Category Archives: Historical Sites

Banaan Pangasinan Provincial Museum (Lingayen)

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Banaan Pangasinan Provincial Museum

The two-storey, 1,480 sq. m. Banaan Pangasinan Provincial Museum, rightfully housed in the historic Casa Real (built in the 1840s) beside the town hall in the heart of Lingayen, the capital town of the province, is a collaborative effort between the Provincial Government of Pangasinan and various cultural institutions, with the primary goal of preserving and promoting the province’s cultural legacy.

Check out “Casa Real (Lingayen)“

Formal opening of the museum on September 8, 2023

Formally inaugurated on September 8, 2023, the name Banaan is derived from the Pangasinense word meaning “meeting place” or “convergence.”  It serves as a storehouse of diverse collection of Pangasinan’s history, heritage, ethnographic as well as contemporary art.

Ancient pottery

Among the collections to be presented in the museum include an assortment of artifacts from Pre-Colonial times such as ancient pottery, tools and ceremonial objects; traditional clothing and accessories, some crafts that will showcase the peculiar identity and customs of local villages; and also some contemporary masterpieces of modern Pangasinan artists.

A bull-drawn cart

The museum features eleven (11) galleries (three in the ground floor) that showcase the story of Pangasinan as a convergence point for culture, history, arts, education and innovation.  Knowledgeable guides lead us through the museum’s collections, providing insights into the region’s history and culture.

“Where the Asin and Bolo Embrace” Gallery at the museum lobby

Our hour-long guided tour of the museum began at the “Where the Asin and Bolo Embrace” Gallery at the Casa Real lobby where Pangasinan’s two major landscapes are featured -a salt farm in Dasol and verdant rice fields with bolo bamboo in the central part.

“Shape of Our Homeland” Gallery

From there, we were led to the “Shape of Our Homeland” Gallery, an orientation room where there are chairs and a huge screen for video showing. It also has maps of the province’s congressional districts and a chart showing the founding dates of the Pangasinan towns and cities.

Contemporary art at the Asin Gallery

The Asin Gallery, the third gallery at the ground floor dedicated for changing exhibits, is an opportune platform to feature local artists and artisans, as well as notable personalities and their contributions in Pangasinan.

Dancing Rings (Joe Datuin, 2008, stainless steel)

Depending on the theme and season, it will feature different art, culture, and history. During our visit, the Kaluyagan (meaning “province mates”) Art Exhibit, featuring works (some of it for sale) by 33 Pangasinense artists, based here and abroad, was ongoing.

“Watered by the Hands of Ama-Gaolay” Gallery

Going up the granite staircase to the second floor, we entered the “Watered by the Hands of Ama-Gaolay” Gallery, the Natural Heritage Room where paintings of Pangasinan’s flora and fauna are displayed.

. The province’s river systems

The province’s river systems are also highlighted.  The Natural History Exhibit, a section dedicated to the region’s biodiversity, features preserved specimens (civet cat, giant clam, etc.), informative displays, and interactive learning stations.

Princess Urduja (Margaret Estelle Blas

The Descendants of Apolaqui Gallery feature myths and legends, such as the Legend of the Hundred Islands plus an painting of Princess Urduja by Margaret Estelle Blas.

World War II artifacts and photo of a war-damaged Provincial Capitol Building

The “Beachhead of Valor” Gallery displays World War II artifacts (helmet, canteen, military patches, etc.), a reproduction of the war-damaged façade of the Provincial Capitol Building and a model of a Japanese Mitsubishi A6M “Zero” fighter hanging on the ceiling. Mounted on the wall is an old photo of the damaged Provincial Capitol Building and wartime newspaper clippings.

Model of a Mitsubishi A6M Zero Fighter hanging under the ceiling

The “Festivals by the Sea and the Fields” Gallery features traditional life and the festivals held by the towns in Pangasinan.

“Pilgrims Who Responded to the Call” Gallery

The “Pilgrims Who Responded to the Call” Gallery delves on the Pangasinense’s religiosity, Our Lady of Manaoag and the religious movement in the 20th century. Here, churches and faith healers are highlighted.

“Patriots and Nation Builders” Gallery

The “Patriots and Nation Builders” Gallery delves on the history and development of the province and the provincial contributions to the national identity of the country.

Salvador Bernal and Fernando Poe Jr.

Featured here are outstanding Pangasinenses such the late President Fidel V. Ramos (from Lingayen); writer and novelist Maria P. Magsano; educator, suffraguette and social worker Geronima T. Pecson (from Lingayen) and Speaker of the House of Representatives Eugenio P. Perez (from San Carlos City).

Victorio Edades and Francisco Sionil Jose

Also given a place of honor are actor, director, producer and National Artist (2006) Fernando Poe Jr. (from San Carlos City); National Artist for Theater and Design (2003) Salvador Bernal (from Dagupan City); painter and National Artist (1976) Victorio C. Edades (from Dagupan City) and writer and National Artist for Literature (2001) Francisco Sionil Jose (from Rosales).

Pantranco Bus

Replica of Manila-Dagupan railway locomotive

The Heritage Exhibits features rich displays of traditional clothing, accessories, and crafts that reflect the unique identity and customs of the local communities.

Replica of Bolinao Skull

Scaled Model of the Casa Real

The other galleries feature hand-embroidered veils; a replica of the Bolinao Skull (with its gold dental ornamentation); scaled models of the Casa Real and Provincial Capitol Building; small replicas of a bahay kubo, a Chinese junk, a Pangasinan Transport Co. (Pantranco) bus, the 0-6-2 side tank locomotive of the Manila-Dagupan Railway and even a bull-drawn cart full of baskets that were sold in a caravan.

