Category Archives: PLACES OF INTEREST

Gallery IX – Mangroves, Beaches and Intertidal Zones – National Museum of Natural History, Manila)

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Gallery IX (Mangroves, Beaches and Intertidal Zones)

Gallery IX (Mangroves, Beaches and Intertidal Zones) of the National Museum of Natural History highlights the different types of coastal ecosystems such as beach forest, intertidal zone, mud flat, sandy beach, sea grass bed and mangrove forest.

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This exhibition  features diverse marine as well as terrestrial organisms that are commonly found in the vast coastal ecosystems of the Philippines.

L-R: Sandy Beaches, Tidal Pools and Rocky Shores

L-R: Seagrass Meadows and Mudflats

It also showcases the significant floral diversity of the intertidal zones such as sea grass and identified mangrove species with emphasis on its conservation campaigns.

It also educates people in the importance of such trees in our environment for us and the animals (crabs, shrimp, mollusks and fish) that use mangroves as their main habitat.

Nipa and Bakawan Fruits

L-R: Sargassum ilicifolium and Halimeda macrolaba Decalsne

The gallery features the life-size diorama of a mangrove forest, various taxidermied species commonly found in such environment, such as the Little Heron (Butorides striatus), Little Egret (Egretta garzetta), Hawkbill turtle (Erecmochelys imbricata) and Mangrove crab (Scylla serrata), and sea creatures of the so-called intertidal zone.

Little Heron

Little Egret

FYI: Historians have long contended that one of the plausible origins of the name Manila could have come from the phrase may nilad  meaning “where nilad is. The nilad (Scyphiphora hydrophyllacea) is a mangrove tree which once grew abundantly along Manila Bay and the banks of the Pasig River.

Nilad (Scyphiphora hydrophyllacea)

Gallery IX  (Mangroves, Beaches and Intertidal Zones): 3/F, Bloomberry North Exhibition Hall, National Museum of Natural History, Agrifina Circle, Rizal Park, T.M. Kalaw cor. Gen. Luna Sts., Manila. Open Tuesdays – Sundays,   9 AM to 12 noon (cut off time is 11 AM) and 1 to 4 PM (cut off time is 3 PM). Tel: 82981100 local 3000 and 85277889.  E-mail:  cmvod@nationalmuseum.ph or inquiry@nationalmuseumph.gov.ph. Visitors shall be limited to 100 per museum per session. Visitors are required to pre-book online at https://reservation.nationalmuseum.gov at least a day before the visit. Confirmation of booking will be sent through email.Group reservations are limited to five (5) persons only.  Walk-in visitors will NOT be accommodated.  Coordinates: 14°34′59.9″N 120°58′55.9″E.

Gallery X – The Marine Realm – National Museum of Natural History, Manila)

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Gallery X (The Marine Realm)

Gallery X (The Marine Realm) of the National Museum of Natural History provides a closer look at underwater scenes.  Here, visitors will virtually wade on the sandy-coral reef ,with stingrays and dories swimming around. As visitors wade through, the fishes will scatter away from them.

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The author

On the left side of the “Interactive Fish Experience on Floor” is  “Coral Diversity of the Philippines” which showcases different species of stony and fan corals displayed in glass cases, with general information about them described on the graphic panel beside the showcases.

 

A few steps away from the glass cases is a portion of a reef’s replica, with sample of iron mooring (a good mooring that should be practiced by fishermen and tourists who would want to snorkel or dive in coral reefs to avoid destroying the corals) permanently attached to the substrate displayed, from where a buoy is attached to the mooring as it goes up the surface and linked to a banca overhead.

Species of coral

Similarly, the banca above (suspended from the ceiling giving the impression that it is on the surface of the sea) shows the fish caught by the use of hook-and-line. Here, visitors learn about practices to make fishing sustainable as well as how important coral-dwelling species are for food.

Species of coral

Aware of the fragility of the coral reef, visitors will also learn about the threats to the corals as well as the organisms that thrive in the coral reef ecosystem. Hence, visitors will learn that there is collaboration of the government and the NGOs to conserve coral reef and to impose measures to protect them.  A video explaining one of the scientific areas of study (i.e., marine research) is continuously shown.

Replica of a submarine

A replica of a submarine, presenting an interactive underwater experience, invites visitors to consider which way their own actions will take the ocean in the future. The portholes or “windows” inside the submarine show various footage of different underwater, deep sea and reef views of sea creatures as one goes from the entrance, where shallow portions of the sea are displayed, and experience going down to depths of about 150 m. below the surface of the sea.

A school of yellowfin tuna

At the Open Sea portion of the gallery, visitors will have an opportunity to experience the large and small pelagic creatures in which life-sized casts of large fauna such as the whale shark (butanding), manta rays, schools of yellowfin tuna, stingray and bottlenose dolphins are lit by programmed moving lights that suggests the animals are moving.

Reef Manta Ray

Indo-Pacific bottlenose dolphins (Tursiops aduncus) and whale shark (Rhincodon typus)

Large glass jars, set on a continuous curved base and lit from below, displays waves of specimens.

Glass jars with waves of specimens

The first wave presents shallow-water forms, the middle wave shows the pelagic specimens and the third wave shows the organisms occupying the deepest part of the sea.

Glass jars with waves of specimens

Visitors will also learn that marine scientists often employed scuba diving in studying undersea marine flora and fauna. Seen overhead is a replica of a scuba diver while the science of scuba diving is explained on the graphic panel behind the replica diver.

Replica scuba diver

Behind the wave of specimens are videos and graphic panels explaining and showing the different kinds of phytoplankton and zooplankton that form the base of the marine food web, making visitors realize that the oceans or the seas are filled with tiny organisms.

Jandy

To make the experience more interesting, an interactive video of marine mammals as well as the organisms in different zones of the ocean are shown. Visitors will discover that ocean species, like land species, may be found only in particular zones of the sea.

Wading a sandy coral reef via a virtual reality screen on the floor

At the far end of the gallery, beside the infinity mirror where school of tuna are seen, is the “Abyss” where visitors will learn the deep-sea creatures inhabiting the darkest part of the ocean.

Sunfish

The other side of the gallery are lined with more showcases and open storage drawers where the Fernando Dayrit’s collection of shells are in full view as well as the different fishes, echinoderms, crustaceans and a large green sea turtle are displayed.

Green sea turtle (Chelonia mydas)

Gallery X (The Marine Realm): Bloomberry South Exhibition Hall, 3/F, National Museum of Natural History:  Agrifina Circle, Rizal Park, T.M. Kalaw cor. Gen. Luna Sts., Manila. Open Tuesdays – Sundays,   9 AM to 12 noon (cut off time is 11 AM) and 1 to 4 PM (cut off time is 3 PM). Tel: 82981100 local 3000 and 85277889.  E-mail:  cmvod@nationalmuseum.ph or inquiry@nationalmuseumph.gov.ph. Visitors shall be limited to 100 per museum per session. Visitors are required to pre-book online at https://reservation.nationalmuseum.gov at least a day before the visit. Confirmation of booking will be sent through email. Group reservations are limited to five (5) persons only.  Walk-in visitors will NOT be accommodated.  Coordinates: 14°34′59.9″N 120°58′55.9″E.

