Rooted in place: how David Agamos Padadac is championing sustainable Filipino design

Such a thoughtful, patient approach was shaped partly in London and partly in the Philippines. Two decades of accumulated fieldwork in high-stakes environments cultivated a razor-sharp intuition, as each decision has immediate and cascading consequences.  

Working extensively with Tao Philippines, one of the country’s most respected names in experiential travel and island hospitality, gave Aga Mos a true foundation of operational proof rather than simple theory. Immersion in remote local environments shaped by weather, tide, salt exposure, off-grid systems, seasonal logistics and long-term maintenance taught Padadac the weight of design’s conversation with nature. The same rigour is visible in his work for Amanpulo and El Nido Resorts at Pangalusian, projects where climate-responsive thinking is not a design preference but a structural necessity.

For Padadac, sustainability is more than a buzzword. It is a lens for clarifying the materials to be used in a project. Beyond using earthbound materials, Padadac asks if the team is “using the material honestly: can it be repaired locally, will it age with dignity, will it cost the owner more over time than it should?”

What sets Aga Mos’s practise apart is the breadth of its sources of information. Instead of importing specialists, Padadac works closely with the people on the ground, from fishermen and carpenters to local builders. Their deep understanding of bamboo species, joinery and coastal durability has been an essential component of Aga Mos from the beginning. 

One ingenious strategy was repurposing fishermen’s techniques for tying nylon into structural roof systems. This local intelligence adds unexpected dimension to Aga Mos’s approach, more firmly situating it within the local context and empowering the community’s strengths.  

Through ongoing training programmes, local workers are also brought into bamboo architecture and earth wall construction. Aga Mos also partners with local universities, offering internships and on-site training for architecture graduates, with a mentorship pathway toward site management and architectural leadership.  

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When asked what his inspirations are, Padadac points to the vibrant Mexican and reflective Japanese cultures. Their underlying principles regarding relationships with materiality and purposive spaces appeal to this designer. 

A period spent in Kyoto proved particularly formative. What he kept noticing in the temples was not the architecture proper but the spaces adjacent to it: gardens and courtyards set just far enough apart from the living areas to constitute their own distinct experience, creating total clarity of mind and spirit. “That matters a lot when you’re living and breathing your work,” he shared. “The home has to have some rigour built into it—not so that it feels demanding, but so that it quietly helps you think clearly without having to try.”

His Igorot heritage also provides a more personal reference point, as he calls back to the intentionality of life in the highlands. Working in tandem with nature instead of imposing one’s will on it is a key aspect of indigenous life, and something he carries into every project.  

These convictions are distilled in Padadac’s own homes, both of which function as prototypes for the design principles he recommends to clients before infusing them into their homes.

River House occupies the smaller of two villas on an inland site in the quieter, hillier part of Lio, El Nido. Closer to the farms than the coastline, the home is removed from the tourist infrastructure that has shaped much of the shoreline. The rhythmic river nearby sets the tone for an idyllic daily routine, while ancient vegetation creates a cool and lush atmosphere. Next door stands a larger villa that serves as an Aga Mos satellite studio. 

When Padadac first found the place, it was composed of two rooms for rent. Such limitations were an interesting challenge to work with, ensuring that every decision was honest and purposeful. Padadac focused on maintaining natural ventilation and lighting, while the furniture was chosen for mobility and durability. Here, visitors can find Japanese ceramics paired with artisanal Filipino pieces, while books collected from his travels provide innovative sources of inspiration. 

Similar to the Kyoto temple gardens, the River House garden is the beating heart of Padadac’s home. He often begins and ends his days in this meditative environment, nestled in the sounds of nature unfolding all around him. This connection with nature reminds him that the best qualities of a place are rarely the ones humans are involved in designing. 

In contrast, his Dua Dua home in Makati situates the same design principles in a vastly different context. This 150-square-metre apartment is situated in an old Makati building, the construction of which began in 1979. Now sitting above a retro mall in the centre of this bustling city, Padadac exchanges the rushing river for the daily sounds of vendors and workers from all walks of life. In contrast with the glass towers around it, this space retains its old-world charm. 

Working with the apartment’s bones, Padadac opened the kitchen up to the living and dining areas for a more seamless experience. He preserved the marble flooring underneath, saving timber from the original parquet for doors throughout the apartment. 

Together, River House and Dua Dua articulate what a decade of professional practice in the Philippines has confirmed: that good design is not about accumulation. For Padadac, “it is about creating enough space—physically and mentally—for the life you want to live.”

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