Replica of a Chinese junk

To enhance the visitor experience, Banáan also has a carefully curated Gift Shop that offers unique souvenirs, local crafts, books, and artwork.

Gift Shop

Aside from guided tours, Banaan also offers special programs and activities, such as workshops, lecture series and cultural festivals. There are dedicated spaces for educational interactive workshops on traditional crafts, painting, music, and dance, which allow visitors to experience Pangasinan’s living cultural heritage firsthand, as well as for lecture series where invited speakers and experts will share their expertise on various aspects of Pangasinan’s history, archaeology, and culture.

Scaled model of Provincial Capitol Building

Banaan also hosts regular cultural events and festivals showcasing the vibrant traditions and celebrations of the region.

 

Bahay Kubo

Banaan Pangasinan Provincial Museum: Poblacion, Lingayen, Pangasinan.  Coordinates: 16.019805°N 120.230341°E. Entrance to the museum is via an online reservation system (launched last September 4) incorporated in the “See Pangasinan” website.  The link is promoted through the PTCAO/See Pangasinan Facebook page. Walk-ins are not allowed yet.

Steveston Tram Museum (Richmond, British Columbia, Canada)

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Steveston Tram Museum

The Steveston Tram Museum, housing the beautifully restored Tram Car 1220, one of the original trams that ran on Richmond’s interurban rail system and the largest artifact in the Richmond Museum Collection, allows visitors to experience authentic Interurban rail travel and learn about early 20th century transportation.

The left side of the museum

The bright red, 2,370 sq. ft.  museum, opened in May 2013 across the street from where the Steveston Station (which burned down in 1928 and replaced by a simple tram stop shelter in 1929) once stood, was designed by Birmingham & Wood Architects and built by Scott Special Projects Ltd., around the original tracks of the BC Electric Railway (BCER) Interurban Network.

The large windows at the right side of the museum

For 55 years, it provided an important economic and social connection between Richmond and the rest of the Lower Mainland. Today, you can still spot the original railroad path and power poles around the tram.

the Heritage Train Tracks at the rear of the museum

The building has 27-ft. high windows, a winch system to allow the tram  to be pulled out of the building for special events, and public art created by artist Mia Weinberg, a 1994 graduate of Emily Carr University of Art and Design, which will be integrated into the floor of the outdoor platform at the main entrance of the building.  It also has a community meeting room and had a restoration space (now converted into a programming space after the restoration was completed).

Heritage Train Tracks

Here’s the historical timeline of the BC Electric Railway Interurban Network:

  • In 1902, rail connection in Steveston started when the Lulu Island railway, owned by the Canadian Pacific Railway (CPR), ran freight and passenger steam trains to the area.
  • In 1905, the CPR leased the rail line to the BC Electric Railway Company (BCER), who electrified it for tram use. This was part of the BCER’s establishment of an Interurban railway network that would connect different communities throughout the Lower Mainland, otherwise difficult to reach.
  • In 1913, BCER added 28 1200-class tram cars bought from the St. Louis Car Company in Missouri (USA). Among them was Tram Car 1220.
  • By the 1940s, it had grown to 72 cars and 140,000 annual passengers

Tram Car 1220

Tram Car 1220, nicknamed the “Sockeye Special,” was discovered in a Mitchell Island warehouse in 1992.  Serving the local residents of Steveston to Marpole (located in south Vancouver), it was made of sturdy steel and wood, it was painted bright red.

The tram car could carry up to 64 seated passengers at a time.  They ran from the BC Electric Building at the southwest corner of Carol and Hastings Street to Steveston Village.

Tram entrance

On February 28, 1958, Tram Car 1220 made its final voyage between Marpole and Steveston, marking the end of an era for the Richmond community and for transportation history in BC.

Tram interior which looks like a glowing, wood and glass jewelry box. Beyond is the smoking area

After decades of being off the tracks, the City of Richmond acquired Tram Car 1220 and, on May 3, 2013, opened the Steveston Tram Museum which was inspired by the architecture of the first Steveston Tram Station.

A mini display.  On Saturday, the last train of the night (12 AM) leaving Vancouver carried Steveston revelers who strewed peanut shells from the snacks they’d bought from the station. Not surprisingly, this last-nigh service was locally known as the “Peanut Special.”

Five years later, after a painstaking, three-year, $400,000 restoration starting in 2016, the tram made an exciting return to its former glory.

Another mini display showing chickens, a milk churn and crates of vegetables that sometimes rode alongside passengers

Tram Car 1220 is one of only seven remaining BC Electric Railway cars, five of them in BC in various states of functionality (most of the interurbans ended up being burnt at the railyard under the Burrard Street Bridge).  Several “sister” trams are located in Metro Vancouver, as well as one in Ottawa (Car 1235 at the Canada Science and Technology).

Vintage advertisements, lining the tram;s interior, of products such as Eaton’s Tea, Dri-Glo, Barq’s and even Goodwin’s “corn dodger” shoes

In Metro Vancouver, you can visit the other surviving BCER cars at the Burnaby Village Museum (Tram 1223) or the Fraser Valley Heritage Railway Society  in Surrey where they offer hour-long rides around Cloverdale aboard Car 1225. 

Check out “Burnaby Village Museum” 

The author donning an motorman’s costume and cap

Jandy

When we entered the tram, a male costumed Heritage Interpreter dressed as a tram conductor immediately greeted us and walked us through, pointing out things that we would never have noticed – the smoking half of the tram with no ashtrays, the screws on the outside that are all aligned, etc.