The Sad Tale of Lolong (National Museum of Natural History, Manila)

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One of the prominent osteological specimens and main attractions on display at the National Museum of Natural History, hanging from the ceiling of Ayala Hall, is the skeleton of Lolong, the Philippine’s largest saltwater crocodile  (in captivity) ever recorded and officially certified by the Guinness Book of World Records on June 2012.

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The taxidermied Lolong at Galley I (Philippine Biodiversity) of the National Museum of Natural Historyin Manila

This Indo-Pacific saltwater crocodile (Crocodylus porosus) weighed (via a truck weigh-bridge) 1,075 kgs. (2,365 lbs.), was estimated, subjectively, to be 50 to 60 years old and the crocodile was measured, sedated (via pancuronium bromide and diazepam), from the tip of the snout to the end of its tail, at 6.17 m. (20 ft., 3 in.), by Australian crocodile expert and zoologist Dr. Adam Britton, for Natural History New Zealand and National Geographic, in his enclosure on November 9, 2011.  Lolong broke the record of previous record-holder Cassius, the 5.48 m. (18 ft.) long male saltwater crocodile weighing around 998 kgs. (2,200 lbs.), kept captivity, since 1984, in the crocodile park of MarineLand Melanesia on Green Island, off the shore of Cairns in Queensland, Australia

This crocodile was suspected of eating a fisherman who went missing on June 2011 in the town of Bunawan in the province of Agusan del Sur, and also of consuming a 12 year old Rowena Romano paddling her way to school in Lake Mihaba.  Her head was discovered on March 7, 2009. He was also the primary suspect in the disappearance of water buffaloes in the known area. However, after his capture, Lolong was subjected to a purgative session, pumped with clean, fresh water until all the contents of his belly were upchucked.  Upon examination of the contents of his stomach, no remnants of human remains nor of the missing water buffaloes were found.

The author beside Lolong

He was captured on September 3, 2011 with the joint cooperation of the local government unit, residents and crocodile hunters of Palawan led by the 49 year old Ernesto “Lolong” Goloran Canete (the Philippines’ version of “Crocodile Dundee”), one of the veteran crocodile hunters from the Palawan Wildlife Rescue and Conservation Center (PWRCC).  The crocodile was hunted over a period of three weeks and it took around 100 people to bring him onto land. During the capture in a Bunawan creek in Barangay Nueva Era, he became, at several points, aggressive and broke restraining steel ropes (baited with carabao meat) four times before eventually being properly secured by a fifth, thicker cabled noose.

However, after weeks of stalking the crocodile, the hunt took its toll on Cañete’s health and, several days before the crocodile was captured, he died of a heart attack in August 28, 2011 (Cañete’s assistant led the successful capture).  In his memory, the crocodile was named after him. After his capture, Lolong, now in a small, hastily and cheaply prepared enclosed artificial pond with a concrete bottom, became the centerpiece in the Bunawan Ecopark and Wildlife Reservation Center, an ecotourism park in Barangay Consuelo, located 8 kms. from the town, for species found in the marshlands.

However, around 8:05 PM on February 10, 2013, just one and a half years after his capture, Lolong flipped over on its side and died inside his miserable compound. The necropsy (skinning of the carcass and other post-mortem procedures) revealed he had died of chronic interstitial pneumonia and cardiac arrest, which was aggravated by a fungal infection and stress brought about by his captivity. Large crocodiles often need to spend a large amount of time in water to alleviate the stress their weight puts on their body and the pool would frequently be drained to allow visitors a better look at him, helping to damage his internal organs which, potentially lead to his death.

Lolong’s carcass was first buried in the eco-park and then later exhumed and temporarily kept in freezers at Davao Crocodile Park.  On July 2013, a memorandum of agreement was signed between the new National Museum of Natural History and Bunawan town authorities for the museum to inherit and enshrine Lolong in its then-planned new museum. With Lolong’s death, the title of the world’s biggest crocodile in captivity reverted back to the aforementioned Cassius.  Likewise, the country’s largest crocodile in captivity reverted back to the 18 ft. long Pangil in the aforementioned Davao Crocodile Park.

To preserve his remains, taxidermy was performed at Philippine National Museum of Natural History.  Taking nearly 5 years to process both his skeleton and skin, zoologists, museum researchers and technicians worked to preserve its bones, assemble them and plan the best way to display the fragile specimen.  Exhibition fabricators, installation specialists and conservators also devised a steel frame to make sure the skeleton is securely held together and, in the process, will not be damaged.  Lolong’s skeleton was displayed as if it were swimming underwater and ready to attack its prey. Today the skeleton is displayed, hanging, at the museum’s Ayala Reception Hall.

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The suspended skeleton of Lolong at Ayala Hall of the National Museum of Natural History in Manila

It took 12 people to lift the crocodile to its new home at the said museum.  The preserved skin is displayed at Gallery I (Philippine Biodiversity) at the fifth floor of the museum.  As the head and snout did not survive the post-mortem preservation stages, they are synthetic and difficult to recreate.  In the taxidermal stages, Lolong might have shrunk as much as 15%, so it shorter by as much as 3 ft.  Accordingly, the girth is also smaller.

Check out “Gallery I (Philippine Biodiversity)“

National Museum of Natural History:  Agrifina Circle in Rizal Park, T.M. Kalaw Street, corner General Luna Street, Manila. Open Tuesdays – Sundays,   9 AM to 12 noon (cut off time is 11 AM) and 1 to 4 PM (cut off time is 3 PM). Tel: 82981100 local 3000 and 85277889.  E-mail:  cmvod@nationalmuseum.ph or inquiry@nationalmuseumph.gov.ph. Visitors shall be limited to 100 per museum per session. Visitors are required to pre-book online at https://reservation.nationalmuseum.gov at least a day before the visit. Confirmation of booking will be sent through email. Group reservations are limited to five (5) persons only.  Walk-in visitors will NOT be accommodated.  Coordinates: 14°34′59.9″N 120°58′55.9″E.

Ayala Reception Hall (National Museum of Natural History, Manila)

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Ayala Reception Hall

The Ayala Reception Hall, an example of adaptive reuse in the National Museum of Natural History, used to be cut in the middle by a floor. It now holds four important exhibits which were launched last May 2019.

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Hanging skeleton of Lolong

Upon entry, up in the ceiling is the hanging skeleton of  “Lolong,” the former Guinness World Records holder as the largest saltwater crocodile in captivity from September 3, 2011 until his death on February 10, 2013.  His taxidermied body, on the other hand, is displayed at Gallery I (Philippine Biodiversity) at the fifth floor.

Check out “The Sad Tale of Lolong” and “Gallery I (Philippine Biodiversity)“

Dome of the 57 stone tools excavated from Awidon Mesa Formation in Rizal, Kalinga

Below it is the exhibit of the tooth and four of the 13 bones of the extinct Philippine rhinoceros (Nesorhinus philippinensis) with cut and butcher marks.  These fossilized Pleistocene Age remains, unearthed in 2014 at the Awidon Mesa Formation in Rizal, Kalinga together with stegodon (Stegodon luzonensis), pig (Celebrochoerus cagayanensis), freshwater turtle, monitor lizard and Philippine brown deer and 57 stone tools (6 cores, 49 flakes and 2 possible hammerstones), is a breakthrough in the field of paleoanthropology.

