International Journal of Advanced Research in ISSN: 2278-6236

Management and Social Sciences Impact Factor: 6.284

VERNACULAR ARCHITECTURE: UPHOLDING TRADITION THROUGH

MATHEMATICAL EXPRESSION OF ARTISTRY IN THE CONSTRUCTION OF
KALINGA HOUSES
Lalin Abbacan-Tuguic, Kalinga State University

Abstract: Kalinga indigenous house construction is one of the most well-liked ethnic
structural designs for having make use of traditional system of construction that is more
multipart than its seeming simplicity. The research set out to attain such intention, to visit
and document the details on traditional houses for comparison as to the following areas:
structural framework that make the various parts of the house, manifestation of
mathematical concepts in planning and assembly of the pre-fabricated and nail-free
individual parts, types and quality of materials used ; describe the layered structure and the
functionality of space of the folk architectural design; and identify the socio-cultural values
attached to the house. The research is descriptive narrative type.The study discloses that, the
way of life of occupants is of great influence on vernacular house forms. The Kalinga
traditional most vital feature that evokes artistic expression in construction is its suitability
to the ecology of the place. The Kalinga ancestors may not have acquired a particular
education in engineering and architecture, but closer examination of the structure reveals
that indigenous carpenters clearly understand and apply principles in construction that give
beauty and durability to a building such as balance, proportion, synchronization, space, and
among others and built environment, spaces, and the activities of people are inter-related
and inseparable.
Keywords: Vernacular Architecture, Tradition, Mathematical Expression, Artistry, Kalinga
House
BACKGROUND OF THE STUDY
Vernacular architecture is a category of architecture based on local needs, construction
materials and reflecting local traditions. At least originally, vernacular architecture did not
use formally-schooled architects, but relied on the design skills and tradition of local
builders. However, since the late 19th century many professional architects have worked in
versions of the style. It tends to evolve over time to reflect the environmental, cultural,

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Management and Social Sciences Impact Factor: 6.284

technological, economic, and historical context in which it exists. While often difficult to
reconcile with regulatory and popular demands of the five factors mentioned, this kind of
architecture still plays a role in architecture and design, especially in local branches. (Scott,
1996)
The Filipino house is much the same among civilized and uncivilized tribes, and has changed
but little since the islands was first visited by Europeans. There is nothing very distinctive
about the Filipino house. Its general type occurs through the forested tropical parts of the
earth, at any rate wherever the population does not live clustered in cities. The main
essential is a steep roof to provide a dense shade from the sun and shed the torrential rains.
The second requisite is a floor that shall be raised above the dampness of the ground and
the snakes and vermin that infest its surface. The Filipino floor is always a few feet above
the soil, often eight or ten and sometimes, when houses are set in the forked branches of
trees, twenty, forty, or even sixty feet. (Scruton, 2003)
Kalinga as one of the major tribes in the Cordillera settled on leveled or terraced areas on
the slopes of steep mountains situated near waterways, because of the prevalence of tribal
wars in the past, the ili or village were located in the strategic areas surrounded by difficult
terrain where villagers can easily be forewarned against invaders or intruders (Delos Reyes).
Kalinga traditional house building is one of the most admired ethnic structural designs for
having employed an indigenous system of construction that is more complex than its
seeming simplicity. This old or ethnic architecture were all inspired by the environment like
the climate, vegetation, and fauna. (Perez, 2000)
As observe in the modern/polite architecture, Vernacular is becoming a basis for our new
structure, getting its feature of being multifunctional, having a big room with many different
uses, is an example of copying a traditional house functions. As well as passive ventilation,
that saves everything from being used on air cons and electric fans. Also we are again using
more organic material that will not pollute and destroy our nature. With all that we can see
that the shadow of the traditional house still lingers in our structures of today, its functions
being used, it may be different in materials but its uses are still the same in its use.
(Architeacher)
As a design concept for a structure that is inspired by native a house, a design that goes with
the time, it basically means that the folks were able to construct with the available materials

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Management and Social Sciences Impact Factor: 6.284