The mechanical controls and the tiny motorman’s stool

The restoration inside was exceptional – from the rattan seats, graffiti to the match striker plates (where you can strike up a light) at the smoking section.

Vancouver Fares

Exhibits and child-friendly interactive displays also showcase this piece of Richmond history. One exhibit highlights the impact that trams had on Richmond and the Lower Mainland. It includes an extensive timeline on the history of trams which is complimented with footage of trams travelling through Richmond.

Interactive Tram Map

There is also a huge interactive map of all the tram routes that ran through Metro Vancouver.  Push buttons light up the five main lines and the stations that operate on them.

Brake lever, bell cord and conductor’s coin changer

Another interactive aspect of the exhibit is a display explaining how conductors would operate the trams with the ability to use the bell and handbrake that were onboard trams.

Main Station Clock

Another display on the tram car’s restoration process highlights the efforts of volunteers and paid professionals to bring the car to its past glory. Visitors can also dress up as a conductor.

Tickets of the Tram

Evocative artifacts on display include rail spikes, tram tokens, a 1950 employee badge, a 1914 tram whistle and a handsome clock of the type that would have hung on the wall of every station along the network.

1953 motorman’s cap, BCER employee badge, reverse key

Also on display are faded signs from several old stations (Steveston, Trucks and Woodward’s); a 1950s hat worn by a motorman (AKA tram driver); a fare poster from the line’s final years (an adult one-zone fare was just 13c), a brake lever, bell cord and conductor’s coin changer.

Restoring the Rare

Adjacent to the museum is the Steveson Nikkei Memorial, a public art and contemplative garden space unveiled on June 22, 2019, that honors the 75th anniversary of the evacuation, relocation, and internment of 2,500 Japanese Canadians from Steveston during World War II.  It further celebrates the rebuilding of the Steveston community following their return from internment in following the war. 

Steveson Nikkei Memorial

Steveston Tram Museum: 4011 Moncton St., Richmond, British Columbia V7E 3A8.  Tel: 604-238-8081.  E-mail: interurban1220@richmond.ca. Open Tuesdays to Sundays, 12 to 4 PM (Spring, January 3 to May 19); daily, 10 AM to 5 PM (Summer, May 20 to September 4)  and Tuesdays to Sundays, 12 to 4 PM (Fall/Winter, September 5 to December 31). Closed on statutory holidays.  Admission is free.

 

CN Station Historic Site (Fort Langley, British Columbia, Canada)

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CN Station Historic Site

Fort Langley’s CN Station (historically known as “”Langley Station”), built in 1915 for the Canadian Northern Railway (CNoR) as agriculture expanded and new settlement drew people into the Fraser Valley, was absorbed by the Canadian National Railway in 1918 and was expanded to accommodate larger living quarters for the Station Agent.

Wooden waiting platform

Its life as a passenger station spanned the steam through diesel eras until 1980. The station, originally located 240 m. to the west, was used full time until 1972 when it was reduced to a flag stop. In 1980, passenger service was completely terminated and, for a time, the station stood empty.

In 1983, the station was moved to its present location, two blocks east, by volunteers of the Langley Heritage Society (a volunteer, non-profit organization).  After it was moved, the station underwent a two year restoration by Heritage Society members.  On February 27, 1984, the building was declared as a Municipal Heritage Site. In 2001, the Langley Heritage Society received a B.C. Heritage Society Award of Honor for the restoration project.

Built to a standard 3rd Class Type design (plan 100-29), this is one of the few remaining stations like it in western Canada (there were 85 such buildings built), and the only surviving Class C station (a total of twelve stations were built within a twelve mile stretch of Langley) from this era in the Langley region.

The 3rd Class station design, developed for the CNoR by influential architect Ralph Benjamin Pratt, is distinguished by its hip roof, a unique feature that branded the station as CNoR constructions. The building’s main floor accommodates an office and waiting room while the upper level contains living quarters for the station master.

The station also has a sizeable, single-storey wing that serves as a baggage are..  It is now owned by the Township of Langley and is maintained and operated by the Langley Heritage Society through an innovative partnership,

Historical plaque

The recreated station garden, featuring 37 varieties of perennials (from alyssum to zinnia), were maintained much like Station Master Richard Simpson (who sold train tickets, handled freight and sent & received telegrams, earning $45 per month in 1918 and also working 60 hours a week) and his wife Mary did from 1918 to 1929, when annual garden competitions happened between stations.  Using original plant cuttings and seeds, it is now a recreation of what would have been there in the early twentieth century.

Wooden caboose (ca. 1920)

A wooden caboose, added beside the station, houses the 1950s era Glen Valley model railway.  A 1947 railway car, purchased and renovated in 1997 by the Langley Heritage Society, was renamed E. & E. Taylor, honoring Fort Langley residents Evelyn and Egbert Taylor, who dedicated much time to development of the railway station, as did the late Bays Blackhall who ran station operations for many years.  Inside is telegraph station for kids and a gallery  of the local Fort Langley Artists Group (FLAG) in the baggage room (they have displays on weekends and holidays in summer).

1947 Railway Car

A section of track, donated by CN In 2004, was installed in front of the station to accommodate the velocipede, on loan from the B.C. Farm Machinery and Agricultural Museum.

Speeder trailer at the section of track

The station’s freight room displays many other fascinating objects and archival images while station waiting room houses a weathered trunk that belonged to Lois Bowling, the first British war bride (she married Canadian air gunner Ross Bowling on July 1, 1944) to arrive (in 1946) in Langley after the Second World War.

