Cover Inside Tanghalang Nicanor Abelardo of the Cultural Center of the Philippines (CCP), as it undergoes intensive rehabilitation (Photo: Toto Labrador)
Inside Tanghalang Nicanor Abelardo of the Cultural Center of the Philippines (CCP), as it undergoes intensive rehabilitation (Photo: Toto Labrador)
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The Cultural Center of the Philippines (CCP) is not only rehabilitating its iconic structure but also breaking down the invisible barriers of elitism—creating an accessible and welcoming world-class arts institution
The Cultural Center of the Philippines (CCP), an enduring titan of Philippine architecture, is an iconic brutalist masterpiece originally championed by former First Lady Imelda Romualdez Marcos in 1966 and brought to life by National Artist Leandro V Locsin. Inaugurated in 1969, the majestic edifice has weathered over five decades of heavy artistic use and harsh environmental elements. Upon inspections made in 2015 and 2018, the building’s condition had become concerning; the once-solid concrete roof had endured cycles of leaks and repair, rainwater penetration causing damage to the interiors, and flooding of the basement inundated the Little Theater located below the water line. Faced with water intrusion from both ends, CCP’s Board of Trustees made the crucial decision to shut its doors and commence a comprehensive structural upgrade in 2021.
Above One of the sections of the staircase inside the building
One of the sections of the staircase inside the building
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Today, the complex is undergoing a historic transformation funded entirely by the national government, with the support of the Office of the President. The primary spaces like the Main Theater and Lobby are targeted to be completed by December, in anticipation for the public reopening hopefully by the end of February 2027. It has become abundantly clear that this is no simple facelift; it is a profound architectural surgery, a delicate balancing act between heritage conservation and 21st-century modernisation.
To truly comprehend the scale of this rehabilitation is to look at the meticulous, almost archaeological scrutiny applied to the building’s very bones.
“It’s different seeing something complete—the skin of everything— from actually seeing how it’s been thought out and put together,” shares architect Jiddu Bulatao of Leandro V Locsin and Partners, reflecting on the genius of Locsin’s original plans. Architect Ma Bernadette Adelaine Sta Ana, the construction project manager from Design Coordinates, Inc, explains that putting the building back to its original state does not comply anymore with the current building code. Thus, the complex required intensive upgrades—from its structural framing, to its fire protection systems, to its mechanical, electrical, auxilliary and plumbing infrastructure.
Above A peek at the stage of Tanghalang Nicanor Abelardo
A peek at the stage of Tanghalang Nicanor Abelardo
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One of the most visible changes involves the CCP’s iconic main façade, originally clad in Italian travertine. “The stone facade itself has undergone generations of replacements,” Bulatao explains, noting that water permeation had severely damaged the concrete and rusted the rebars underneath it. Given the damage to the wall underneath, mismatched replacements where soft marble was at one time used to replace sections of the travertine, and its bleaching from UV and acid rain exposure over time—the decision was to strip the stone. After repairs to the structural framing, and retreating the waterproofing, this will once again be clad with Italian travertine—as it fits the authentic heritage identity of the building. The structural integrity of the entire building is also being fortified against earthquakes with Carbon Fibre Reinforced Polymer (CFRP). Unlike traditional steel jacketing, which consumes space, CFRP wraps tightly around beams and ceilings, allowing the architecture to maintain its original dimensions whilst passing rebound hammer and concrete testing.
Above CCP President Kaye Tinga
CCP President Kaye Tinga
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The team is also painstakingly addressing areas affected by concrete spalling. “Even on the walls, there are spots that are kumakapak [hollow knocking behind the solid concrete or plaster surfaces—indicative of concrete delamination],” Bulatao points out. This occurs when trapped water causes internal steel to rust, oxidise and expand, slowly pushing the concrete out. Addressing this involves chipping away the decayed concrete until healthy steel is reached, then carefully replacing it without damaging adjacent heritage elements, such as the curved benches designed by National Artist Arturo Luz on the side facing Bukaneg Street.
“It’s easy for architects to think, ‘it’s one and done forever’,” says Bulatao, reflecting on discovering aspects of the building that were intentionally made and planned but have proved to be problematic over the years. “But a building is living, it changes, it moves. Over time, it needs tender loving care to keep it around. The bigger the perspective you have of time for your buildings, the smarter you can be about making them last,” he says.