and tools. It would make use of the functions of the Kalinga traditional house that has
presented a kind of structure that is both functional and efficient need the use of the
technologies today to make a structure that both respects the past and the present. The
account of the Kalinga vernacular architecture is knotted with that of the people, their
socio-cultural beliefs and traditions and practices, as well as their indigenous knowledge
systems and practices. But while Kalinga architecture is reckoned important part of the
people’s really rich tangible heritage that allows present day generation to understand and
appreciate their past, barely is there an effort undertaken to conserve it. At present,
vernacular Kalinga house builders are decreasing and native construction materials are at
the edge of extinction, a disturbing reality which practically threatens the survival of the
people’s already vanishing heritage. (Sugguiyao, 1990)
Thus, Imperative to the conservation of the traditional Kalinga house is the understanding of
its intrinsic cultural values in union with acquiring the knowledge and skill of its
construction. This way, we come to appreciate our past, enhance our present lives, and
outline the structure of our future. As stated by Noche (2009), the history and culture of a
nation can be reflected in its architectural heritage
CONCEPTUAL FRAMEWORK
The term vernacular is derived from the Latin vernaculus, meaning "domestic, native,
indigenous"; from verna, meaning "native slave" or "home-born slave". The word probably
derives from an older Etruscan word. In linguistics, vernacular refers to language use
particular to a time, place or group. In architecture, it refers to that type of architecture
which is indigenous to a specific time or place (not imported or copied from elsewhere). It is
most often applied to residential buildings.
Thus, everything has a beginning; everything would have started from something, some say
that there is nothing that is original, because everything is based on something else; some
say that things are created because of it being needed. We transport ourselves to the past,
and look at what was there before us. The traditional Kalinga house is a structure that is
created with the use of very organic and all natural building materials that are the only
things where available at that time, no use of technology being made and build by the hands
of the people before us.

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The house shows sub-phonemic differences which produces quite a colorful list of local
variants that is bale (Kiangan), faze (Banaue), pwale (Mayoyao), baley (Bakod), ba-ey
(Bakun), bo-oy (Kayan), booy (Asiga), be-ey (Tiempo) , boroy (Bonot), foruy (Bangad), buloy
(Mabaca), fuloy (Bugnay), pfoloy (Talalang), furuy (Maducayan), fyarey (Natonin) and fo’loy
(Pasil). The same root word is found among neighboring dialects (e.g., Ilocano balay,
Cagayan Negrito bali', Ibanag bale) and pretty generally throughout the Philippines (e.g.,
Mandayan baey, Tagalog bahay)-to say no- thing of far Polynesia (e.g., Hawaiian hale,
Samoan fali). The Bontocs, however, call their houses afong. that Kalinga houses-furoy
(Bangad), fuloy (Bugnay), phoyoy (Balbalasang), bey’oy (Lubuagan).
OBJECTIVES OF THE STUDY
Specifically, the study aims to:
1. visit and document the details on traditional Kalinga houses for comparison as to the
following areas:
A. folk structural framework that make the various parts of the house,
B. manifestation of mathematical concepts in planning and assembly of the pre-
fabricated and nail-free individual parts traditional Kalinga house;
C. types and quality of materials used.
2. describe the layered structure and the functionality of space of the folk architectural
design of the Kalinga house ; and
3. identify the socio-cultural values attached to the folk architectural design of the
Kalinga house.
METHODOLOGY
As this research relies on existing data that are largely visual in nature, insight observation
took the forefront among the methodological options. Documentation plays a considerable
role in recording data needed while also taking into accounts the folk wisdom courtesy of
the descriptive narration of the village elders during interviews scheduled with the village
craftmen who still maintain the tradition in some areas of Kalinga Province. Also to lend
legitimacy to the wealth of data gathered a consultation was scheduled with Mr. Alonzo
Saclag, a National Living Treasure Awardee in culture and the art.

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 International Journal of Advanced Research in ISSN: 2278-6236
Management and Social Sciences Impact Factor: 6.284

RESULTS AND DISCUSSION

1. The Traditional Kalinga House (Foy’oy)
A. The Folk Structural Framework and Parts of the House
Even before Christian lowlanders encroached on their lands, the Kalinga people were
already divided by class. Some families had plenty of Riceland, enjoyed full granaries, and
hosted feasts where their many guests ate and drank for several days at their expense.
Other families had limited land, had little to store, and never knew where their next meal
would come from. In between these two extremes were those who, though not wealthy,
were not destitute either. These extremes in social class are reflected in their traditional
house types.
Kalinga houses are of two shapes, the octagonal house and the square house. The Kalinga
house gives the impression to be nothing but a square and octagonal mesokurtic structure
resting on four and twelve posts. A meticulous examination of the structure, however,
reveals a multipart structure that renders tensile strength capable of hold out to a
destructive typhoons, heavy rain, and fierce earthquakes. It is constructed out of carefully
selected indigenous timbers that are strongly mortised, attached, and handled to hold the
house together. In its entirety, no nails are used for all connections. Below is the comparison
between the two types of house.
Square House (Vinulinaw or Pinaltong) Octagonal House(Gilitod/Finaryon)
The poor man’s dwelling among the It is the dwelling of wealthy families or the
Kalinga with four main posts erected aristocratic class and this type of traditional
directly at the corner. Square house is house could only be found in some part of
compact, sophisticated and deceptive in Tanudan, Tinglayan and Lubuagan. The
its simplicity. These square houses octagonal house which is larger and older than
might on statistical grounds alone be the square house is made possible by 12 short