Portrait of Ross Bowling and Lois Cross

This well designed and visually pleasing, two-storey, wood frame station was built with a broad roof overhang and eave brackets typical of train stations from the early twentieth century. It also had station signage, wood drop sidings; dormers; 9-over-1 double hung sash windows on both main and second level on all four facades and chimneys (1 straight and 1 using salmon brick with a flair to its design).

General Waiting Room

The wooden passenger platform runs the length of front of building.  Inside is a ticket master office, with original finishes, a Baggage room and residence for station master (currently for caretaker).

Luggage Wagon

The station, representing an important part of the transportation network that spawned and encouraged the growth of Fort Langley, is now a symbol for the Township of Langley as a heritage conservation pioneer.  It is also part of the Fort Langley Walking Tour and is a popular location for wedding and graduation photographs. 

Train shed

CN Station Historic Site: 23245 Mavis Ave. cor. Grover Rd., Fort Langley, Langley Township, British Columbia V1M 2S3, Canada.  Tel: (604) 513-8787. E-mail: info@langleyheritage.ca,  Website: www.langleyheritage.ca. Open Thursdays to Sundays, noon until 4 pm (summer, until Thanksgiving).  Admission is free but a $20 donation is appreciated. Mail to: Langley Heritage Society, Box 982, Fort Langley, B.C..

How to Get There: from Vancouver, it is a 35-min, (38.8-km.) drive via the Trans Canada Highway/BC-1E. From the Expo line exit at Surrey Central Station, catch the #501 Langley Centre bus at bay #4. Get off at Walnut Grove Park and Ride (about 30 mins. on the bus) and transfer to a C62 Langley Centre Via Fort Langley Community Shuttle Bus at bay #2 and get off at the corner of 96th Ave. and Glover Rd. (about 22 mins. on the bus) The village is located along both sides of Glover Rd. – mostly to the north.

Fairacres Mansion (Burnaby, British Columbia, Canada)

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Fairacres Mansion

The large, two-and-one-half storey, sprawling Fairacres Mansion, also called the H.T. Ceperley House (after its original owners), now houses the Burnaby Art Gallery.   Designed by English born and trained architect Robert Percival Sterling Twizell (1875-1964) who was steeped in the current architectural trends in Great Britain, it was one of his grandest residential commissions.  The mansion, on the north shore of Deer Lake, was built in 1910 at an estimated cost of C$150,000.00, making it the largest and most expensive house in Burnaby and the Lower Mainland at that time.

Check out “Burnaby Art Gallery” and “Deer Lake Park”

The 20-acre (half of it landscaping) estate, owned by American-born couple Henry Tracy Ceperley (1850- 1929) and Grace E. Dixon Ceperley (1863-1917, a successful and well-respected businessman who made a significant contribution to the development of the City of Vancouver), was conceived and funded by Grace who had achieved significant wealth through a bequest from Vancouver pioneer Arthur G. Ferguson (the same Ferguson of Ferguson Point in Stanley Park), her brother-in-law. The construction of Fairacres, their retirement home, spawned the transformation of the Deer Lake area from a farming community into a preferred location for elite suburban homes.


The mansion was constructed in the Edwardian Arts and Crafts style which is often used for estate mansions as a symbol of affluence and good, modern taste, as well as an affinity for all things British. It is reflected in the architectural detailing and proportions, with handmade fixtures, carpentry and tiled fireplaces.  Quality, in the finishes and materials, orchestrated by James Charles Allen, a prominent local contractor, was displayed inside and out.

On the death of Grace at the age of 54 ‘(her ghost was said to haunt the mansion), Henry sold the house, in 1923, to Frederick Buscombe (one-time mayor of Vancouver). It also served as a tuberculosis ward for Vancouver General Hospital.  In 1939, Mr. and Mrs. Alexander Munro, the last family to own the mansion, sold the house to the Benedictine monks from Oregon and, in 1953, it became an abbey. In 1954, the Order vacated the house when it moved to Westminster Abbey (British Columbia) in Mission.

 

In 1955, the Benedictines sold the property to the Canadian Temple of the More Abundant Life, a cult headed by William Franklin Wolsey (who called himself “Archbishop John I”), a convicted bigamist (with a string of extortion and wife-beating charges), serving as its church and school.  After the school closed in 1960 (when Wolsey fled the country), it was leased and converted into a fraternity house (or “Animal House” of sorts) for Simon Fraser University‘s Delta Upsilon Fraternity.

Ground floor fireplace

In 1966, the Burnaby Art Society (led by Jack Hardman, Polly Svangtun, Sheila Kincaid and Winifred Denny, among others) worked with the City of Burnaby (its first civic heritage conservation project) to purchase the 3.4 hectares (8.4 acres) site for C$166,000.00 for conversion to Burnaby’s first art gallery.

To mark Canada’s Centennial of Confederation, the Burnaby Art Gallery opened its doors in June 1967. In 1992, it was designated as a Heritage Property and, on February 22, 2005, it was listed on the Canadian Register of Historic Places.

Wooden stairway

The exterior featured a rich variety of exterior elements that demonstrate the typical Edwardian Arts and Crafts use of local materials such as cobblestone chimneys and foundations, wide wooden siding and half-timbering.

It had a side-gabled roof with prominent dormers and cedar shingle cladding, a porte cochere (with its side steps for those arriving by automobile, and central raised step for those alighting from horse-drawn carriages), a mixture of double-hung and casement wooden-sash windows (many with multi-paned sash) and a verandah across the eastern (garden) facade, with its vistas over the landscaped gardens, the distant mountains, Deer Lake and other grand homes in the area.

