us of a Quezon City that once served as a testing ground for new ideas, new lifestyles, and new architectural vocabularies.

To lose the Artemio Reyes Residence is to lose more than an unusual house. It is to lose a piece of Quezon City’s memory as the nation’s experimental capital of modern life. Its fading presence reminds us that heritage is not confined to colonial stone churches or ancestral houses; it also resides in concrete shells, futuristic towers, and the extravagant dreams of the postwar decades. If Quezon City is to honor its own architectural history, it must learn to see these endangered modern landmarks not as expendable relics, but as irreplaceable records of a time when the city dared to imagine the future.

10/04/2026

06/04/2026

Did you know that the DSWD SWADCAP complex is a hidden architectural gem designed by a Philippine National Artist?

Master-planned in the mid-1970s by the legendary Leandro Locsin, the complex actually features three distinct structures: the Population Center, the Pollution Center, and the SWADCAP building. Together, they perfectly capture Locsin’s signature architectural aesthetic.

The Signature Locsin Aesthetic

These structures are defined by their strong horizontal orientation and expansive facades. Built on a Cartesian rectilinear geometry, the buildings feature striking, protruding horizontal concrete planes with beautifully sliced diagonal edges.

Brilliant Climate-Responsive Design

The SWADCAP building itself is a two-storey marvel built on a unique, symmetrically truncated V-shaped plan. Locsin brilliantly incorporated passive cooling into the design long before it became a modern trend. Sharply angled concrete eaves extend far beyond the glass windows, casting deep shadows that naturally cool the interiors.

If you look closely, the uniform slope of these overhangs was cleverly offset to simulate the silhouette of a traditional Philippine vernacular roof.

A Glimpse into the Original Vision

Architectural history buffs might find this interesting: an earlier proposal for the SWADCAP building actually included an additional wing. This would have formed an enclosed inner courtyard within the triangular plan.

Have you ever noticed these distinct design details when visiting or passing by the complex? What are your thoughts on integrating traditional vernacular roof designs into mid-century concrete architecture? Let us know in the comments below!

30/03/2026

At ARC LICO, we believe that architecture is as much about the exploration of ideas as it is about physical construction.

Today, we are sharing a purely conceptual design for the Philippine Coconut Authority Business Center. Envisioned for the bustling corner of Quezon Memorial Circle and Commonwealth Avenue, this modern three-story multi-purpose hub was conceptualized to respect and sympathize with the site's existing modernist heritage. By theoretically reclaiming and reimagining the designated parcel, the design maximizes architectural presence, surrounded by landscaping that signals a truly welcoming institutional entrance.

Our design trajectory for this project was built on a striking juxtaposition: merging stately, sculpted concrete that evokes institutional authority with the warm, inviting ambiance of Filipino Tropical Modernism.

The entire spatial narrative pays homage to the coconut as the Filipino "Tree of Life." We envisioned an interior grounded in natural forms and textures to create a culturally resonant, multi-purpose environment capable of hosting diverse events. Organic movement is brought indoors through palm-inspired lighting fixtures and stamped concrete patterns that mimic the graceful lines of coconut leaves.

At the heart of the space, a reception desk takes cues from traditional coconut weaves, offering a tactile centerpiece, while hexagonal floor patterns and furniture echo the coconut’s cross-section to create geometric continuity. Tied together by a vibrant palette of green, brass, and gold, the unbuilt design ultimately stands as a conceptual study in vitality, heritage, and institutional pride.

Even when designs remain on the drawing board, they help us push the boundaries of how we integrate the Filipino identity into modern public spaces.

23/03/2026

Looking for a meaningful spot to visit this Women's Month?

Add the Tandang Sora Women’s Museum to your list! The exhibit showcases the numerous contributions and impact of Filipinas throughout the centuries.

Opened early last year, this newly built museum replaced the old pavilion and beautifully complements the 2012 historical landmark site. You can walk the freshly renovated, peaceful grounds and pay your respects at the official shrine where the Mother of the Philippine Revolution's remains were re-interred on her 200th birthday.

A perfect blend of history, beautifully designed hardscapes, and Filipina empowerment.

Have you been here since the 2023 renovations? Let us know in the comments!

16/03/2026

ARC LICO International Services Corp. is honored to be recognized as an ARC ICON 100 awardee.

Presented on March 14, 2026, the ARC ICON 100 celebrates design excellence and meaningful contributions to the built environment. The Museo ni Dr. Pio Valenzuela was distinguished by the Arc Circle Collective as a work that reflects the enduring power of architecture to shape culture, memory, and community.

The award was accepted on behalf of Dr. Gerard Lico, and stands as an affirmation to our firm’s commitment to thoughtful design, professional discipline, and the pursuit of architectural excellence.

Here’s to continuing the work of shaping spaces that inspire and endure!