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Management and Social Sciences Impact Factor: 6.284

called the "typical" Kalinga house, it is posts: four inner posts marking a square at the
elevated to about shoulder height by center and eight outer ones forming octagon.
four posts (tu’ud), around which are Girder and joists passing over the posts to
fitted cylindrical or square stone rat- support the floor laths, while rabbeted beams
guards. on the eight outer posts receive the wall
Four posts are mortised on to boards. the three floor joists, two girders and
intersections of the beams and joists. four posts which form the foundation of the
They carry crossbeams, each of which house are called fat-ang, 'oling and tu-od
supports a pair of queen posts. The respectively, and riding on top of the joists are
crossbeams that connect the tops of two beams or stringers that run from front
the queen posts allow rafters to rise in back called anisil or fuchis. Just beyond each
a slight curve over the roof beams to end of these stringers, but not mortised into
end the three ridgepoles. The sawali them, is another post set in the ground, and at
walls which are considered by other equivalent distance from the center of the
Kalingas "hardly houses at all" and house four more off to each side of the central
which are frequently destroyed by fire four, giving a total of eight for the support of
when their builders move on to new the wall. Across the top of these eight outer
swidden sites. These sawali walls are (and lighter) posts, and connecting them, are
lashed to the outside of the roof- eight short sills (pisipis) grooved to receive the
supporting posts (frequently made of wallboards (okong), the front and back ones
the fern-tree trunk which is resistant to being parallel, the two side ones being parallel,
rot), and the floor is so independent of and the four corner ones joining them at a 45'
them that an opening of several inches angle -producing that eight-sided plan for
appears between them on all sides which the house is famous. The logs piled
through which betelnut juice can be outside below the level of the floor are backed
spit. Such square houses are often up against a sawali matting (chingching) which
made of wood, and by the time the encloses the area beneath the house. The
Kalinga logs are piled up around outside thatched, hipped roof is not high and steep,
and the grass roofing laid on like a and the eaves form a rough edged circle. The
farmer's old straw hat, it is difficult to octagonal form is not clearly pronounced in the
distinguish them from octagonal houses wooden and bamboo walls. The octagonal
at a distance. In these wooden houses, house is about 6 meters long and 5 meters
of course, the wall-boards are mortised wide. The floor of the living area is 1 to 2
into sills, not lashed to the outside post. meters above the ground. The height from the
ground to the roof ridge is about 4 to 5 meters.

Similarities of the types of the Kalinga House

Both types of house are elevated by posts, and have a single room and split bamboo flooring
that can be detached, rolled up and taken to the river for washing. In other houses, the
floors are made of pinewood. Traditional houses of the Lubo, Fangad, ethnic groups in

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Tanudan, and Tinglayan share similar architectural designs. This could be attributed to the
relatively temperate climate these municipalities experience.
Generally, posts are either with or without roots. However, distinctive of the Lubo and
Fangad houses are the posts with truncated roots while the remaining four posts is a plain
round or square log, theses provides added stability and resilience against intense
earthquake. Meanwhile, the height of the wallboards reaches up to chest level
necessitating the shelves to be at a higher elevation.
The reed-mat floor (chatagon) is laid down in the center section on laths (chosar) set into
the top of the three joists parallel to the stringers, and in the two side sections on laths
which run transversely from the outer edges of the stringers to the inner edges of the sills.
Mortised into the upper faces of the stringers are four sturdy posts (paratok), each two of
which carry a cross- beam (fatangan) which, in turn, carries two light queenposts (ta'ray)
supporting four crossbeams or purlins (ati-atig) in the form of a square. The rafters (pongo),
fastened below to the upper beam (pisipis) of the outside wall, are bowed over these purlins
and drawn together over three small ridgepoles which carry little actual weight but form the
ridging (panabfongan). Despite the central square foundations and the octagonal floor plan,
however, the roof with its ridgepole presents a different profile from the side than from the
front. The bowed pongo- rafters are not duplicated on the front or back of the house;
instead, straight rafters (pakantod) run up only as far as the crossbeams (ati-atig), except for
the central one which continues on up to give some stability to the ridgepole formation. The
thickness of the grass thatching and the extent of the smoke hole overhang, however,
disguise these details from the observer on the outside, the whole roof appearing as
rounded as would be appropriate to an octagonal building.
The front, back, and two sides of the Kalinga house are a bit longer than the diagonal
corners, and the sills on the front and back which support the openings which serve as both
doorway and window actually have a different name (pang-sawaan) from the others
(pisipis), and are supported by being mortised into the stringers. In some floor area, one
corner is always missing where the ground-level door enters into the rice-pounding area to
be considered the true entranceway, a short ladder often being provided therein up to the
floor level. To support the resulting exposed edge of lathing and flooring, as well as to

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provide additional support for areas like the fireplace, extensions are mortised into the end
of one or more of the joists and carried to the outer posts.

