During this period of the Marcos Presidency, the CCP Complex played host to major local and international events under the guise of the "Bagong Lipunan" (New Society), which would mark the start of a series of major construction projects in the area. When Filipino Margie Moran won the 1973 Miss Universe Pageant, the Philippine Government agreed to stage the succeeding year's contest, and plans for an amphitheater commenced. Weeks of planning and discussions resulted in the commissioning of the Folk Arts Theater (Now the "Tanghalang Francisco Balagtas"), an open-air but roofed structure that could seat up to 10,000 people. Construction of the new theater, which was also designed by Leandro Locsin, was completed in a record 77 days and was inaugurated in July 1972 with the grand parade, ""Kasaysayan ng Lahi"" ("History of the Race"). Right after the inauguration of Folk Arts, ground was broken for the Philippine International Convention Center and the Philippine Plaza Hotel, both for the country's hosting of the IMF-World Bank Annual Meeting in 1976. Although not owned by the Cultural Center, these buildings were nevertheless built at the complex and designed by Locsin. One of the more infamous additions to the Center was the Manila Film Center, built in 1981 for the Manila International Film Festival. Designed by Froilan Hong, the structure was built on a strict critical path schedule requiring 4,000 workers working in 3 shifts across 24 hours. An accident occurred on November 17, 1981, when scaffolding collapsed and sent construction workers into quick-drying cement. Despite this, construction proceeded and finished some 15 minutes before opening night of the Film Festival. The building's ownership would be transferred to the CCP in 1986 when the Experimental Cinema of the Philippines was dissolved. Straying from the brutalist style typical of the buildings in the CCP is the Coconut Palace, a showcase on the versatility of coconut as an export product and construction material, designed by Francisco Mañosa. The financial and human costs of constructing these buildings, in a time of widespread poverty and corruption, was seen as symptomatic of the First Lady's "edifice complex", a charge Imelda has nevertheless welcomed in her later years.