The lavish interior spaces, designed for entertaining on a grand scale, featured a generous living and dining rooms arranged off a central hall.  Detailed features of the interior woodwork (including the staircase) were carved by Scottish-born George Selkirk Gibson (1867-1942), a master wood carver who was best known for his many commissions for prominent British Columbia architect Samuel Maclure.

The billiard room and parlor with a beamed ceiling and an inglenook fireplace, also had a grand oak mantelpiece hand-carved by Gibson which bears a quote by Ralph Waldo Emerson: “The ornament of a house is the friends who frequent it.”

The tiles in the fireplace surrounds throughout the house, imported from England, were fabricated by Conrad Dressler and his Medmenham Pottery.  It is one of the earliest documented use of these tiles outside the United Kingdom.  The interiors also featured leaded stained glass and window hardware by Hope and Sons.

Marker for Root House and Steam Plant

The main house anchors, in style and setting, the four associated original outbuildings (Garage and Stables; Root House, Steam Plant and Chauffeur’s Cottage) on the estate which are an important record of the functioning of a large estate of the time.  Some were designed by Architect Robert Mackay Fripp (1858-1917), also an outspoken advocate of Arts and Crafts design.

Root House

The one-storey, 4.6 by 9.1 m., masonry Root House, was used as a frost-free store for fruit and vegetables for the family’s use. Built in 1908, the long, low Root House was significantly altered in the 1960s and restored to its original design in 2000.

Root House

It had a front-gabled roof with cedar shingle cladding and its distinctive Arts and Crafts architectural features include its original louvered ventilation cupola with flared roof, extended eaves and brackets, and pebble-dashed stucco coating on the concrete walls.

The Garage and Stables and the Chauffeur’s Cottage accommodated the use of automobiles, horses and carriages and, in concert with the estate’s location near the new British Columbia Electric Railway Burnaby Lake interurban line, illustrate the evolving nature of regional transportation and the growing bedroom communities and estates made possible by increasing options for transportation.

Marker for Chauffeur’s Cottage and Garage and Stables

The two-storey, wood frame Garage and Stables, situated to the north of the Chauffeur’s Cottage, its distinctive Arts and Crafts architectural features include the shingle wall cladding articulated with a chevron-patterned course of shingles at the first floor level, multi-paned wooden-sash casement windows (some retaining original wired glass), and deep eaves with additional purlins to support the overhang.  Its stable doors, with hand-made forged-iron door hardware, are still original.

Stables and Garage

The long, narrow single-storey Chauffeur’s Cottage, situated across from the main entrance to the Ceperley mansion, adjacent to the Garage and Stables, was constructed by joining together two modest estate cottages.

Chauffer’s Cottage

Its distinctive Arts and Crafts architectural features include the jerkin-headed door hood, a reference to the thatched-roofed cottages of southern England, eight-paned wooden-sash casement windows, and cedar-shingled exterior.  The modest, functional interior, with simple trim and lack of pretension, had two internal brick chimneys.

Steam Plant Building

The single-storey wood-frame Steam Plant building, built from 1907 to 1908, had a gabled roof that originally housed the apparatus for climate control in the greenhouse (formerly located to its north).  It was significantly altered in the 1960s and restored to its original design in 2000.

Steam Plant Building

Adjacent to it is the original rubblestone walls that formed the foundation for the greenhouse. It had six-paned wooden-sash casement windows and its distinctive Arts and Crafts architectural features include the shingle wall cladding with decorative shingling under window sills, deep eaves, and pebble-dashed concrete foundation walls.

Kiln Station

The remaining formal Edwardian garden landscape elements include the cross-axial plan that reflects the relationship of the mansion to its outdoor rooms. Its grounds also included horse stables, an aviary, gazebo and pergola, lagoons, strawberry fields, greenhouses, a kiln station and a gardener’s cottage.  On November 23, 1992, Fairacres Mansion was designated as a Heritage Site.

Check out “Heritage Buildings of Burnaby”

Fairacres Mansion: 6344 Deer Lake Ave., Burnaby V5G 213, British Columbia, Canada. Tel: (604) 297-4422.  Fax: (604) 205-7339.  E-mail: gallery@burnaby.ca.  Website: www.burnabyartgallery.ca. Open Tuesdays to Fridays, 10 AM to 4:30 PM, and Saturdays and Sundays, 12 noon to 5 PM. Admission is free (a C$5 donation is suggested).

How to Get There: Bus 144 Metrotown runs from the Burnaby Lake SkyTrain Station to the mansion.  By car, take Sprott St. Exit, drive straight through Canada Way, past Burnaby City Hall and Central High School, turn left into Deer Lake Ave.  The mansion is at the top of the hill on your right.

Victory Square (Vancouver, British Columbia, Canada)

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Victory Square and Cenotaph

Victory Square, bordered by West Hastings Street to the northeast, West Pender Street to the southwest, Cambie Street to the southeast, and Hamilton Street to the northwest, stands at the intersection of the old Granville town site (AKA Gastown) and the CPR Town site, which was the downtown-designated land grant obtained by the Canadian Pacific Railway (CPR) as part of the deal to locate the terminus and thereby found the city (the corner of Hastings and Hamilton is the northern tip of the CPR Townsite).

Check out “Gastown”

Hastings Street Side

The site of the Cenotaph is significant. In 1914, because of the strong royalist sentiment in the city, it was at tables at the foot of the old courthouse steps where enlistees signed up for the First World War.  The maple trees on the Pender Street side of the park are the oldest street trees in the city, planted in 1897.

Hamilton Street Side

It was, at one time, the grounds of the city’s provincial courthouse, which was torn down in 1911–13 when the new Francis Rattenbury-designed courthouse along Georgia Street was opened (now the Vancouver Art Gallery). The term is also used to refer to the neighborhood immediately surrounding the square.