Figure 1: Square House Figure 2: Square House Figure 3: Octagonal House

(vinulinaw/pinaltong) (finaryon/kinipas/sinagi/gilitod)
Parts of the Traditional Kalinga House
a) Posts (tu-od)- These are simply set on the ground with the truncated roots acting as
footing, and this is the one support the whole house. The house is erected on 12
short strong posts: four inner posts marking a square at the center and eight outer
ones forming octagon. which are usually made of large round logs having an
approximate size of 8-12 inches wide by 6-10 feet in length. These are buried about
2-3 feet below the ground and locked in with stones as foundation. Some posts have
intact roots. These are simply set on the ground with the truncated roots acting as
footing.
b) Laths (Chatal)- The wooden planks of the floor are about 2 inches thick and 7 feet 7
inches long. The width varies from 12 or 16 to 30 inches wide that covers the whole
floor area. The center section where the reed-mat floor(datagon) is laid down.
c) Pilling of Logs & lumber (korum) - the pilling up of logs and lumber along the outside
of the house as if to prevent any enemy from slipping underneath to drive a sudden
spear up through the bamboo flooring. It mat be 12-14 inches thick with 14-16
inches depth and 12-14 feet long. The top surface of each girder is flat while the base
is rounded.
d) Wall Header (patang) – This chest level transverse beam is where the wall boards are
rabbed.
e) Transverse Girders (oling) – It support the two floor beams and center floor joist
f) Sills (pisipis) – A short grooved that received the wallboards.

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g) Beams or stringers (Puchis) – It is the center floor beam upon which the floorboards
are fastened. Both sides of the center floor beam have right angled grooves for
attaching the floorboards. It used as a pillow.

SAKROT
OTOP TABBUNGAN

ATI-ATIG PONGO
FATANGAN
TARAY
GITOB CHATAGON GITOB PISIPIS
TONAk

PUCHIS
PATANG
OLING
TU-OD TU-OD
KORUM
CHATAL

h) Wall Header (patang) – This chest level transverse beam is where the wall boards are
rabbed.
i) Transverse Girders (oling) – It support the two floor beams and center floor joist
j) Sills (pisipis) – A short grooved that received the wallboards.
k) Beams or stringers (Puchis) – It is the center floor beam upon which the floorboards
are fastened. Both sides of the center floor beam have right angled grooves for
attaching the floorboards. It used as a pillow.
l) Reed-mat floor (chatagon) – It is made of bamboo or wood, used to cover the whole
floor area.
m) Wall boards (gitob/chavvi) – These measure about one and one-half inches thick ,
with varying width and height.
n) Intermediate post (tonak) –These support the ceiling beam and the lintel beam or
purlin.
o) Attic Central Beam (fatangan) – It is upon this attic central beam where one or two
king posts are positioned.
p) King post (taray) – It holds the roof from collapsing. It stands at the attic central

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q) Purlin (ati-atig) – It is a horizontal timber supporting the rafters of the roof. It also
carries the central cross-beam.
r) Apex Frame (taffungan) – It supports the upper ends of the rafters , the roof a
pyramid shape. It also serves as the smoke exhaust of the house.
s) Rafters (pongo) – It is fastened below to the upper pisipis –beam of the outside wall,
are bowed over the purlins and drawn together over three small ridgepoles which
carry little actual weight. This is also the first layer of roof (otop).
t) Stick Mat (Sakrot/Pa'ol). These are long, runo sticks that tied by rattan vine in the
rafters ((pongo)or chopped flat boards held by the square roof apex frame. Small
tree branches are chiseled and pegged into the apex frame to hold the top rafters in
place. The lower ends of the rafters are also pegged to the purlins. They are equally
spaced and cantilevered to the level of the floor area.
u) Roof (otop) It made of cogon grass, a bundled of cogon grass roofing are laid
beginning from the base to the top and these are tied over a slit bamboos.
v) Shelves (tap-yay). These are built at the sides of the walls. From the wall header to
the roof, boards are fitted horizontally to form a shelf. The space is wide enough to
accommodate many clothes, mats, blankets and other household belongings. The
shelf above the wall header serves as a cupboard.
w) Fireplace (uutuwan). It is composed of a hearth (chalpong), fire wood shelf (suugan),
and rice stacking shelf (salpa-an). Except for houses used as rice granaries, the
Kalinga house is equipped with an earthen fireplace about 3 to 4 square feet. Above
it are layers of open shelves. The lower shelf is used for drying firewood. A shelf
above it is used to dry stacks of rice and other food staples to be dried and
preserved.
x) Door (sawang). A 2-3 pieces Sliding door depending on the width board up
horizontally to the end of the wallboards of to the intermediate posts and door
jambs. It is locked in place by a wooden hook-shaped wood.
y) Porch (Vangsal)- the terrace that opens to the living room.
z) Ladder (alchan). It is a meter wooden ladder with wooden rungs. It provides access
to the house.

