Elyssa Prado

Advisor: Terri Fuglem

Hand-drawn sketches and notes on brown paper depict architectural concepts and design elements. The tone is creative and exploratory.
Signos, sketches.
Architectural model of a multi-level structure made of cardboard, featuring abstract elements and stairs. Cotton-like trees add texture and depth.
Signos, modular linear game that goes through Filipino superstition through the
A collage of four images shows hands interacting with intricate miniature architectural models, depicting creative processes and careful craftsmanship.
Signos, the rituals done in the game; padugo, hidden coins, bahay na palabog, and eye bearing wall (images left to right).
A collage of architectural sketches on brown paper, featuring geometric designs, building layouts, and handwritten notes, conveying a meticulous and creative planning process.
Kubo, sketches.
Wooden puzzle box with intricate details, featuring a small staircase and various compartments. The design conveys a sense of mystery and curiosity.
Kubo, an abstract version of Signos that can also be used to analyze a site by using the gameboard on top.
A wooden art puzzle in three panels shows intricate details: hands holding small pieces, an openable compartment, and detailed designs, conveying curiosity and craftsmanship.
Kubo, Signos, the rituals done in the game; padugo, hidden coins, bahay na palabog, and eye bearing wall (images left to right).
A series of circles on a dark background reveal warm-lit interiors with arches, abstract art, and small sculptures, evoking a mysterious, whimsical atmosphere.
Kubo, the peepholes hiding the engkantos one needs to appease when doing the rituals.

Tao Po: Superstition as Psychological and Cultural Tool in Architecture

Superstition is often seen as irrational, a fear of the unknown or trust in the supernatural. However, it has quietly but consistently shaped architecture affecting how spaces are designed, built, and used. These 'irrational’ practices reflect a deeper cultural logic that responds to human fears, uncertainties, a desire for harmony, and a need for control. So, how can superstition-based design be reimagined as a psychological and cultural tool that supports wellbeing in architecture?

When looking at other cultures such as Chinese Feng Shui or ancient Roman’s sacred rituals when founding a new city, recurring themes emerge such as thresholds, orientation, cleansing, and protection. It is about reducing risk, promoting prosperity, and protecting one’s well-being. This study will mainly explore Filipino superstition beliefs and rituals in architecture such as how sites are chosen, orientation of buildings, construction, and moving-in practices. These customs are more than just irrational and symbolic practices of the older times but actively shapes the way Filipinos create a feeling of safety and prosperity in their homes. By shifting the perspective on superstition from an irrational belief to cultural technique, it can be understood as a system that reduces anxiety, provides a sense of control, and reinforces communal identity. In this sense, superstition offers a psychological layer of resilience embedded within architecture.

While these beliefs originate in the Philippines, I will deliberately situate my design proposal in Winnipeg, Canada. In diasporic contexts, superstition becomes particularly vulnerable, at risk of being reduced to memory or nostalgia, rather than lived spatial knowledge. Immigration intensifies psychological vulnerability through displacement, cultural loss, housing insecurity, and social isolation. Locating the project at the Philippine Canadian Centre of Manitoba, it will allow the research to test superstition-based design at a point of cultural fragility and translation in an unfamiliar environment rather than familiarity.