Check out “Vancouver Art Gallery”

Pender Street Side

Here’s the historical timeline of the square:

  • On February 13, 1886, an area of 3,600 sq. m. (0.9acres) out of the1.9 sq. km. (480 acres) allotted to the CPR was held aside as “Government Square.” The southwest corner of Hamilton and Hastings Streets is where L. A. Hamilton drove the first survey stake to commence laying out the street system for the city.
  • On 27 April 1924, the Victory Square Cenotaph was unveiled by His Worship William Reid Owen (Mayor of Vancouver), in the presence of an assemblage of 25,000 persons; naval, military and civilian, and including the Old Contemptibles, 7th British Columbia, 29th Vancouver (its chaplain, Major Cecil C. Owen M.B.E., V.D., D.D., dedicated the cenotaph), 72nd Seaforths, 2nd Canadian Mounted Rifles, 47th New Westminster, and 102nd North British Columbian Battalions, CEF, and others.

Pillar at Hastings Street side is decorated with a long sword and is engraved with the inscription “Their name liveth forevermore”and is kept continuously banked high with wreaths of flowers and adorned with national flags

The approximately 9.1 m. (30 ft.) tall, triangular (its shape conforms to that of the square) Victory Square Cenotaph , the Vancouver war memorial, was designed thus by Maj. G.L. Thornton Sharp (architect, town planner and park commissioner).  The 24-man (12 represented the Canadian Club of Vancouver and 12 the Civic War Memorial Committee) Vancouver War Memorial Committee, under the chairmanship of pioneer F.W. Rounsefell, Esq. (with J.R.V. Dunlop, of the Canadian Club, as honorary secretary), were the public-spirited sponsors.

Wreath at the base of the Hastings Street side

The word “cenotaph” (an empty tomb in memory of one buried elsewhere) is derived from the Greek word kenos (meaning “empty”) and taphos (meaning “tomb”).  The focus of the city’s annual Remembrance Day services, the Cenotaph lies at the foot of a gentle slope on the northern side of the square, on a plaza flanking Hastings Street. It is so placed that, when approached from the east, it appears in the distance centrally at the end of busy Hastings Street.

Wreath at Pender Street side

Made with gray Nelson Island granite (supplied by the Vancouver Granite Co., Ltd.), cost $10,666 and was erected by contractors Stewart who died from the effects of an accident whilst preparing the memorial) and Wylie. The pillar is engraved with suitable inscriptions and is kept continuously banked high with wreaths of flowers and adorned with national flags.

Inscription at Pender Street side that reads “All ye that pass by”

The stone ornamentations include one long sword and two wreaths (one of laurels, the other of poppies), both entwined with maple leaves.  The three corner buttresses are adorned by a stone replica of the steel helmet, as used in the war of 1914–1918.  The numerals “1914–1918,” at the base of the front, surrounds a larger wreath of laurels.

World War I helmet

A receptacle of three bronze maple leaves has slots that hold the staffs of the Union Jack, the Canadian Red Ensign, the Flag of Canada, the White Ensign, and RCAF Ensign, always flying, which are placed there by the Royal Canadian Legion and the Royal Commonwealth Ex-Services League, and renewed four times each year.

Sun Tower

One monument side faces busy Hastings Street (engraved inscription: “Their name liveth for evermore” and, within a stone wreath, “1914–1918″), the others Pender (engraved inscription: “All ye that pass by”) and Hamilton Streets (engraved inscription: “Is it nothing to you“). It is so placed that, when approached from the east, it appears in the distance centrally at the end of Hastings Street.

Flack Block (Copp Building)

Several historic buildings adjacent to Victory Square include the 13-storey, 53-m. (175 ft.) high, Second Empire-style Dominion Building (completed in 1910); the four-storey, Romanesque Revival-style Flack Block (or Copp Building, completed in 1900) and the 17 storey, 82 m. (269 ft.) high, Beaux-Arts-style Sun Tower (completed in 1912).

Dominion Building

Victory Square: Vancouver, British Columbia, Canada.

Fort San Antonio Abad (Manila)

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Fort San Antonio Abad

Relatively unknown to many, Manila has another Spanish-era fort, aside from the well-known Fort Santiago, located south of Intramuros and this one is not easy to visit as it is located within the confines of the high-security Bangko Sentral ng Pilipinas (BSP)  Complex – the 1.2-hectare, trapezoid-shaped  and equally historic but hidden Fort San Antonio Abad.

Exploring the fort with our guides

Considering its current location, tightly sandwiched between the imposing main tower of the BSP and the old Manila Metropolitan Museum  Building (now transferred to its new home at Bonifacio Global City in Taguig City), the fort is understandably overlooked these days.

Check out “Metropolitan Museum of Manila”

Stairs leading up to the ramparts

Visits to the fort are by appointment and my son Jandy and I had to arrange our visit in advance via email.  It was only upon approval of our request that we were allowed to proceed to the Bangko Sentral ng Pilipinas Complex.  Upon registering ourselves, we met up with our guides, Ms. Regyn Avena and Mr. Lauro E. de los Santos, Jr. who were to tour us around the fort.

The view of the South Wall from the East Bastion

Also known as Fort Malate or Fort San Antonio, this fortification was completed in 1584 and named in honor of its patron saint, Saint Anthony the Abbot (feast day: January 17).   Like the walled city, the fort evolved into a variety of stone fortress popularized by renowned French military architect Sebastien Le Prestre de Vauban, with two signature bastions at the corners of the canted walls.