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B. Mathematical Concepts in Planning in Construction of the Pre-Fabricated and

Nail-Free Traditional Kalinga House;
System of measurement
For the Ikalinga, the body parts, ruled when it comes to linear measurement. The length of a
foot, the width of a finger, and the distance are prevalent measurements among the folk
builders, Length and width of timber are estimated by means of arms length(chopa), the
distance between an adult's fully outstretched hands, and is measured from fingertip to
fingertip. One chopa may have an equivalent of about five to six feet depending on how
long are the arms of the person estimating the measurement (Tuguic, L, 2014).. On the
average, the floor area of a regular house measures about two square dopah or about eight
to ten square feet. The indigenous measurement Changan is also used. It makes use of the
span of the thumb and middle fingers' tip when stretched. This system of measurement is
frequently employed when calculating width of boards. Correspondingly, on the average,
the length of sin changan is about eight to nine inches.
Nail-Free Traditional Kalinga House

Traditional Kalinga House Construction Method (Octagonal House)

1. Lay the foundation of the house by digging the holes and put the four posts. Position
the four floor joists, four inner posts marking a square at the center . Put also the
eight short sills (pisipis) to the outer ones forming octagon.
2. Just beyond each and these stringers but not mortised into them, is another post
set in the ground, and at equivalent distance from the center of the house four more
off to each side of the central four, giving total of eight for the support of the wall,
across the tops the tops of these outer( and lighter post), and connecting them
which is grooved to receive the wall-boards
3. Affix the transverse girders into the posts and attached the floor beams on the top of
the girders. Mortise the secondary post to the side floor beams then connect the
front floor joist to both ends of the side floor beams. Girders and joists passing over

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the posts to support the floor laths, while rabbeted beams on the eight outer posts
receive the wall boards. Four posts are mortised on to intersections of the beams
and joists. They carry crossbeams, each of which supports a pair of queen posts. The
crossbeams that connect the tops of the queen posts allow rafters to rise in a slight
curve over the roof beams to end the three ridgepoles.
4. The wall-boards (cha’vi), the front and back ones being parallel to the two side ones
being parallel, and the four corner ones joining them at 45 angles producing that
eight-sided plan for which the house is famous. The logs outside below the level of
the floor are backed up against
5. The laths (chattal ) are set into the top of the three joists parallel to the stringers,
and in the two side sections on laths which run transversely from the outer edges of
the stringers to the inner edges of the sills;
6. The reed mat floor (chatagon) is laid down in the center section on laths (chosar ) .
rolled reed mats which are sometimes put down for domestic chores
7. Lock in the wall header to the wall boards and mount horizontally the attic center
beam and two other supporting beams to the purlins.
8. Drive wooden pegs to the bore holes at the joints to secure them and mortise the
king post to the attic center beam. Also, mortise its top tenon to the apex square
beam.
9. Bore holes at the rafters and at the apex frame then after which, tie the upper ends
of the rafters to the apex frame.
10. Structure the rafters with runo stick and lay them horizontally over the roof and tie
securely.
11. Roof the house with cogon starting at the bottom progressing upwards with four to
five bundles are tied together one at the time on the rafters.
12. Tie the cogon at the protruding king post and mount the door cover it a pot so as to
keep the knot intact as well as to prevent leakage during rainfall. Afterwards, trim
the edges of the cogon roofing; mount door jamb on the front floor joist; firmly fit
the floor boards to the floor beams and joists; place the wall header over the door
jamb; refine and fit the wall boards in place.