09/03/2026

🏛️ 𝐀𝐑𝐂 𝐈𝐂𝐎𝐍 𝟏𝟎𝟎: 𝐃𝐫. 𝐆𝐞𝐫𝐚𝐫𝐝 𝐀. 𝐋𝐢𝐜𝐨

The Visionary: A prolific architectural historian, academic, and conservation professional dedicated to materializing memory and preserving the Filipino architectural soul.

⭐ 𝐓𝐇𝐄 𝐈𝐂𝐎𝐍𝐈𝐂 𝐏𝐑𝐎𝐉𝐄𝐂𝐓: 𝐌𝐮𝐬𝐞𝐨 𝐧𝐢 𝐃𝐫. 𝐏𝐢𝐨 𝐕𝐚𝐥𝐞𝐧𝐳𝐮𝐞𝐥𝐚

The Design: A thoughtful "reimagination" of the hero's original 19th-century residence, utilizing community recollection and a preserved Spanish aesthetic to recreate a historic fabric that had been lost.

The Impact: Serves as a critical conduit for historical consciousness, bridging the gap between sentimental heritage and practical modern reconstruction while celebrating a key figure in the Katipunan.

Placemaking: Creates a meaningful cultural landmark and "experiential world" that allows visitors to relive history and fosters a deep sense of pride in Valenzuela City's heritage.

🛡️ 𝐋𝐄𝐀𝐃𝐄𝐑𝐒𝐇𝐈𝐏 & 𝐀𝐃𝐕𝐎𝐂𝐀𝐂𝐘

Position Held: Professor at UP Diliman College of Architecture and Consulting Architect for the restoration of the Manila Metropolitan Theater.

Professional Upgrade: Championed the scientific conservation of modern Philippine heritage and authored foundational texts like Arkitekturang Filipino that define the nation's architectural narrative.

Advocacy: Promoting "Heritage Stewardship" and urging Filipinos to take proactive ownership of their built environment to safeguard national identity.

"𝙃𝙚𝙧𝙞𝙩𝙖𝙜𝙚 𝙗𝙪𝙞𝙡𝙙𝙞𝙣𝙜𝙨 𝙨𝙝𝙤𝙪𝙡𝙙 𝙣𝙤𝙩 𝙗𝙚 𝙛𝙧𝙤𝙯𝙚𝙣 𝙞𝙣 𝙩𝙞𝙢𝙚; 𝙩𝙝𝙚𝙮 𝙨𝙝𝙤𝙪𝙡𝙙 𝙗𝙚 𝙪𝙨𝙚𝙙. 𝙏𝙝𝙚𝙞𝙧 𝙘𝙤𝙣𝙩𝙞𝙣𝙪𝙚𝙙 𝙪𝙨𝙚 𝙬𝙞𝙡𝙡 𝙚𝙣𝙨𝙪𝙧𝙚 𝙩𝙝𝙚𝙞𝙧 𝙨𝙪𝙧𝙫𝙞𝙫𝙖𝙡."

Join us as we honor the icons shaping the Filipino skyline and safeguarding the future of our craft. 🇵🇭🏛️

06/03/2026

04/03/2026

Before Quezon City’s domes and institutional towers articulated the skyline, there was first a rotunda—an intentional clearing in the urban field that signaled arrival. Opened in 1948 as ceremonial threshold to the newly declared capital, the rotunda was conceived not as incidental infrastructure but as civic prologue. At its center once stood a monument by Luciano V. Aquino, welcoming visitors into what was imagined as the future seat of Philippine modernity. The photograph reveals the spatial clarity of that gesture: a measured plinth rising from concentric steps, the arch positioned as vertical counterpoint to the horizontal sweep of road and sky. It marked the boundary between Manila and Quezon City. To pass this point was to move from colonial capital to planned city of independence.

Architecturally, the Welcome Arch declares itself through disciplined simplicity. Twin vertical pylons—rectilinear, planar, and unadorned—support a horizontal beam bearing a single declarative word: WELCOME. In the image, the whiteness of the concrete surfaces catches the tropical light, emphasizing mass over ornament. The opening carved between the pylons is not an applied arch but a void—an abstracted portal that frames sky and horizon. This is stripped classicism of the early postwar years, when architectural authority resided in proportion and symmetry rather than embellishment. The stepped base anchors the composition, while the lettering crowns the structure with graphic emphasis. Modest in scale yet monumental in intent, the arch performs the essential architectural act of framing passage—transforming transit into ritual.

Over time, the rotunda evolved from threshold to stage. It became a site of rallies, protests, and assemblies, where civic life unfolded beneath the same beam that once greeted dignitaries and migrants. On May 17, 1995, under Mayor Ismael Mathay Jr., the roundabout was renamed Mabuhay Rotonda—an effort to foreground the Filipino salutation of vitality. Yet whether inscribed in English or invoked in the vernacular, the architectural gesture remains constant: an invitation cast in concrete. In the larger narrative of Philippine architecture, the Welcome Arch may be overshadowed by grander edifices, but it is foundational. It marks the psychological and territorial threshold where Quezon City first asserted itself as cradle of a new national imagination—a prologue in built form, beneath which generations have crossed from aspiration into history.