Left humerus of Nesorhinus philippinensis

It proved early human activity around 709,000 years ago, 10 times earlier than previously believed. Researchers believe that early humans used the stone tools to get the marrow at the bones of the ribs, metacarpals and both humeri of the rhinoceros .

Tooth of Nesorhinus philippinensis

Also in the Ayala Hall is the “Ammonite Mollusk” (Cleonicerus sp.), an index fossil, from the Gotuaco Fossil Collection, which is used as a basis in establishing geological periods.  Dating from the Middle Cretaceous Period (about 100 million years old), it was found in Madagascar.

Ammonite Mollusk (Cleoniceras sp.)

The Conus gloriamaris, also known as the “Glory of the Sea Cone,” a type of marine gastropod mollusk that in the  family Conidae was once believed to be one of the rarest types of shell in the world.  Measuring 179 mm. long, it is probably the largest sea cone shell (of its kind) not just in the country, but in the world.

The Glory of the Sea Cone(Conus gloriamaris)

Ayala Reception Hall: 2/F, National Museum of Natural History,  Agrifina Circle, Rizal Park, T.M. Kalaw cor. Gen. Luna Sts., Manila. Open Tuesdays – Sundays,   9 AM to 12 noon (cut off time is 11 AM) and 1 to 4 PM (cut off time is 3 PM). Tel: 82981100 local 3000 and 85277889.  E-mail:  cmvod@nationalmuseum.ph or inquiry@nationalmuseumph.gov.ph. Visitors shall be limited to 100 per museum per session. Visitors are required to pre-book online at https://reservation.nationalmuseum.gov at least a day before the visit. Confirmation of booking will be sent through email. Group reservations are limited to five (5) persons only.  Walk-in visitors will NOT be accommodated.  Coordinates: 14°34′59.9″N 120°58′55.9″E.

National Museum of Natural History (Manila)

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National Museum of Natural History

The National Museum of Natural History (Filipino: Pambansang Museo ng Likas na Kasaysayan), the national natural history museum of the Philippines, was constructed in 1940 as the Agriculture and Commerce Building. The building, designed in a Neo-Classical style by Filipino Architect Antonio Toledo in the late 1930s, has the same dimensions and floor plan as the Finance Building, its twin building located at the northern side of the circle.

The chamfered corner entrance

In February 1945, during World War II, both buildings were bombarded with heavy artillery fire by American forces and destroyed in the Battle of Manila.  In 1949, after the war, both were reconstructed according to the original plans.

At some point in time, the building was occupied by the Department of Tourism (DOT).  However, the National Museum Act, which was passed in 1998, mandated the conversion of three civic buildings within Rizal Park, the Legislative Building, the Department of Finance Building, and the Department of Tourism Building, into museums. In 1998, the Finance Building became the first to be repurposed with the building converted into the National Museum of Anthropology.

In 2000, the Legislative Building was converted into the National Museum of Fine Arts and, in 2015, the DOT Building became the National Museum of Natural History when the DOT moved its offices to the nearby city of Makati (it is planning to return to Manila after the completion of its proposed headquarters located in Intramuros).

Atrium

In 2013, in preparation to have the DOT Building host the National Museum of Natural History, the National Museum of the Philippines invited five architects to submit proposals for the retrofitting. The design of the team from Dominic Galicia Architects and interior designer Tina Periquet, involving the maintenance of the building’s facade except for the addition of a glass dome supported by a double helix structure inspired by DNA, was chosen.

Upper Courtyard

The project, estimated to cost around ₱1 billion, was initially scheduled to be completed in 2015 in time for the 2015 APEC Summit but the bidding for prospective contractors for the renovation of the building was only done in September 2015.  On September 30, 2017, the National Museum of Natural History was officially inaugurated and, on May 18, 2018, the museum opened.

Mookaite Stone (Radiolarite), Aptian (Lower Cretaceous), about 113 – 125  million years ago, from the Windalia Radiolarite Formation , Mooka Station, Carnarvon, Western Australia

The articulated façade has Corinthian columns and pilasters that rise, from the second floor, to the height of the three storeys of the museum.  The first storey resembles the one storey high plinth where these columns and pilasters rest.  Columns and pilasters , surrounding the entire wall, support the decorative entablatures.

Noreena Stone (Silicified Pelite  or Mudstaone), Late Archaean, 2,765 – ,687 million years ago, is a semi-precious sone from the Jeerinah Formation, Noreena Downs Station, East Pilbara, Western Australia, some 700 miles north of Perth, the capital.

Ornate grillwork decorates the arched windows on the second storey and the rectangular windows on the rest.  The corners of the building are reinforced by Corinthian columns framing a two storey, high arched window.

Stalagmite (Manlapaz Speleothem Collection)

Like the Department of Finance Building, it has an odd trapezium plan with a chamfer at its southeast obtuse vertex and a concave side on its northwest, fronting the rotunda.  Its halls and rooms are orthogonally arranged around a central courtyard with the same trapezium shape.  The chamfered corner entrance is accentuated by a modest pediment.

The Tree of Life

The striking “Tree of Life” foyer (Introduction to the Museum), the atrium’s centerpiece and main feature that forms the spatial and symbolic fulcrum of the museum, is a commanding architectural structure that covers the courtyard of the six-storey building.

Jandy in front of the Tree of Life

It is composed of two parts.  The aluminum and glass-paneled dome serves as the atrium’s ceiling.  The supporting DNA-like, double helix  structure, linking the dome to the atrium’s ground, broadens near the roof, making it similar to a tree trunks leaves and branches extending in the canopy of the museum.

Ramp

The 10-pax scenic central elevator, itself an attraction, offers a great 270-degree view of the museum’s foyer/atrium. It also leads visitors to the ramp system where visitors can move from one floor to the other with ease. The dome brings in a generous amount of light and, on a sunny day, casts pretty shadow patterns on the floor. Prior to the museum’s public opening, the Tree of Life was unveiled on June 28, 2016.

Historical plaque of Tree of Life

The National Museum of Natural History has six floors with 12 galleries that display zoological, botanical and geological specimens with interactive displays, video guides, diagrams and illustrations integrated.

Juan de Cuellar y Villanueva Corridor

First Floor

  • Lower Entrance Hall
  • Lower Courtyard
  • Education
  • Function Halls
  • Visitor Services.

Marinduque Sperm Whale at the Hyundai Entrance Hall

The Hyundai Entrance Hall houses a prominent highlight of the museum’s osteological collection, the almost completely intact skeleton of the Marinduque Sperm Whale, a toothed whale of the species Physeter macrocephalus hangs from its ceiling. A male, it was found in Torrijos, Marinduque, near Cagpo.    Measuring 13.5 m. (43.5 ft.) long, it was purchased by the National Museum of the Philippines from Mr. Luciano Matienzo who recovered, cleaned, preserved and kept it. It was unveiled on February 16, 2019, World Whale Day.