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13. Put in the supporting beams of the shelves. Next, create the shelves at the front,
sides, and rear of the house starting the wall header to the rafters.
14. Construct the sliding door by rabbeting the wood planks and make a stick mat for
the floor of the attic by twining each stick with thinly stripped rattan vine.
15. Make the movable ladder out of bamboo and build the fireplace by filling the three
square fit box with soil.
16. Subsequently, install three stones at the middle to serve as fire stove.
C. The Traditional Kalinga House Construction Tools Materials
The local environment and the construction materials it can provide, govern many aspects
of vernacular architecture in Kalinga . Areas rich in trees will develop a wooden vernacular,
while areas without much wood may pinewood (fanglan) or it is common to use bamboo, as
it is both plentiful and versatile. Vernacular house, almost by definition, is sustainable, and
will not exhaust the local resources. If it is not sustainable, it is not suitable for its local
context, and cannot be vernacular.
The use of modern equipments and technologies are inaccessible to the Ikalinga of ancient
times, yet their resourcefulness enabled them to devise ways to measure, cut, shape, and
connect each part of the house with incredible precision, constructed with native tools by
local techniques purely local materials by traditional techniques but rendered variations in
size, shape or number of component parts, usually to the increase of convenience and often
with real ingenuity.
To cut and chop lumber, a native ax (wasay) is used for chopping timber. Then, a coil of
string (pey’tik) soaked in a staining liquid is employed to mark straight lines on logs, thus
serving as guide when cutting or sawing. For making mortise and tenon, chipping extra
segments, as well as shaping lumber into its desired form, a large and heavy single bladed
bolo is utilized. A chisel is also used in boring holes. Rattan vines, on the other hand, are split
thinly by means of a small but sharp knife. Meanwhile, coarse leaves of the Liha tree are
used as sand paper to refine the surfaces of the board.
The local and environmentally friendly materials used in construction are Giant fern/pine
tree or any hard woods, these are utilized for posts, beams, and wallboards, different
species of bamboo are use to set the walls, floors and roof, and for tying and pegging the
mortise and tenon folk builders make use of rattan and dries cogon grass are bundled with

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rattan strips and carefully clipped onto the rafters as roofing Runo sticks – used for making a
floor and it used for the second layer of roof.
C.1. Construction Materials
Major Parts of the House Octagonal House Square House
(Finaryon) (Vinulinaw)

1. Post

Timber Giant Fern (banglan)

2. Wall Boards

Wood(ja’vi) Bamboo

3. Roof
Runo Stick (pa’ol) Runo Stick(pa’ol)

Dried Cogon Grass(go’lon) Dried Cogon Grass(go’lon)

Rattan(iwoy) Rattan (iwoy)

C.2. Common Construction Tools

Ax (Wasay) coil of string (pey’tik) (Katam)

Taga Kabra Lusok

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Ribir Paso’
2. The layered structure and the functionality of space
Despite its being a one-room house, the space of the Kalinga house is multi-functional. It
does not only serve as a shelter from environmental elements but for multifunctional
purposes.
A. Traditional Kalinga House First/Ground Level
The first level is a space under/below the house. It serve as storage area for farm tools and
equipments, log for firewood, for pounding rice during rainy seasons and often times as
animals den during night time. Below the house, it serves as midday rest, entertaining
visitors, weaving, carving, and accomplishing other household tasks.

B. Traditional Kalinga House Middle/Main Level

The second and main level is the family’s living room, kitchen, and bedroom. It is accessible
through a removable ladder. Within the sides of the main level are shelves, which serve as
storage area for clothes and blankets as well as kitchen utensils.
The main level is accessible through a removable ladder (alchan) leading to a porch
(vangsal), entering the house is made possible by a 2-3 vertically mortised sliding door
opens to the living room or the platform (chattagon), it is lower than the other sides, it is
the area for eating, recreation, and performance of rituals and other family life cycles. To
the left and right, as one enters the house is the sleeping area called sipi, it is elevated 2-3
inches from the chattagon, each about 1.20 m. wide. It is basically a bamboo mat woven
with rattan strips and laid on laths. At the middle section the bamboo strips of the mat run
crosswise; at the side sections, lengthwise, thus further defining the levels and spaces. and
water jars on the sipi opposite it. Clothes are kept in rattan boxes on the side floors.
towards the rear, is the fireplace slightly raised above floor level, one senses the protective
feeling of the dome and the warmth emanating from the fireplace towards the rear, Over

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this fireplace is the storage rack called sarpaan and suugan.; the hearth consists of three
similar in size stone called chalpong, above the hearth is a storage for firewood (su’ugan)
above the su’ugan is for drying purposes such as palay during rainy seasons and or
domestic/wild meat. Opposite the front door, on the back wall is another door; this serve as
exit passage during tribal wars or a way to do other household chores. The walls from floor
level to eaves are of wooden boards placed vertically. From ground level to floor level, the
walls are of plaited bamboo or sawali. Logs are piled against the lower section of the wall.
The interior of the house is remarkable for its spatial concept and organization. The floor is
divided into three parallel sections running front to back, the central portion being lower
than the sides. The eight sides are more clearly defined inside the house than outside
because of the exposed structural frame of walls and roof. The roof’s inner configuration
dominates the interior space. The Kalinga roofs vault and octagonal plan create a sense of
expansion within the interior. The floor, consisting of reed mats that can be rolled up, gives
the interior a play of textures.
Kalinga houses have no furniture as such, and other house- hold fittings are very simple.
Cooking is invariably done in a square ashbox fireplace with no chimney and with three
stones, above the fireplace there are always two or more shelves suspended from beams or
crosspieces, a heavier one for drying firewood (su-ugan) and lighter one for grain or
legumes(salpaan). Such food as salt which requires dry storage is kept in bamboo, wooden
or woven containers tucked in someplace over the fire or in the roof structure, and a
number of bars or protruding ends of beams, sometimes carved into hook shapes, serve for
hanging clothes or other things likely to be chewed up by rats. Although both eating and
sleeping are done on the floor, common in the southern part of the Province are blocks of
wood about four inches high used as stools or pillows or as supports to raise the head end
of a sleeping board, while in Kalinga people sleep with their heads resting on the higher side
sections of the floor. In Kalinga, too, where heirloom Chinese plates are made much of,
most houses are fitted with a kind of plate rack for preserving and displaying them. The
following are some of the parts of the middle layer of the Kalinga house.

