THE JUBILEE CROSS By: Rev. Fr. Brian C. Brigoli

Its Contextual Meaning
The cross is the most prominent image that declares the sublime truth of the Christian faith. It is carried in almost all of the aspect of the Faith from the ritual actions to the forms and styles depicted in sacred arts and sacred architecture with its building metaphors. It becomes the all-inspiring element that dictates the iconographic programs of both the tangible (the built structures and artifacts) and the intangible heritage (the liturgical and sacramental actions) of the church based on the very instrument of Jesu’s death in Calvary – the holy cross.

However, history tells us that the cross does not only carry a symbolic meaning for Christianity but as well as for the Romans. As for the many other traditional societies, the Romans considered the cross as the prominent symbol for the cosmos. It represents the juncture of the north-to-south axis of the earth and the east-to-west path of the sun. Hence, this cosmological order was believed by the Romans the way in which their gods put order in the visible world. An thus used by the Romans as the very basis for the way they ordered their domain. Consequently, wherever the Romans occupied a place, town planning was typically square or rectangular and subdivided into four quadrants by two roads running at right angles. This becomes the expression of the pax Romana which brought order throughout the world.
However, it was in this same cross the the Romans used to execute those who usurp the Roman order, those criminals who disobeyed the laws of that order. Thus, the cross which was the symbol of that order became their instrument of execution.

In the early Christianity, this must be viewed as a gross irony in which the One through whom the universe’s order was created was the very One who was put to death on a cross – Jesus Christ. Thus, the Holy Cross brought about the true redemption of that order.
The use of the cross symbolizes Jesus’ victory over the pagan Roman order and the establishment of the true universal order of all things united under the Lord’s reign (ref. Phil 2:9-11).

As the advent of the quincentenary of the Year of Christianity the whole Philippine nation will celebrate, we recall the cross planted on our shores by the Spaniards. It was not just a mere wood of whatsoever but an efficacious sign of the redemption wrought about by the Saviour. It means not just the receiving of the spiritual life but it is the identity of the nation, its pride, its heirloom, its way of life.
The Jubilee Cross is inspired by two prominent elements. First, the cross is adorned with baroque trimmings depicted by the wrought iron foliage. When the Spaniards came they brought about baroque influences in our humanities expressed mainly in visual arts and architectural genres. Second, the contemporary style of the cross marks the ever present influence and relevance of Christianity on the way of life of the Filipinos.
The Jubilee Cross calls to mind the various facets of the Lord’s act of sacrifice – becoming man and taking the form of a slave (cf. Phil 2:7), taking away the sins of the world (cf. Jn 1:29). It is in this cross that we are called to celebrate!

AVAILABLE – THE PRINTED VERSION of Lantawan 2021/1 issue

Ar. Margret Rosario FUAP, USC-SAFAD Dean with the PRINTED ISSUE of Lantawan 2021/1


THE PRINTED VERSION of Lantawan 2021/1 issue has already been published.

USC-SAFAD’s students and instructors have the right to receive one (1) copy without payment on the spot. (In addition to the online version which is gratis downloadable for all USC students and instructors from USC-Ismis.)

NON-USC READERS may PURCHASE the printed copy through Megatexts E-Commerce page ( ) which is also connected with Lazada to ensure a low delivery fee under the following link.  

Images: RADIO LAUNCHING of the PRINTED ISSUE of Lantawan 2021/1 (DYRF, March 23, 8:00am)


-Architect Marc Christian Ruz, UAP

Artist Lucilo Sagayno

-FB Editor Celine Lagundi

-Br. Béla Lányi SVD

Image: Ms Celine Lagundi is one of the eight (8) Facebook Editors of Lantawan magazine Facebook page. She presents her work in the radio program.


  • PURCHASE THE PRINTED ISSUE, a time document once in 500 years. Sales through Megatexts.
  • CONTRIBUTE TO LANTAWAN! Theme of the next (2021/2 or August 2021) issue: BACK TO THE LOCAL! (local materials, principles, consciousness, etc.)

INQUIRY: (032)2300-100, loc. 232, Lantawan Office in USC-SAFAD Building.

The office is open on Tuesdays and Thursdays from 8:00am to 4:30pm, on Saturdays from 8:00am to 11:30am.

Lantawan is willing to respond to your emails:


1. How do you see the prestige of design in the Philippines? Is it already a design industry? Are Philippine artists professionals or individual visionaries? Are design activities organized?