Richard McGregor Hallway

Displayed at the Richard McGregor Hallway are the petrified wood collection of Larry and Pat Gotuaco, donated to the National Museum of the Philippines in 2018.  The collection includes 88 foreign woods from the USA, Indonesia, India, Myanmar, Saudi Arabia, and Greece as well as eight large pieces of petrified wood from Cagayan, Iloilo, and Mindoro.

Cagayan Petrified Wood (Middle Pleistocene)

The wood structures, preserved in detail, are shaded in vivid hues and complex color patterns with the mineral present determining the colors of the wood such as blue-green color from chromium, copper, and cobalt-rich minerals; red-brown, orange, pink and yellow color from manganese and iron-rich minerals; transparent white and gray color from silica-rich mineral; and black color from carbon-rich mineral.

Philippine Eagle named Gemma

Behind glass, you will also see the taxidermied Philippine eagles Gemma (named after former National Museum Director and beauty queen Gemma Cruz-Araneta) and Tinuy-an (named after a waterfalls in Bislig, Surigao del Sur).

Paradise Regained – Ramon Orlina)

At the Lower Courtyard is the large-scale glass sculpture “ARCANUM XIX, Paradise Regained” (1976) by renowned glass sculptor Ramon Orlina.

Gallery XI (Our Natural Inheritance) – Phinma North Exhibition Hall

Second Floor

  • Gallery XI (Our Natural Inheritance): Phinma North Exhibition Hall
  • Gallery XII (Temporary Exhibitions): Phinma South Exhibition Hall
  • Upper Entrance Hall
  • Upper Courtyard
  • Ayala Reception Hall

Replica of Tyrannosaurus rex skull (Late Cretaceous Period)

The Shell Philippines Centennial Upper Courtyard houses four museum-authorized replicas of famous dinosaur fossil discoveries, acquired in 2018 and part of the Larry and Pat Gotuaco Collection, all made to the exact specifications of the original pieces which are under the care of several museums abroad.

Replica of Camarasaurus grandis skull (Late Jurassic Epoch)

The dinosaur skull replicas include the Tyrannosaurus rex (Late Cretaceous Period, 68 to 66 million years ago), the Ceratosaurus nasicornis (Late Jurassic Epoch: 155 to 145 million years ago), and the Camarasaurus grandis (Late Jurassic Epoch, 155 to 145 million years ago). A left hind leg of the Camarasaurus grandis is also part of the exhibition.

Giant tapestry posters along the Shell Philippines Centennial Upper Courtyard feature three unique animals endemic to the Philippine archipelago – the Philippine Eagle, the Tamaraw and the Philippine Tarsier.

Check out “Gallery XI (Our Natural Inheritance),” “Ayala Reception Hall” and “The Sad Tale of Lolong“

Gallery IX (Mangroves, Beaches and Intertidal Zones) – Bloomberry North Exhibition Hall

Third Floor

  • Gallery IX (Mangroves, Beaches and Intertidal Zones) –Bloomberry North Exhibition Hall.
  • Gallery X (The Marine Realm) –Bloomberry South Exhibition Hall.

Gallery X (The Marine Realm) – Bloomberry South Exhibition Hall

The Juan de Cuellar y Villanueva Corridor here houses a series of oil paintings, commissioned by Dr. Edgardo Quisumbing (Father of Philippine Orchidology and one of the museum’s former directors) and executed between 1948 and 1960, documenting the different varieties of orchids around the country.

Check out “Gallery IX (Mangroves, Beaches and Intertidal Zones)” and “Gallery X (The Marine Realm)”

Gallery V (Mossy, Montane and Pine Forests) – Zuellig Family Exhibition Hall

Gallery VI (Lowland Evergreen Rainforests)

Fourth Floor

  • Gallery V (Mossy, Montane and Pine Forests) – Zuellig Family Exhibition Hall
  • Gallery VI (Lowland Evergreen Rainforests)
  • Gallery VII (Ultramafic and Limestone Karst Forests) –First Philippine Holdings Exhibition Hall.·
  • Gallery VIII (Freshwater Wetlands) –Megaworld Exhibition Hall.

Check out “Gallery V (Mossy, Montane and Pine Forests),” “Gallery VI (Lowland Evergreen Rainforests),” “Gallery VII (Ultramafic and Limestone Karst Forests)” and “Gallery VIII (Freshwater Wetlands)”

Gallery VII (Ultramafic and Limestone Karst Forests) – First Philippine Holdings Exhibition Hall

Gallery VIII (Freshwater Wetlands) – Megaworld Exhibition Hall

Fifth Floor

  • Gallery I (Philippine Biodiversity): Sunlife Philippines Exhibition Hall
  • Gallery II (The Geology of the Philippines)
  • Gallery III (Minerals and Energy Resources)
  • Gallery IV (Life Through Time)

Check out “Gallery I (Philippine Biodiversity),””Gallery II (The Geology of the Philippines),” “Gallery III (Minerals and Energy Resources)” and Gallery IV (Life Through Time)”

Gallery I (Philippine Biodiversity) – Sunlife Philippines Exhibition Hall

Gallery II (The Geology of the Philippines)

Sixth Floor

  • Roof Garden
  • Function Halls
  • National Museum Conference Center.

Gallery III (Minerals and Energy Resources)

Gallery IV (Life Through Time)

National Museum of Natural History:  Agrifina Circle, Rizal Park, T.M. Kalaw cor. Gen. Luna Sts., Manila. Open Tuesdays – Sundays,   9 AM to 12 noon (cut off time is 11 AM) and 1 to 4 PM (cut off time is 3 PM). Tel: 82981100 local 3000 and 85277889.  E-mail:  cmvod@nationalmuseum.ph or inquiry@nationalmuseumph.gov.ph. Visitors shall be limited to 100 per museum per session. Visitors are required to pre-book online at https://reservation.nationalmuseum.gov at least a day before the visit. Confirmation of booking will be sent through email.Group reservations are limited to five (5) persons only.  Walk-in visitors will NOT be accommodated.  Coordinates: 14°34′59.9″N 120°58′55.9″E.

First United Building (Escolta, Manila)

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First United Building

The Art Deco  First United Building, alternatively known as the Perez–Samanillo Building, was built in 1928 and was the tallest building in Manila during its completion.  Designed by  Andrés P. Luna (the son of renowned painter Juan Luna), Juan Nakpil de Jesus was the civil engineer and Jose G. Cortes was responsible for its construction.

That same year, the building won the Best Décor Award.  The building was built for Spanish businessman Luis Perez Samanillo (related to the owners of Hotel de Oriente in Binondo, he was killed during the Spanish Civil War) at the time when Escolta was considered a financial center.

In February 1928, the Erlanger & Galinger, and Hale Shoe Company moved in to the building, followed by leather goods store Riu Hermanos. In 1936, Berg’s Department Store, Manila’s premiere department store and a main landmark in Escolta , set up shop on the building’s ground floor. In 1933, the building hosted the consulates of France (Room 329) and Panama (Room 217).