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alchan (ladder) Vangsal (porch) Sawang(door)

Vangsal (ladder)
al (ladder)

chattagon (reed mat) sipi (bedspace) chalpong (fireplace)

C. The Traditional Kalinga House Upper Level (roof)

Above the main level is the attic, commonly known as the otop. It is made by lining the attic
beams with a stick mat. Basically, this space is utilized for storing rice and ritual
paraphernalia. In addition, it acts as a structural support to the roof.
The roofing material, with the exception of the solid bamboo roofs already noted, is
invariably a kind of coarse grass bound to a flat covering of parallel reeds; in a few places at
lower altitude the leaves of these same reeds are used instead, and at a few places the roofs
are mainly grass but have reed-leaves at the eave ends. The four-trapezoid roof common, in
varying propor- tions, to the rest of the Cordillera has the double advantage of giving eaves
and protection to all sides of the house at the point where rain is most likely to beat in, yet
having what amounts to tiny open gables under the ridgepole as smokeholes. This is the
general shape of the tile roofs of Japanese and Chinese temple architecture, and may well
serve as a clue to the origin of the same.

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Suugan (Storage rack) salpaan (Storage rack)

3. Socio-Cultural Values
The house is one of most valuable possessions among the Kalingas. Attitudes toward houses
are integral part of peoples’ world-views and need to be understood in a wider perspective.
It holds family life where the folk procreates and children are raised and shaped until they
are grown and prepared to have families and homes of their own. Hence, its construction is
treated with strict adherence to certain to traditions and practices from the beginning until
it is finished.
The Kalinga Bayanihan system (gah’gah)
Building a house for the Ikalinga is a group effort, a practice is known as gaga. The workers
do not expect any pay for the labor they voluntarily rendered. The mere thought of having
been able to extend assistance when one is in great need is deemed a valuable
compensation. On the other hand, one is assured that willing hands are readily available
when needed in the future. There are instances whereby the gah’gah is carried out. Primary
is during the transport of bamboo and lumber from the forest to the community. Then, the
collection of cogon grass and runo (pa’ol) shoots for roofing. After that, the construction of
the Kalinga traditional house.As soon as one plans to construct a house, he informs his
kinsmen and neighbors, inviting them to help one or two days before the gah’gah is
scheduled. For the Ikalinga to show profound gratitude, the house builder’s family prepares
plenty of food and drinks for the workforce. A pig is butchered for their lunch, and rice cake
(pinantalok or inanchila) is to be served for their snack time. In the afternoon relaxation,
ample sugarcane wine (fayas) is brewed for their pleasure.
The Kalinga Paniyaw and Ngilin (Prohibition and Taboos)
Traditional house construction requires strict observance of prohibition and taboos as well
as performance of several rituals. From the entire duration of the construction, the owner
should be vigilant for negative omens that might bring bad luck to the workforce or to the
family who will soon occupy the house. For instance, a snake or a red bird (ichaw) crossing
the path while going to the work imply a negative sign necessitate the postponement of any

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activity related to the construction of the house. On the other hand, work is also set in
abeyance if a death vigil is being held within the village.To make certain that the house
would endure the tough environment, workers are usually required to adhere to certain
ritual prohibitions known as ngilin. To ensure that the prohibitions are religiously observed,
some would ask their workers to stay with the family while major work is going on.
The Kalinga Gender Roles and Ownership
Conventionally, the male members of the family prepare the lumber, runo sticks, and rattan
vines. They are also responsible for erecting the structure. On the other hand, the females
prepare the meal of the workforce.The family house is usually vacated and given to the
eldest daughter upon marriage. Parent believes that the oldest son had a potential to build
his own house when he get married , but if there’s no girl in the family the house will give to
the oldest son of the family.Custom prescribes for parents to build a new house soon as
they receive information of their daughter's plan of getting married. This way, the couple
will have a shelter of their own.In other tribes of Kalinga , the family house is reserved for
the youngest child of the family. In so far as the youngest is deemed to be the last to marry
and leave the house, he or she would at least have a place to stay. Besides the youngest
child has the responsibility of caring for the parents in their old age. Hence, the house stays
with him or her.Among the Tuwali, the house is reserved for the youngest child of the
family. In so far as the youngest is deemed to be the last to marry and leave the house, he
or she would at least have a place to stay. Besides, the youngest child has the responsibility
of caring for the parents in their old age. Hence, the house stays with him or her.
The Kalinga Traditional House Adornment & Symbols
The Ikalinga decorations are aesthetics as well as socio-politico-religious emblems. Common
embellishment are the (say-ang and kalasag), (panay), (gusi), (baag and kain), the
rich(baknang) display skulls of butchered pigs and horns of carabaos and deer on the walls
or front post of their houses as ornaments to show off their wealth and social status. Inside
the wealthy Kalinga Houses are shelves or racks (sakaw) where heirloom pieces like Chinese
plates (panay) and jars are displayed. Such display of the family heirlooms is a status symbol
among the Kalinga. Other Kalinga structures are the alang or granary and the sigay ir resting
shed in the fields. Other emblems are the allot placed at the top side of the roof main house
post to protect the house.