I feel that I am ill-equipped to answer this question but what I am sure of is that Pinoys are incredibly talented and creative individuals; we have made our mark in the varying realms of design both locally and abroad. What I do see is a lack of understanding with regards to the intricacies and value of the design field by the normal Pinoy; it is not as highly-regarded as other professions, which I find strange given the enormous impact design has in the way we live.

Design activities like conferences, webinars, exhibits and other activities are definitely being organized and the pandemic has actually increased the frequency of such activities and in a way opened it up to larger audiences. I am hopeful for the day when design within the country will get the support system it needs and deserves.

2. How do designers COMMUNICATE with each other? Are there design platforms? For example, here in Cebu artists organized a common exhibit for the Quincentennial Celebrations. E also know about Anthology Festival. What design platforms, digital or physical do exist?

Social media has been both a boon and a bane as a communication tool for creatives (everyone really). The visual-centric setup of Instagram for example has made it an efficient and expressive tool by which creatives can communicate their aims and their stories. But like many social media platforms, it has its limitations and biases. Portfolio sites like Behance also help the creative showcase his/her body of work to larger audiences. Local design platforms that banner the work of creatives and initiate discussions also exist of course, like the mentioned examples: government agencies, local design studios, and individual creatives from varying disciplines of design have also taken up the charge in enabling the creative community to flourish. Some of the programs I am familiar with: Type Tuesdays by Type 63, Design Dialogues by And A Half, BluPrint Conversations, Escolta Block Party, Design Week Philippines by the DCP (DTI), Oro Design Conference, and there are many, many others out there, I’m sure.

3. How is design being PRESENTED in Philippine design SCHOOLS?  Is it design teaching or/and design communication? How does it promote transparency, creativity, and own initiatives of design students? Do we have too many or too few design schools?

I think there has been some improvement in how design education is being rolled out in the Philippines, but it can definitely be bettered and pushed further for it to be more relevant to the challenges of today. It is encouraging to hear schools like CSB SDA take steps to challenge students to be more multi-disciplinary; showing them the plusses of collaboration over competition and cross-pollination of varying artistic fields over gatekeeping. We cannot solve today’s problems with yesterday’s solutions and our design education needs to evolve for it to offer relevant and sustainable solutions. More design schools would be more than welcome, but just as important are improvements in the quality of the design curriculum so the students that come out aren’t just design graduates but top-caliber, world-class creatives.

It’d be great to have the design curriculum incorporate business and digital marketing units to offer designers multiple paths to expression and profitability after school instead of just offering a single path and prioritizing employability. The inclusion of humanities and philosophy units is enriching and helpful in my experience (my design course required these) in that it helps form designers that are well-rounded and empathetic, acutely aware of the issues and challenges presented by the human condition.

4. How is design being EVALUATED in the Philippines? How many DESIGN AWARDS do exist? I know only about Metrobank Design Awards and HALIGI NGA DANGAL of NCCA. Are there other awards? Is the awarding activity sufficient?

I do not know the number of current local design awards I’m afraid but others do exist like the Adobo Design Awards by Adobo magazine and the Good Design Awards by the Design Center of the Philippines.

Joining competitions and aiming for awards is good practice for any creative in that it helps them build confidence in their work and find a platform, to reach out to an audience, be it buyers, patrons, or potential collaborators. It also helps build a stronger portfolio and a more forthcoming attitude towards criticism and review of one’s work. I feel Pinoy creatives still have a lot to improve in this aspect.


4. Does KANTO wish to become a “DESIGN SOURCEBOOK” as BluPrint intended to become?

More than a sourcebook, I’d like Kanto to be a space and a lifestyle companion to designers and creatives in that it not only talks about the issues that directly affect their work, but also contain stories about things and topics that interest them, like travel, food, music, and film among others; more often than not, these side interests and hobbies often become wellsprings of inspiration when we design.

KANTO.COM.PH on Anthology 2021 website

5. How does KANTO care for its financial support? Through accepting advertisements? This is a question because KANTO is free. Are the employees part-timers or do they earn their livelihood mostly through KANTO?

Kanto is presently published by a multimedia studio called Spaces of AWE who provides financial and editorial support to the brand. We have no full-time employees and rely on our network of contributors. We do accept advertising to keep the site running and maintain its freely accessible status.