Following the aftermath of World War II, the building was left significantly damaged but was later repaired. In 1951, self-made Chinese businessman Sy Liang Teng of the Syliangten family bought Berg’s Department Store from its original American owner, Ernest Berg. It closed sometime in 1982 and Fairmart took over.  Ideal Home Houseware Center also occupied the ground floor until 2004.  In 2012, East West Bank occupies the eastern corner of the building.

Around 1964, the Perez–Samanillo Building was put on sale and, in 1968, was bought by José Cojuangco (the late Pres. Corazon C. Aquino‘s father), owner of United Bank a tenant of the building, who held the building for 11 years. In 1979, the parts of the building were acquired by Danding Cojuangco (half of the ground floor and the whole second floor) and the Syliangteng family (half of the ground floor where Berg’s was located and the 3rd, 4th and 5th floors). The Tanco family also bought a piece of the building from Cocobank.

In the 1970s to the 1980s, due to its proximity to the movie theaters of Avenida Rizal, the building hosted various film production studios:

  •  RVQ Productions of comedian Dolphy in Room 514, from 1974 to 2008 and the smaller Room 310-B from 2008 to 2012
  • Nora Villamor (NV) Productions of actress and producer Nora Aunor, in Rooms 502 and 506, from 1973 to 1985
  • GC Films, associated with Rolando and Gabby Concepcion, from February 1982 to July 1984 in Room 308.
  • Essex Films of Danny Zialcita occupied Room 323 from April  1984 to May 1986, Room 315 from August 1986 to December 1988 and Room 317 from September 1983 to December 1988. 
  • LL Productions of Lito Lapid held office at Room 321 from February 1984 to May 1989.
  • Solar Films occupied Rooms 306, 310 and 312 from March 2001 to May 2004.

The Syliangtengs made a conscious effort to maintain the building through an “adaptive reuse” approach. On May 16, 2015, the modest First United Building Community Museum was opened to reflect the colorful history of Escolta through the story of the First United Building and of patriarch Sy Lian Teng, an entrepreneur who ran Escolta’s (and Manila’s as well) premiere department store, Berg’s.

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Aside from being one of Manila’s finest pieces of surviving pre-World War II Art Deco architecture, the building is also a centerpiece of the Escolta Street Revival movement.  On May 26, 2016, the space once occupied by Berg’s was converted into a bazaar and exhibition space for young creative artists called Hub: Make Lab, an incubator for creative startups, artists and makers in the community. The booths feature a variety of sellers, with items ranging from notebooks to knickknacks.

 

Hub: Make Lab

A series of local shops for arts and vintage goods, these cluster of exhibition booths, under a hanging sculpture of Leeroy New, were designed by architect Arts Serrano.  Also found here are Folk Barbershop; Fred’s Revolucion Pub (an artist-run bar) and Den’s Coffee Shop and Contemporary Culture.

In 2017, the First Coworking Community, an open space for people looking for an environment where they can create new ideas and develop meaningful connections with other passionate creatives, was opened.  During the COVID-19 pandemic in 2020, their operations were disrupted but all have since resumed operations. On October 16, 2018, the building was declared as a Heritage Structure by the National Historical Commission of the Philippines.

HCP plaque installed in 2018

 

The five-storey First United Building has a rectangular plan. The main facade of the building has a central tower, containing the graceful main entrance (with filigreed wrought iron doors) of the building below, flanked by two chamfered corner towers on both ends. Ornamental treatments of the three towers feature thin cylindrical moldings running up to the square plates and continued by beveled arches that relate to the windows at the sixth floor.

Stout finials, above the arches, flank the octagonal window. A pergola, with protruding rafters originating from the girder, connected the bevels. The central tower has a rigid arch and is capped by elongated octagons that bordered a display. Geometric patterns on the lamps of the building are dominated by boomerang-like chevrons layered with spirals and lancet arches.

The parapet on the topmost part has floral arrangement on an urn with equally distant low-relief medallions. The main entrance leads to the elevator and the stairwell. To open up the intersection, the side towers were both cut in the corners.

First United Building: 413  Escolta Street, Binondo, Manila.  Tel: (632) 7744 5148 and (632) 7241-5150. E-mail: firstunitedbuilding@gmail.com. Coordinates: 14.5987°N 120.9794°E.

The Revitalized Jones Bridge (Manila)

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Jones Bridge (official name: William A. Jones Memorial Bridge)

One of the highlights of my joining (with my son Jandy) the Pasig River Heritage Tour (hosted by Renacimiento Manila headed by its president Mr. Diego Torres), aside from our walking tour of Escolta,  was my up close and personal crossing of the iconic and historic Jones Bridge (official name: William A. Jones Memorial Bridge).  This arched girder bridge, spanning the Pasig River, was once described as Manila’s “Queen of Bridges.”

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Virginia representative William Atkinson Jones, author of the Philippine Autonomy Law of 2016 (Jones Law), in his later years

The fourth bridge to span the Intramuros-Binondo Crossing, it was named after the Virginia legislator William Atkinson Jones.  Jones, the chairman of the U.S. Insular Affairs House Committee which had previously exercised jurisdiction over the Philippines, was the principal author of the Jones Law (Philippine Autonomy Act of 1916) that gave the country legislative autonomy from the United States. Jones died in 1918 while the bridge was still being planned.

The author and son Jandy with Jones Bridge in the background

The bridge was built to replace the historic Puente de España (Bridge of Spain), the first bridge built to cross the Pasig River.  Constructed during the Spanish colonial era (opened January 1, 1875), the Puente de Espana was the last incarnation of bridges that span the same location since 1630. Located at one block upriver at Calle Nueva (now E.T. Yuchengco Street), it connected Calle Rosario (now Quintin Paredes Street), at the Binondo district, to Padre Burgos Avenue at the Ermita district. During the heavy rains of September 1914, the central pier weakened, collapsing the middle span of the bridge. The Puente was temporarily kept open using a temporary truss bridge while the new bridge is being constructed at Calle Rosario.

Puente de Espana, circa 1900 (photo: University of Michigan Library)

In 1919, a new bridge to replace the much smaller  Puente de España was commissioned under the auspices of the City Government of Manila.  However, in 1920, the Insular Government, through the Philippine Bureau of Public Works, took over in finishing the bridge’s construction.  The construction of new bridges were part of a master plan of Daniel Burnham, who wanted to give emphasis on the rivers of city and likened them to the Seine River in Paris and the canals of Venice. This plan was heavily implemented and supervised by William E. Parsons.

The Pasig River

However, upon the passage of the Jones Act, Filipino architect Juan M. Arellano (who also designed the Old Legislative Building, Manila Metropolitan Theater and the Manila Central Post Office), then a member of the Bureau of Public Works, took over and finished the bridge’s final design using French Neo-Classical architecture in the style of the passageways constructed during Haussmann’s renovation of Paris.  The bridge was inaugurated in 1921 and, soon after, the Puente de España was dismantled.

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Pont Alexandre III

The first incarnation of the bridge featured three arches resting on two heavy piers embellished with faux-stone and concrete ornaments such as statues of boys on dolphins similar to those on the famed Pont Alexandre III (widely regarded as the most ornate and extravagant in Paris) at the Seine River which Arellano had previously visited.  The statues were created by the young, well-known German sculptor Otto Fischer-Credo who previously studied at the Academie der Kunts in Berlin and graduated at the Royal Academy of Arts in Paris.

