IN celebration of National Arts Month, the Bangsamoro Commission for the Preservation of Cultural Heritage (BCPCH) conducted the event “From Tradition to Structure: A Seminar-Workshop on Bangsamoro Architecture and Allied Arts” from Feb. 11 to 12, 2026, at Alnor Convention Hall, Cotabato City. As a resource speaker, I discussed Bangsamoro Architecture on the first day; this column summarizes my lecture.
Architecture is often judged by its visible forms: domes, arches, colors and ornament. Yet in the Islamic tradition, it begins not with form but with intention. It is shaped by a worldview where faith, society and the environment are inseparable. This perspective provides the foundation for Islamic architecture across the world and the distinct architectural traditions of the Bangsamoro people in Mindanao.
Islamic architecture is best understood not as a style but as a system of principles guided by Islamic teachings. At its core is tawhid, the belief in the oneness of God, which emphasizes unity, harmony, and order in the world. Humans (khalifah) or the Earth’s stewards are entrusted to design and build responsibly. Other Islamic concepts are haya (modesty) and the universality of its message.
These values translate into architectural principles like repetition and rhythm, environmental balance, privacy and openness in design. Ornamentation avoids figurative imagery and relies on geometric patterns, floral motifs, and Arabic calligraphy that reflect the divine’s infinite nature. Buildings are designed to respect privacy and dignity, often turning inward toward courtyards while filtering light and air through screens and shaded openings.
Long before the term “sustainable design” became popular, Islamic architecture already practiced climate-responsive strategies. Courtyards cooled interiors, domes improved ventilation and acoustics, and local materials were used to respond to environmental conditions. Islamic architecture is open to all people to enrich and enhance it through their various styles, methods, and techniques. It accepts local cultures if these do not contravene Islam’s basic tenets. From the Middle East’s mosques to Spain’s palaces, to the cities of North Africa and Asia, the guiding principles remain consistent while forms adapt to local cultures and climates.
This adaptability is clearly seen in Bangsamoro architecture, the built heritage of Muslim communities in Mindanao and the Sulu Archipelago. Rooted in both Islamic values and indigenous Austronesian traditions, Bangsamoro architecture reflects centuries of cultural exchange, trade and political history.
Islam arrived in the southern Philippines between the 13th and 15th centuries, introduced by Muslim traders and scholars from the Malay world, the Middle East, and South Asia. Its spread led to the establishment of powerful political systems like the Sultanates of Sulu and Maguindanao, respectively, which shaped the regions’ governance, culture and architecture.
Bangsamoro communities — comprising 13 Islamized ethnolinguistic groups, including the Maranao, Maguindanaon, Tausug, Yakan, Iranun, and Sama — developed diverse architectural forms suited to their environment and way of life. Despite these differences, their architecture shares several common values: unity and connectivity within the community, respect for privacy, and harmony with nature.
Cultural context
Traditional Bangsamoro houses are typically built on materials that are abundant in their homeland: stilts using bamboo, hardwood, nipa and cogon. The different communities developed their similarly named but equally distinct dwellings. The bay of Iranun, the bay sug/sinug of the Tausug, the walay of the Maranao and Maguindanaon, and the lumah of the Yakan (luma for Sama) reflect unique spatial traditions and symbolism. The coastal group Sama’s houseboats (lepa) reflect their maritime lifestyle. The torogan, the Maranao sultan’s royal house, is the most iconic structure, distinguished by massive wooden posts and elaborate carved beams known as panolong. It serves as a venue for important social and cultural events.
Religious structures evolved within this cultural context. Early Bangsamoro mosques were modest structures known as langgal, built from wood and thatch, and used tiered roofs reminiscent of Hindu-Buddhist temples that are prevalent in the early Nusantara empire. Recognized as the oldest mosque in the Philippines, the Sheikh Karimul Makhdum Mosque in Tawi-Tawi still has the pillars from its basic form.
Decoration in Bangsamoro architecture is expressed through okir, an intricate system of flowing plant-like and geometric motifs that symbolize cultural identity and artistic excellence. These patterns, carved in wood and painted in vibrant colors, demonstrate the same Islamic preference for non-figurative ornamentation found throughout the Muslim world.
Beyond aesthetics, Bangsamoro architecture reflects a deep understanding of climate. Elevated floors protect against flooding, large openings allow cross-ventilation, and wide roof overhangs provide shade from the tropical sun. These strategies show how traditional architecture embodied the principles of sustainable and climate-responsive design.
However, modernization and colonial influence have introduced new materials and building methods that sometimes weaken this architectural identity. Concrete structures, imported styles, and superficial imitation of domes or decorative motifs risk reducing Islamic architecture to mere visual symbols rather than meaningful expressions of faith and culture.
For contemporary Bangsamoro architects, the challenge is to preserve traditional forms and reinterpret their underlying principles. Projects that revive or reinterpret Bangsamoro spatial traditions must demonstrate effectively that architecture can be both modern and culturally rooted.
The theme of the National Arts Month is “Ani ng Sining: Katotohanan at Giting.” This cannot be emphasized more in the context of the Bangsamoro where truth and valor gave the people a sense of purpose and strength to defend and preserve their unique culture and tradition, shaped by foundational Islamic values of monotheism, vicegerency and justice.
Ultimately, Islamic and Bangsamoro architecture remind us that buildings are more than physical structures. They are expressions of belief, history, community and environmental responsibility. In a rapidly changing world, these traditions offer a valuable lesson: architecture should create spaces for living and preserve the identity, meaning, memory and values of their inhabitants.
Ar. Al Malik Diamla is the current vice president for operations of UAP-Cotabato Chapter and secretary of the Society of Moro Arkitek. He worked as Leadership in Energy and Environmental Design Accredited Professional (LEED AP) on government projects in the Kingdom of Saudi Arabia. After his OFW stint, he is now a freelance architect, researcher and staunch advocate of sustainable design and Islamic/Bangsamoro architectural heritage. He is considered the first Filipino and Bangsamoro architect to become a Shari’ah counselor-at-law.