The canted South Wall

Though relatively small in size, it certainly occupies a significant place in the history of Manila as it played a role in three great conflicts – the Seven Years’ War,e vents prior and during the Philippine–American War and World War II.  Located in what was then a separate hamlet of Malate, the fort served as a rear protection for the Manila as well as to guard the Manila–Cavite route.

The West Bastion at the North Wall

The Spanish used the fort as a polvorista (“little fortress” or gunpowder magazine to safely store gunpowder) known as Fuerte de Polverina.  On September 26, 1762, during the Seven Years’ War, it was captured by British forces under Rear-Admiral Samuel Cornish and Brigadier-General William Draper when they invaded Manila. They transformed the fort into a garrison, setting up an artillery battery.  From here, the British forces launched their land offensive against the Spaniards defending Intramuros.

The exquisitely designed North Entrance

On March 26, 1764, upon the end of the British occupation of Manila, the fort was returned to Spanish control and rebuilt, again becoming a gunpowder storage facility. On August 13, 1898, after bombardment by U.S. warships during the sham Battle of Manila, the fort was captured and the first American flag hoisted by the First Battalion of the First Colorado Volunteer Regiment under the command of Lt.-Col. Henry Bayard McCoy.

The grassy courtyard. On the left are the square embrasures

Also, during the Philippine–American War, U.S. military authorities used the prison to carry out multiple executions by hanging. Harry Cline, an American civilian under the employment of the United States Army, was the first American to be executed by U.S. authorities after he shot, with a revolver, four small Filipino boys from Parañaque gathering grass, wounding three and killing the fourth (Agaton Rivera) on April 8, 1901. Cline was tried by an American military court, found guilty of murder and three counts of assault with intent to kill, and sentenced to death by hanging which was carried out  on September 20, 1901.

The fort ramparts

During World War II, Fort San Antonio Abad was seized by occupying Japanese  troops and it was used as a bunker, with a cannon installed. During the Liberation of Manila, the fort suffered considerable damage.  After World War II, the very young Offshore Patrol, with the Manila Naval Station (MNS) as its main support unit, set up its headquarters at the fort. They vacated the place in 1965.

The now unused well with windlass

On June 1974, coinciding with the establishment of the new main office complex of the BSP, the restoration of the fort was again started (the first restoration was at the beginning of the 19th century) by Architect Carlos E. Da Silva, during the term of former Bangko Sentral ng Pilipinas Gov. Gregorio S. Licaros, and completed in 1976.

1976 Restoration Plaque

This battle-weary and proud structure is now a beautiful little park and events place with paved walkways and street lamps. Where guards once stood, there are now roaming gardeners keeping the manicured garden trim. Within the garden is a now unused well with a windlass for raising water.

National Historical Treasure plaque

In 2018, together with Intramuros (collectively known as the “Fortifications of Manila”), the fort was named a National Cultural Treasure (NCT), for their architectural, historical, scientific and archaeological significance, by the National Museum of the Philippines. Both forts were essential parts of the defense of Spanish Colonial Manila and scientifically important in terms of military and structural engineering. The NCT marker is now installed there and in Plaza Roma in Intramuros.

The unadorned south entrance. In my opinion, this entrance seems like a recent addition as there as its walls show no signs of weathering

At the fort’s south entrance, two historical plaques (the 1976 renovation plaque and the NCT plaque) are mounted.  A Historical Research and Markers Committee (now the National Historical Commission of the Philippines) marker, installed  in 1937, is mounted on the wall to the right of this entrance, is topped by a semicircular arch niche, flanked by Doric columns, with an antique wooden statue of St. Anthony Abbot within.

Niche with statue of St. Anthony Abbot

In turn, the niche is framed by a decorative moldings ending in scrolls. The original segmental arched main entrance of the fort, with its quaint iron gate, faces north.  This latter entrance is decorated with a bas-relief of the traditional Spanish coat of arms of Leon (the lion) and Castille (the castle) and topped by finials.

Bas-relief bearing the Spanish coat of arms at the North Entrance

The fort can be quickly explored in less than half an hour. At the lower level of the fort are a series of square embrasures, openings in fort’s walls where cannons can be fired.  These openings, flared outward to enlarge their field of fire, once faced the sea but are now facing the back of the museum.

One of the fort’s embrasures

You can walk around the entire wall perimeter via very narrow, 2-foot wide ramparts which can be reached via stone steps. Standing on either side of the fort, on arrowhead-shaped bulwarks (East and West), are two large, sea-facing naval guns which were damaged when the American Air Force bombed the fort during the 1945 Liberation of Manila in World War II.

William Armstrong gun at the East Bastion

Cast by Sir William Armstrong & Co. (England), these two 19th century, rifled breech-loading guns, weighing 20,238 and 20,220 pounds respectively, had a bore of 8 inches.  The original gun carriages are now gone (probably destroyed during the bombing or have rotted away) and have been replaced by concrete supports.

Pockmarked William Armstrong gun at West Bastion

AUTHOR’S COMMENTS:

After our visit to the fort, I can’t help but notice the differences between the plain looking south entrance and the exuberantly decorated north entrance.  Plus, I also can’t help but notice the seemingly misplaced bas-re;ief, with its statued niche, to the right of the south entrance.  This has got me thinking.

Could the south entrance have been originally located just below this bas-relief? It would make sense as statues of saints in niches or in bas-reliefs are usually placed above the entrances of churches and forts (even Fort Santiago has a bas relief of St. James the Moor Slayer, its patron saint, above its main entrance) to watch over those who enter.  Probably the lower and narrower entrance (suitable for wagons), with its pilasters, must have been walled up and a new, simple but higher and wider square opening was created, during the American era, a few meters beside it, possibly to allow tall and wide-bodied vehicles such as trucks to pass through.  I wonder ……..