Ms Judith Torres, Editor-at-Large

6. I also noticed a good connection of KANTO with the National University. What could KANTO learn from the academe?

Two of the partners that help run Kanto are part-time instructors at the National University 😊. There’s definitely a lot we can learn from the academe; I think exposure to it helps Kanto, as both documenter and platform for design discourse, shine a light on the issues and concerns both students and professors grapple with.

KANTO.COM.PH on Anthology Festival 2021 website

7. Is ORO Design Conference an initiative of KANTO? Or are you a media partner of it?

Kanto is a media partner of Oro Design Conference. We are honored to have been part of it and to have gotten the chance to show our support to fellow creatives in Northern Mindanao (and beyond!)



First of all, I would like to thank you for the initiative “KANTO” ( which, as I hope, will support design communication in and outside the Philippines. From a previous research, I know the story of BluPrint magazine which has been counted as the most powerful architectural magazine in the country. You, Patrick, were part of it. Even during our conversations before, when you were in/out/in at BluPrint and when you visited University of San Carlos as a guest speaker, the necessity for a stronger and more transparent architectural communication in the Philippines was always highlighted. Thus first I would like to discuss with you the basic situation of design communication in the Philippines and then I will request you to insert in this mosaic the initiative KANTO which grew out from a private one-man initiative to a powerful design engine.

Patrick Kassingsing, Kanto’s founder

What is the intention of KANTO? It started rather as a photoblog published on How did it become a design platform? What moved you to start and to develop it?

Kanto originally sprung forth from my desire to create a magazine that caters to my many interests: architecture, design, photography, literature, and travel among others. It was a very personal project in its first few iterations until it sprung a life of its own when it started gaining readers and I started to gain the guts and confidence to ask hard questions and to talk to bigger, well-known individuals. It has evolved to become a platform for storytelling and creative discourse, where design novices can learn from the greats and where the established names are introduced new, precocious talent from all over the world.

2. How would you insert KANTO in the design communication (design scene) of the Philippines?

I think it helps that my previous job already had led me well and deep into the local and ASEAN design scene, which yielded a lot of connections and collaborations; I think this has helped prime Kanto up for a larger audience this year.

3. Does KANTO wish to evaluate designs or only communicate?

Kanto seeks to do both. We are a platform for discourse and true to my and Ms. Judith Torres’s editorial stance in everything we write: we laud what’s done right but also talk about what can be improved. Our readers deserve to know both sides of the coin.

(To be continued)

USC’s ‘time document’ to celebrate 500 years of life- and art-changing faith: LANTAWAN 2021/1 issue (SunStar)—


       FOR USC

   For USC students, teachers, and staff it is available WITHOUT PAYMENT on Ismis, the school’s management system.


   To reach readers nationwide, Lantawan 2021/1 can be PURCHASED FOR A PAYMENT through the below indicated E-Commerce links to MEGATEXTS Online Store and Lazada to buy it.

a., FOR NON-USC REGULAR READERS, the online version:

b., FOR NON-USC STUDENTS with a SIGNIFICANT DISCOUNT, the online version:


d., THE PRINTED (and online) VERSION at MEGATEXTS-LAZADA for NON-USC-SAFAD REGULAR READERS (starting after March 15, 2021):

e., THE PRINTED (and online) VERSION at MEGATEXTS-LAZADA for NON-USC-SAFAD STUDENTS with significant discounts (starting after March 15, 2021):


Thank you,

Lantawan Office

(032) 2300-100 loc 232

  (Tuesday, Thursday, Saturday office time)


LANTAWAN 2021/1 ISSUE LAUNCHING took place on February 18, 2021.

Please WATCH it here through Lantawan magazine Facebook page. – For this, GO DIRECTLY to the THIRTIEST (30.) MINUTE, the presentation starts there.

Please also READ Sunstar’s article on it:

USC launches ‘time document’ to celebrate 500 years of life- and art-changing faith

+AA-February 21, 2021

AHEAD of celebrations of the 500th year since Christianity arrived on our shores, the architecture and design school of the University of San Carlos (USC) has launched a “time document.”

Stories, illustrations, and reflections on how historical and religious events have shaped art and architecture, not just in Cebu but in virtually all of the Philippines, fill the special quincentennial edition of Lantawan, a publication (now both printed and digital) of the USC School of Architecture, Fine Arts, and Design (SAFAD).

“The recording and retelling of our history is also a history in itself that needs to be documented as well as communicated,” said university president Fr. Narciso Cellan Jr., SVD, during the launch held during a Facebook Live event on Thursday afternoon, February 18.