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Jones Bridge, circa 1930s (photo: John Tewell Archive via Wikipedia Commons)

Similar to the Parisian Pont, he marked both ends of the bridge with four concrete  plinths and commissioned sculptor/painter Ramon Lazaro Martinez to build four statues, collectively called La Madre Filipina (The Philippine Motherland), allegorically representing motherhood and nationhood, which would be placed on the pedestals. Each statue, representing the values espoused in the Jones Law, symbolizes the different aspect of nationhood since the Philippines at the time was transitioning from being a colony of the United States to gaining its independence. The finished, ornate concrete arch bridge rivaled any found in the United States and Europe.

Pasig River Heritage Walk group listening to Mr. Diego Torres (in blue), president of Renacimiento Manila

In 1942, during the Japanese occupation in World War II, the bridge was renamed to Banzai Bridge by virtue of Executive Order No. 41 issued by Philippine Executive Commission Chairman Jorge B. Vargas.  During the Battle of Manila, retreating Japanese Army troops bombed the bridge in order to impede incoming American troops. One of the four La Madre statues was permanently lost during the destruction. After the war, while the main bridge itself was being rebuilt, a bailey bridge was set up as a temporary passageway for vehicles.

Buildings along the Pasig River

Following the passage of the Philippine Rehabilitation Act of 1945, the Philippine Bureau of Public Works and the U.S. Bureau of Public Roads reconstructed the Jones and Quezon bridges using large and deep steel girders.   However, in an urgent haste to finish its reconstruction, none of its original ornamentation, on either piers and balustrades, were restored, and its Neo-Classical aesthetic were replaced with an unadorned architecture, more practical yet completely unaesthetic, quite banal and modern industrial girder bridge which was a far cry from Juan M. Arellano’s vision. The three remaining La Madre Filipina statues were also removed and its plinths were demolished. The statue representing Gratitude, restored by Anastacio Caedo, was relocated within Rizal Park while the two others (representing Justice and Progress) are relocated at the entrance of the Court of Appeals Main Building.

Making our way across the bridge

In 1998, in celebration of the Philippine Centennial Independence, architect Conrad Onglao, commissioned by then-First Lady Amelita Ramos, partially restored the bridge by replacing the post-modern steel design with stone balustrades. During the term of Manila Mayor Lito Atienza, the steel girders were lighted and thematic lamp post were added onto the bridge, which drew mixed reactions. As opposed to its original Neo-Classical design, two granite fu dogs (donated by Tong Tah Trading Enterprise of Singapore) were also added, in 1998, at the base of the bridge’s Liwasang Bonifacio (south) side, giving it a Chinese character.

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One of two fu dogs donated by Tong Tah Trading Enterprise of Singapore

In 2019, the City Government of Manila, under Mayor Francisco “Isko Moreno” Domagoso, announced a ₱20 million (reportedly donated by the Philippine-Chinese Chamber of Commerce and Industry, Inc.) rehabilitation project to “restore” the Jones Bridge to its near-original architecture, using Beaux-Arts architecture similar to that of Pont Alexandre III in Paris, and the return of the three surviving La Madre sculptures that had previously guarded the bridge. The fourth sculpture (Democracy), destroyed during the Battle of Manila, was replicated using the archives of the pre-war Jones Bridge in the National Library of the Philippines.

The array of lampposts

Jose “Jerry” Acuzar, owner of Las Casas Filipinas de Acuzar in Bataan, was commissioned by Moreno to design and build 80 triple-branched, black, Beaux-Arts-inspired lamp posts (cast from resin instead of metal), similar to those on Pont Alexandre III, for the formerly darkly lit bridge. The four lions (or merlions) on the pedestals of the new lampposts were meant to symbolize the official coat-of-arms of City of Manila, designated to represent the power of the Spanish Empire.

Two of the four La Madre Statues

The four plinths which would act as the pedestal for the returning La Madre Filipina statues, were reconstructed. Retrofit and repair works were also done at the steel girders of the bridge. The balustrades of the bridge were painted in a faux marble pattern, with undertones of orange, yellow and gold. The bridge was temporarily closed during the rehabilitation.

The La Madre statue Gratitude

The statues of Gratitude (at the southeast portion of the bridge) and the replicated Democracy (at the southwest corner of the bridge) were reinstated at the Ermita side of the bridge on November 23, 2019. Two days later, Jones Bridge was inaugurated and formally opened to the public.

The La Madre statue Democracy

The other two original statues, located at the grounds of the Court of Appeals, were deemed too fragile to be relocated so replicas were made and installed on June 2021 at the Binondo side of the bridge. Progress, symbolizing, labor, education and power, was installed on the northwest portion of the bridge while Justice, symbolizing law and order, and equality under the law, was installed on the northeast side of the bridge.

A Beaux Arts-inspired, tri-branch lamppost

Jones Bridge has 3 spans, 2 piers in the water and has a length of115 m. (377 ft.), a width of 16.70 m. (54.8 ft.) and has a clearance below of 7.5 m. (25 ft.) at mean tide. It also has 4 lanes (2 per direction) and has a load limit of 20,000 kgs. (20 tons). The bridge rarely suffers from traffic congestion (which usually occurs at the both ends of the bridge due to parking violations) and water buses of Pasig River Ferry Service also habitually pass under it to reach its Escolta Street station.

A strategically placed, flower bedecked barricade at the center of the bridge

Every January 9 of the year (the Feast of the Black Nazarene), since 2013, the Metropolitan Manila Development Authority annually closes the bridge from car passage for the Translacion  procession, after the Department of Public Works and Highways deemed the nearby MacArthur Bridge unstable to accommodate increasing foot traffic during the festivities. However, starting 2020, the Translacion was rerouted to the recently retrofitted Ayala Bridge.

Escolta Underpass

The bridge served as the backdrop for the 1989 film Jones Bridge Massacre: Task Force Clabio (starring Lito Lapid) which was based on real-life events. The 2007 Filipino film The Promise has a scene in where Daniel (Richard Gutierrez) was tasked to assassinate someone underneath the bridge’s tunnel, although he was unable to do it and sets the man free afterwards. The bridge was also featured in the 2012 Hollywood film The Bourne Legacy (the motorcycle chase starts off here) and the 2021 Philippine romantic fantasy The Lost Recipe.

The Bourne Legacy (2012) motorcycle scene at Jones Bridge

To encourage people to use the pedestrian lane, the lampposts at the center of the four-lane bridge were removed and replaced by strategically placed barricades covered with plants. The length of the bridge is painted and solar road stud lights were added on the edge and centerline of the bridge. As a safety measures for pedestrians, the walkways are painted with rubberized paint and, to make the bridge more stunning at night, pin lights were installed along the railings and under the girder of the bridge.

Approaching the Binondo side of the bridge

The bridge, now a hit in social media, has a cinematic appearance and is a favorite for selfies and pre-nuptial photo shoots. Though, in my opinion, just halfway near the grandeur of the pre-war bridge (the statues of boys playing dolphins at the piers are still missing), it is still a testament to how Manila could regain a sense of its own past and restore its old glory.