Read more: April 2026 Global Art Agenda: navigating memory, materiality and migration across borders
Beyond the brutalist walls
Above Architectural renderings of the facade and side entrance of CCP (Photo: Design Coordinates Inc)
Architectural renderings of the facade and side entrance of CCP (Photo: Design Coordinates Inc)
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While the physical building has been closed, the institution’s spirit has thrived under the dynamic leadership of CCP President Kaye Tinga. Embracing the mantra “Ang kultura ay para sa lahat [Culture is for everyone]”, Tinga has viewed the closure not as a hindrance but as an opportunity to break down elitist barriers.
“It has pushed us beyond our historic walls, bringing the arts into covered courts, school auditoriums, plazas and other unconventional spaces,” Tinga proudly states. Flagship festivals like Pasinaya and Cinemalaya were successfully transplanted to alternative venues, drawing curious walk-ins and a younger, highly engaged audience. In 2026, the Pasinaya festival reached a borderless scale, drawing 15,000 attendees across multiple cities. The CCP Kaisa sa Sining network has also expanded to 81 partner organisations nationwide, ensuring regional artists actively shape the national cultural conversation rather than merely hosting one-way tours.
Above Architectural renderings of the facade and side entrance of CCP (Photo: Design Coordinates Inc)
Architectural renderings of the facade and side entrance of CCP (Photo: Design Coordinates Inc)
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Tinga’s vision extends heavily into the digital and financial realms. The launch of the CCP Channel transforms the institution into a 24/7 streaming platform, curated not just as an archive, but as a dynamic space for Virgin Labfest plays and beloved classics. Drawing from her background in philanthropy, Tinga has also leveraged initiatives like Ternocon to build robust public-private partnerships, diversifying revenue streams and proving to corporate sponsors that the CCP is a sustainable ecosystem for the arts.
Simultaneously, the CCP is preparing to reclaim its status as a premier global destination. Following a highly successful nine-city UK tour in 2025, the Philippine Philharmonic Orchestra has prepared other muts-see concerts throughout the season.
“When the CCP Main Building reopens, world-renowned artists will see a revitalised cultural complex and a premier cultural destination in Southeast Asia,” Tinga promises.
Read more: CCP Pasinaya celebrates 20 years of artistic immersion and expansion
A welcoming future
As November 2026 approaches—spurred on by the country’s preparations to host the upcoming Asean summit—the grand vision for the reopened CCP is still taking shape. Chairman Jaime C Laya shares that it will not be a singular event but a year-long celebration extending throughout 2027. He clarifies that rehearsal spaces and backstages would have to follow as they will begin reopening key areas first as the rehabilitation is expected to continue next year.
Above The iconic winding staircase of CCP’s lobby in the works
The iconic winding staircase of CCP’s lobby in the works
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For Laya, the mission remains steadfast: to encourage artists and rigorously develop audiences, specifically targeting the youth to appreciate Filipino art forms over foreign pop culture. He envisions creating more avenues to support their resident companies, awardees and other budding performance groups and artists by reorganising their arts patronage. Moreover, there is also the possibility of permanently moving the administrative offices to a separate building, dedicating the Locsin masterpiece entirely to artistic endeavours.
When asked to distil the spirit of the newly rehabilitated CCP into a single word, Tinga chooses “Welcoming”.
Above Rigging machinations, lighting and acoustic equipment are being updated to keep up with current standards
Rigging machinations, lighting and acoustic equipment are being updated to keep up with current standards
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“This renewal isn’t just architectural; it’s a statement that the CCP is ready to reconnect with the public, celebrate Filipino creativity, showcase international talent and create a vibrant home where every visitor can explore, engage and participate in artmaking,” she concludes. Ultimately, this monumental undertaking is more than a structural repair; it is the glorious, defiant rebirth of a nation’s cultural heartbeat.
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Credits
Photography: Toto Labrador
Photography Assistant: Albert Labrador
About
Before assuming the Art and Culture Editor position, Franz has always had a penchant for visual and performing arts. He is passionate about exploring and writing about the local cultural scene and rediscovering the country’s storied past and rich heritage. Besides working on this luxury lifestyle magazine, Franz is an avid book reader, local traveller, museum-goer, chorister, and community theatre playwright.
Work
Franz earned a degree in Journalism from the University of Santo Tomas. He writes about local visual and performing artists and their craft; drinks wines, liquors, and spirits and talks about the creativity of their respective winemakers and master blenders; tries to learn more about business and investments; respects the tradition and artistry that go behind the making of watches and jewellery; and appreciates the genius of architecture and creative design.
As head of Tatler Philippines’ pool of writers, he helps them bring impactful and socially relevant stories to light.
For any leads, you may reach him through @franzsorillaiv on Instagram or franz@tatlerphilippines.com via email.