“As the Philippines celebrates the history of 500 years of Christianity, we embark on a unique journey of extending and creating another chapter of Filipino Christian history,” he added.

Before the pandemic, elaborate celebrations had been planned.

For one, SAFAD and the School of Engineering had been commissioned to design a memorial in Limasawa, where 499 lampposts and a Tower of Light on a mountain peak would have been built. But public health restrictions to curb the spread of Covid-19 shelved most of the plans.

Despite the changes, Cebu Archbishop Jose Palma urged the magazine launch’s participants and the entire community to make 2021 a different year by celebrating “the gift of faith” in this “once-in-a-lifetime celebration of God’s presence journeying with us.”

Lantawan editor-in-chief Brother Bela Lanyi, SVD, thanked the writers, artists, and CAD operators who worked on the stories about how 500 years of Christianity have shaped our landscapes and spaces and about “how architecture and art support our faith.”

A combination of scholarly and reader-friendly stories, about the urban history of Cebu, for example, and about how the story of faith is told on Cebu’s beautiful church ceilings, fill the issue.

“It is wonderful,” said Brother Lanyi, “how so many versions of the same image, the Santo Niño, are found in Cebu.” One of the essays in the magazine, by the artist Jojo Sagayno, reflects on the many representations of the Child Jesus, from priceless collections and historical churches, to humble home altars and jeepney dashboards.

Another contributor, Fr. Brian Brigoli, urged the community to cherish church buildings that have become important cultural properties or national treasures, and explained that it was a papal encyclical in 1971 that directed that “the sacred treasures of the church” be preserved.

Fr. Brigoli chairs the Cebu Archdiocesan Commission for the Cultural Heritage of the Church.

All current Carolinians may download an online copy of Lantawan magazine’s special edition through the university’s ISMIS portal. This is due to the generosity of student organizations of USC-SAFAD who contribute to the magazine through an amount in their tuition. SAFAD students, teachers, and staff will also receive the printed copy of this magazine at SAFAD in the first days of March 2021.

Guests outside USC may order printed copies through the e-commerce site of Megatexts Philippines Inc. These will be delivered to any place in the Philippines through Lazada. ​(PR)

Fr. Brian’s article, first cover page (Cebu Cathedral)
Fr. Brian’s article, second cover page
Ar. Roy Vincent Trani presents Cebu City’s urban history in 500 years
Prof. Dr. Juan Ramon Jimenez, famous Spanish archotecture professor in Japan and Cebu-expert, presents how fortifications supported urban development in 500 years, on the example of Manila (Intramuros and the City)
One of the most beautiful articles of this “time document” is on Francia’s church ceiling paintings (by Prof. Jore)
Mr. Clodoveo Nacorda shared some of his rich colection Santo Nino statues, symbols of 500 years Christianity.
Ms Carla Adlawan presents how advertising art supports the Quincentennial Celebrations’ presentations.
Please read / order Lantawan, the magazine of University of San Carlos (through Ismis or Megatexts Phils.

Lantawan shares knowledge of magazine design to university students from different parts of the Philippines

Our Lantawan Editor-in-chief Br. Bela Lanyi, SVD, Assistant Editor-in-chief Ar. Adrian Yap, MSc, Layout Editor Ms. Debbie Tudtud shared their expertise in Magazine design, graphics, layout, and architectural drawings presentation at the College Editors Guild of the Philippines’ 77th National Student Press Convention and 39th Biennial Student Press Congress this March 6 – 10 in University of Philippines, Lahug, Cebu City.

21 college students during the breakout session from Luzon, Visayas, and Mindanao participated in the seminar-workshop. Lantawan staff shared their knowledge in this national event.

Lantawan is an art and architecture magazine produced biannually by Lantawan Publications Office under the University of San Carlos – School of Architecture, Fine Arts and Design.

Lantawan is present in various Digital Platforms

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Lantawan is an art and architecture magazine produced biannually by Lantawan Publications Office under the University of San Carlos – School of Architecture, Fine Arts and Design.

Lantawan is available at USC-Ismis (with valid ID of USC) and at MEGATEXTS PHIL. INC (for anybody, for payment )

We are glad to announce that Lantawan 2021/1 (and the previous 2020/2) are available at USC-Ismis (for those who have valid ID of USC) and at MEGATEXTS PHIL. Inc. (for anybody, for payment) . Grab your copies now!