Descending the bridge stairway leading to Escolta

Jones Bridge: Quentin Paredes St. Ermita, the City of Manila, Metro Manila, Philippines.  Coordinates: 14°35′45″N 120°58′38.3″E

Liwasang Bonifacio (Manila)

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For my first city tour since the COVID-19 lockdown, Jandy and I joined the Pasig River Heritage Walk, sponsored by Renacimiento Manila and conducted by its president Mr. Diego Torres. Our assembly area, fitfully, was to be at the 700 sq. m. Liwasang Bonifacio (Bonifacio Square), one of four freedom parks in the City of Manila (the others are Plaza Miranda, Plaza Dilao and Plaza Moriones), where protests and rallies may be held without requiring permission from local authorities.  Since the dark days of Martial to the post dictatorship years, the plaza has been a popular site of protests and demonstrations organized by several leftist groups.

Liwasang Bonifacio

This city square and transport hub, straddling the dividing line between Ermita and Intramuros, is the starting point of Padre Burgos Avenue which connects to Taft Avenue and Roxas Boulevard in Rizal Park and lies at the south end of Jones Bridge, MacArthur Bridge, and Quezon Bridge that link the northern districts of Binondo, Santa Cruz, and Quiapo to the central district of Ermita.  Today, this plaza is a visual foil for two Juan Arellano structures –  the Manila Central Post Office and the Manila Metropolitan Theater.

Participants of the Pasig River Heritage Walk gathered around Mr. Diego Torres (in blue), president of Renacimiento Manila, the organizer of the walking tour

During the Spanish Colonial era, the land that is now Liwasang Bonifacio and the Manila Central Post Office was the Cuartel del Fortín.  This small fortress, guarding the Pasig River east of Fort Santiago, was located at the site of the Parián de Arroceros, an early Chinese trading village east of Intramuros (in what was the first bend of the Pasig River).  The marketplace of Intramuros, the community, although closely guarded by the Spanish, eventually grew, with its own parish church, cemetery and stores (such as the Arroceros Rice Market) and soon became Manila’s early economic and trading hub.

The Bonifacio Monument and its “national photobomber – the Manila Central Post Office Building

In the decades after the British Occupation of Manila from 1762 to 1764, the closeness and support of the Chinese to the British provided the Spanish with justification to deport and, subsequently, ban them from the country.  The Parián’s close proximity to the walls of Intramuros made it a security threat and was demolished and the Chinese ghetto and marketplace was moved, north of the Pasig River, to Binondo and Santa Cruz.

Statue of Andres Bonifacio sculpted by the late National Artist for Sculpture Guillermo Tolentino

The area of the former Parián, now a vast marshy open field, was soon filled, by the Spaniards, with several barracks including the quarters of a contingent of the Spanish infantry regiment, near the Fortin of the Puente Grande (now occupied by the Manila Central Post Office Building).  In front of the Fortin is the Plaza del Fortín, a small plaza surrounded by stone benches and trees which also doubled as a public recreation area at night where early residents would gather to hear musical performances.

Plaque at monument installed by National Historical Commission

In the early 1900s, the plaza was renamed as Plaza Lawton after Henry Ware Lawton, the American general who was killed, during the Philippine–American War, by a Filipino sharpshooter named Bonifacio Mariano in the Battle of Paye (also known as the Battle of San Mateo), in the area partly occupied by Bagong Silangan, Quezon City) on December 19, 1899. The Manila tranvía had a terminal in the plaza.

Liwasang Bonifacio Plaque

In 1963, the plaza was renamed after Andres Bonifacio, the revolutionary leader who founded the independence movement of Katipunan during the Spanish colonial rule. A monument in his honor, designed by National Artist for Sculpture (1973) Guillermo Tolentino to commemorate his birth centennial, now stands in the center of the plaza. Tolentino also designed the Bonifacio Monument along EDSA but, unlike this bolo-wielding statue the one at Liwasang shows Bonifacio with a quiet dignity  – a gaze of steel, arms raised near his hips and hands poised to draw his bolo and fight.

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In 2002, the plaza was refurbished (with design assistance from the Heritage Conservation Society) with a fountain as its centerpiece flanked by fully grown royal palm trees (providing a majestic vista of the Manila Central Post Office’s façade) and, in 2012, in order to protect the zone from further urbanization, the National Historical Commission of the Philippines (NHCP) declared the plaza as a National Historical Landmark.

Check out “Manila Central Post Office Building,” “Revitalized Jones Bridge” and “Quezon Bridge”

The “Maya Art Installation cum Bike Rack

The Liwasang is frequented by bikers who use the fountain as a rest stop, posing for selfies beside the monument.   As such, near the monument is a bike rack cum art installation called “Maya,” one of four (the others are the “Kalesa” at Plaza Roma, “Alon” at Rajah Sulayman Park and “Tabak” at the Kartilya ng Katipunan) designed by Tondo-born and raised Mark Wesley Pahate and installed on May 8, 2021 (Flag Day) by Allianz PNB.

AUTHORS NOTES:

Despite these best efforts, the monument is still a pathetic sight as it is still, apparently, home to sidewalk vendors, beggars and vagrants, the shrubbery serving as drying area for their laundry and litter all around. The monument of Bonifacio, unlike that of Jose Rizal in Rizal Park, is tiny and, also unlike the latter, is not fenced off or watched over by an honor guard, though both are considered as National Heroes.  Also, both have “national photobombers,” the Bonifacio Monument with its Manila Central Post Office (in fairness, this was built first) and the Rizal Monument with its 49-storey Torre de Manila Condominium.

Liwasang Bonifacio: Padre Burgos Avenue and Magallanes Street, Ermita
Manila.

Manila Central Post Office Building (Manila)

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Manila Central Post Office Building

The Manila Central Post Office Building (often called the Post Office Building), the center of the Philippine postal services and the headquarters of then-Bureau of Posts (now the Philippine Postal Corporation), houses the main mail sorting-distribution operations of the Philippines. This building hums daily with brisk postal service with letters pouring in daily from every corner of the country.

The Post Office Building as seen from Liwasang Bonifacio

This principal postal hub of today’s modern and efficient Philippine Postal Corporation, still continuing a centuries-old tradition of sorting and distributing letters from Filipinos who still prefer the postal service, houses a mechanized automatic letter-sorting machine, a new Postal Code system, airmail, motorized letter carriers and other facilities.

The Post Office Building from the other bank of the Pasig River

Strategically located along the banks of the Pasig River (part of the Burnham Plan of Manila for easy water transportation of mails), at the foot of Jones Bridge, it lies at the northern end of Liwasang Bonifacio (formerly Plaza Lawton where building’s main entrance faces) in Ermita and  is flanked by the Manila Metropolitan Theater to its northwest. Its central location, with converging avenues, made the building readily accessible from Quiapo, Binondo, Malate and Ermita as well as the Pasig River (used conveniently as an easy route for delivering mail).