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The Kalinga House Construction Rituals

In the cutting of lumber for construction materials, Ikalinga believe that every tree has a
soul, thus a ritual is being perform to ensure that the main parts of the house such as the
posts, side floor beams, center floor beam, transverse girders, and secondary posts are
intact. By doing this, they are convinced that the bonding of the trees' souls will keep the
house strong against calamities. During the construction of a house, especially the
foundation of the house, another ritual is to be perform to seek permission from the deities
as well as to beg them to protect the workers and the structure so that no harm may beset
them. When a new house is constructed, the Kalinga perform another ritual called
Chumchumog to acknowledge and praise the deities for blessings of prosperity and good
health for the occupants of the house. In case a bad omen is observed from the bile sac of
the sacrificial animal, habitation of the house is postponed or called off. Through
experience, bad omen usually signifies an impending doom for the family. It is, therefore,
interpreted as forewarning from the deities. The traditional priest blesses every part,
corner, and level of the house so it may last long and brings peace, harmony, and fortune to
the occupants. At the same time, a family welfare ritual may also be performed for the
occupants.
Sample of ritual in Chumog that the old woman chants in dialect:
“Adi pay martu de tagu sia martu de kau.” This means that “blessed this house and
so with the family so that the will be happily ever after. The woods will be the one to
be ruined not any member of the family.”
CONCLUSION
1. The way of life of occupants is of great influence on vernacular house forms. The size
of family units, who shares which spaces, how people interact and many other
cultural considerations will affect the layout and size of the Kalinga traditional house
and most vital feature that evokes artistic expression in construction is its suitability
to the ecology of the place.
2. Despite its being a one-room house, the spaces of the Kalinga house is multi-
functional. It does not only serve as a shelter from environmental elements and a
place to procreate and raise a family but for other purposes as well,

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3. Kalinga Culture has a great influence on vernacular dwellings, the built environment,
spaces, and the activities of people are inter-related and inseparable. The value of
sharing, observance of prohibitions and taboos and performance of rituals, and
display of symbols and ornaments, as occupants often decorate buildings in
accordance with local customs and beliefs serve as an expression of the people’s
creativeness, feelings, thought processes, values, experiences, fears, and aspiration.
RECOMMENDATION
1. Kalinga architects should study vernacular dwellings including aspects of the
vernacular in their designs and draw inspiration from them, for innovations in
environmental and socio-economically sustainable design and planning.
2. On mathematics Education, engage the students to learning experiences with real
life situation or materials observable in their environment and culture, allow
students to see connection of modern mathematics and the indigenous
mathematics from their heritage. These concepts are very relevant to mathematics
education especially in learning process that focuses on understanding and analytical
thinking.
REFERENCES
[1] Architeteacher: Architecture and Aesthetics. http://www.architeacher.org/
aesthetics/archi main.html. Access on April 2015.
[2] Noche, Manuel .(2009). History of Philippine Architecture. http://www.livinginthe
philippines.com/history_of_philippine_architecture.html. Access on March 20, 2015
[3] Perez, Rodrigo .The Mountain Houses. Architecture http://aboutphilippines.ph
/filer/toledo-cebu/a135-Cordillera-Architecture.pdf. Access on April 2, 2016
[4] Scott, William Henry.(1996) On the Cordillera: A look at the Peoples and Cultures of
the Mountain Province. MCS Enterprises, Inc. Manila.
[5] Scott, William Henry. (1982). The Discovery of the Igorots: Spanish Contacts with the
Pagans of Northern Luzon. New Day Publishers, Quezon city.
[6] Scruton, Roger. The Aesthetics of Architecture. http://www.archidose.org/
Mar00/030600.html. access on April 15, 2016
[7] Sugguiyao, M. (1990). The Kalinga Hill Tribe of the Philippines.

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