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The building’s northeast wing

This official transmitter of mail, money and goods traces its beginnings to the September 15, 1902 Act No. 462 of the Philippine Commission which created the Bureau of Posts. On April 13, 1987, the Bureau of Post was renamed the Postal Service Office (PSO) by the virtue of Executive Order No. 125 signed by then-President Corazon C. Aquino, placing it under the Department of Transportation and Communications (DOTC) and, on April 2, 1992, by virtue of the Republic Act No.7354 issued by then-President Fidel V. Ramos, PSO became a government owned and controlled corporation named as the Philippine Postal Corporation (more commonly known today as PhilPost). It is now under the direct supervision of the Office of the President.

The building’s southwest wing

From August 2, 1920 up to January 9, 1922, the foundation of the post office was laid out but the work was put on hold because of the scarcity of funds (it was worth one million pesos) but was reported to be 56% complete towards the end of the year. The plan for the completion of post office building was made public on November 28, 1927 but the awarding of the project only happened a year after, on February 1928, when the completion of the building was continued.   The building was completed in 1931.

The Ionic capitals of the fluted marble columns.  The entablature above is decorated with medallions and lined with dentils

Designed in Neo-Classical style (expressing order and balance) by Filipino architects Juan M. Arellano (considered as his magnum opus) and Tomás Mapúa and American architect Ralph Harrington Doane, it is one of the greatest examples of American Colonial architecture in the Philippines.  The construction of the original building began under the supervision of the architecture firm of Pedro Siochi and Company.

During World War II, it was severely damaged in the Battle of Manila and was, subsequently, rebuilt in 1946 while retaining most of its original design. Considered as the grandest building during its time, the Post Office Building is now considered as one of the dominating landmarks in Metro Manila. On November 23, 2018, because of its architectural significance, it was declared as an Important Cultural Property (ICP) by the National Museum of the Philippines.

In 2012, with more modern ways of communication and advancing technology now widespread and the cost of maintaining the building too much, talks are underway between the Department of Finance and Fullerton Hotels of Singapore to convert the building into a 5-star hotel.

The main body of the huge, colossal rectangular facade, lined by 14 soaring fluted marble columns with Ionic capitals (above the steps just before entering the lobby), is capped by a recessed rectangular attic storey and flanked and buttressed by two semicircular wings or drums. The entablature above the columns are decorated with medallions and lined with dentils. 

The square columns topped by Doric capitals and medallions. The cornice is lined by scroll-like decorations.

At each end of the main lobby are subsidiary halls housed under semicircular spaces roofed with domes. The plain, square columns here are topped by Doric capitals, above which are medallions.  The top of the cornice are lined with scroll-like decorations. 

The big windows with their Grecian-style steel grilles

The big windows of the building are lined with steel grilles with Grecian patterns.  The atrium in the middle of the building  provides natural light and ventilation.

The Postman statue

In front of the building is the Postman Statue, symbolizing the extraordinary level of commitment of the postal force, was erected last September 15, 1975 to coincide with the 73rd anniversary of the establishment of the Bureau of Posts.

On November 23, 2018, a Museum Ceremonial Groundbreaking Marker was mounted to start the construction and retrofitting of Philippine Postal and Philatelic Museum which houses a historical archive of postage stamps, important letters of national personalities and other artifacts.  The MCPO also sells the latest stamp issues from it Philatelic Section as well as other types of different stamps (Mint, Cancelled, se-tenant, Souvenir Sheets and Sheetlets).  Annually, the MCPO also exhibits old stamps and mailing equipment.

AUTHOR’S NOTES

The facade of the Post Office, seemingly impressive along the Liwasang Bonifacio side, is quite depressing when seen, up close and personal, along the Pasig River side.  The grounds at this side have been taken over by some vagrants and, similar to what is happening with many of our old churches, advanced plant growth has taken root over parts of the facade.  The now peeling and fading paint job has also been vandalized by graffiti.  Dangling wires are also an eyesore.

 

Manila Central Post Office Building: Liwasang Bonifacio, Magallanes Drive, Intramuros, Manila. Tel: (02) 8527-0089.

Andres Bonifacio Monument Park (Manila)

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The Andres Bonifacio Monument sculpted by the late sculptor Eduardo Castrillo

The Andres Bonifacio Monument Park, a public park and plaza also known as the Kartilya ng Katipunan or Heroes Park, is located just north of the Manila City Hall and south of Mehan Garden and Liwasang Bonifacio.

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The Kartilya (primer) of the Katipunan, a guidebook, written by Emilio Jacinto, for new members of the organization which laid out the groups rules and principles

Its centerpiece, the Bonifacio and the Katipunan Revolution Monument, fronting Padre Burgos Avenue, is dedicated to Filipino revolutionary Andrés Bonifacio and the Philippine Revolution.  Designed by the late Filipino sculptor Eduardo Castrillo,  it was unveiled in 1998.

National Historical Institute Plaque

On September 21, 2006, Mayor Lito Atienza inaugurated the Victims of Martial Law Memorial Wall at the park.  In 2019, the plaza was rehabilitated by Mayor Francisco “Isko Moreno” Domagoso who ordered the removal of occupying vendors and vagrants.

Flagpoles with the different flags of the Katipunan

Continuous cleanup and removal of illegal vendors has made visible the bronze monument commemorating Emilio Jacinto, which had been obscured for several years.  Additional flora were added and Bermuda grass was planted, turning it into a promenade.

A musical dancing fountain, worth Php40 million paid for by tycoon Manny V. Pangilinan, was also installed in front of the Andres Bonifacio Monument Park. Inaugurated last February 12, 2020, the rectangular fountain appears like, with its shape and multi-colored LED lighting, the Philippine flag when viewed from the top. The lights moved to various local novelty songs.

The author in front of the Musical Dancing Fountain

A little over eight months later, on October 5, 2020, a fragment of the 155 km. long and 3.95 m. (13 ft.) tall Berlin Wall (which stood from August 13, 1961 until November 9, 1989), identified as “Fragment 22.”

The glass-enclosed fragment of the Berlin Wall

Donated by the city government of Berlin in Germany to the Philippines on November 27, 2014 on the occasion of the 25th anniversary of the fall of the wall, it was first housed at the National Museum of the Philippines and later placed at the Andres Bonifacio Monument Park.

Plaque commemorating the installation of Berlin Wall fragment in the park

Standing 3.65 m. (12 ft.) tall and 1.2 m. (4 ft.) wide, it weighs 1,273 kgs. (2.8 tons).  Fragment 22, also called “Mauerteil,” is the 22nd of the wall’s 40 sections. The Philippines was the first Southeast Asian country to receive a fragment of the Berlin Wall.

Plaque narrating the history of the Berlin Wall

Near the monument is a bike rack cum art installation called “Tabak,” one of four (the others are the “Kalesa” at Plaza Roma, “Alon” at Rajah Sulayman Park and “Maya” at Liwasang Bonifacio) designed by Tondo-born and raised Mark Wesley Pahate and installed on May 8, 2021 (Flag Day) by Allianz PNB.

“Tabak,” a bike rack cum art installation

Bonifacio Shrine: 1000 Taft Ave., Ermita, Manila.  Hourly musical fountain show: every 15 mins., from 6:30 – 11 PM.  Coordinates: 14°35′27.3″N 120°58′51.9″E.