For me, this makes sense…..

Fort San Antonio Abad: Banko Sentral ng Pilipinas Complex, Malate, Manila 1004.  E-mail corporateaffairs@bsp.gov.ph (to arrange for a visit).

Museo ng Sapatos (Marikina City, Metro Manila)

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Museo ng Sapatos (Shoe Museum)

The Museo ng Sapatos (Shoe Museum), formerly known as the Footwear Museum of Marikina, is housed in an old stone building (bigasang bayan) built in 1880s by Dona Teresa de la Paz of the affluent Tuason family to store palay.   During the Philippine Revolution, it served as an armory of the Guardia Civil and, during the Philippine–American War, the building was used as a detention center.

Museum entrance

During the American era, it was then used as a motor pool and, during the Japanese Occupation, it served as a detention center for suspected guerillas.  After World War II, the structure was repurposed as a rice mill by the Tuason family but was later abandoned.

Museum interior

In 1998, Mayor Bayani F. Fernando conceived the idea to open a museum dedicated to Marikina‘s 110-year old shoe industry and, in 2000, he had it renovated and converted into a museum.

Column wrapped with shoe lasts

Opened as Marikina Footwear Museum on February 16, 2001, it aims to showcase the shoes worn by prominent figures and personalities in the Philippine history and to trace the history of the shoe industry.  Imelda R. Marcos herself led the museum’s opening.  When Typhoon Ondoy struck in 2009, water reached 4 ft. high inside the museum and many shoes were damaged.

Imelda Marcos Shoes Gallery. At the end are the Filipiniana dress of Imelda Marcos and the barong tagalog of Pres. Ferdinand E. Marcos

At the center of the hall is a column of old wooden shoe lasts. A stairway leads up to the mezzanine where 749 pairs (as of 2020) of size eight-and-a-half footwear (shoes, downy boudoir slippers, slick knee-length boots, open-toed linen espadrilles, alligator pumps, etc.)  of former First Lady Imelda R. Marcos, an active promoter of Marikina’s shoe industry, are displayed, occupying one long wall of cabinets.

Shoes of Pres. Ferdinand E. Marcos

Shoes of Pres. Manuel A. Roxas

Aside from shoes from local designers (she was gifted an average of 10 pairs a week), they include handcrafted designer pieces from brands such as Charles Jourdan, Beltrami, Christian Dior, Gucci and Oleg Cassini.  Also on display are a Filipiniana dress worn by her and a barong tagalog worn by the late Pres. Ferdinand E. Marcos.

Shoes of Pres. Gloria Macapagal-Arroyo

Shoes of Pres. Fidel V. Ramos

Seized by the Presidential Commission on Good Government, they were formerly on display, for six years, at the Malacañang Palace Museum (now the Malacanang Museum and Library) during Corazon Aquino‘s presidential term.

Check out “Malacanang Museum and Library”

Celebrity Shoes

It was later placed in storage at the beginning of Fidel V. Ramos‘s presidency.  In 1996, a portion of Marcos’ shoe collection was requested to be transferred to the Marikina city government led by Mayor Bayani Fernando. Marcos did not object to the request in 1998.

Shoes of former Marikina City Mayor Bayani Fernando

Bowling shoes of six-time World bowling champion Paeng Nepomuceno

Also on display are shoes worn by the late President Ferdinand E. Marcos plus shoes donated by the late President Fidel V. Ramos, President Joseph Estrada (a size 10) and President Gloria Macapagal-Arroyo, and shoes donated by other politicians (Sen. Loren Legarda, Cong. Jose de Venecia, Bongbong Marcos, etc.) including a pair of shoes from Senator Miriam Defensor Santiago which she wore during the 1992 Presidential Campaign and during her visit to local shoe manufacturers in Marikina.

Evolution of Shoes

Circa 1930s to 1970s

There are also shoes from showbiz figures (Agot Isidro, Dolphy, Fernando Poe Jr., Christine Reyes, April Boy Regino, Angel Aquino, John Arcilla, Rosa Rosal, etc.) , athletes (Paeng Nepomuceno, Eugene Torre, etc.), beauty queens (Venus Raj, etc.) and other well-known personalities (Lisa Macuja-Elizalde, Jaime Cardinal Sin, First Lady Amelita Ramos, etc.).

Circa 1980s to 2000s

Circa 2001 to the Present

Aside from celebrity shoes, there is a display about footwear through the ages. Highlights include kinds of shoes icemen would have worn back in 3300 BC, Dutch clogs, Viking boots, Roman sandals and Indian moccasins.  Also on display are the products that made Marikina as the Shoe Capital of the Philippines.

Singer sewing machine

Men’s and Ladies’ Shoe Stands and Manual Delaster

On another corner are award-winning shoes, mostly fantasy footwear, from the city’s annual design competition.

A 3-foot high leather shoe

Also on display are actual cobbler’s tools, a sewing machine, shoe lasts, shoe components, men’s and ladies’ shoe stands and a manual delaster.  There’s also a huge, 3 ft. high leather shoe.

Shoe Components

Cobbler’s tools

On the sidewalk surrounding the Shoe Museum is the Shoe-perstar Alley, a walk-of-fame inaugurated on November 13, 2012 (Sapatos Festival).

Angel Locsin and Joel Lamangan

It features 49 famous personalities from different careers like politics, sports, arts, entertainment, music, philanthropy, business, news and current affairs, fashion and beauty, and religion who have greatly contributed to the upliftment of the shoe industry in Marikina.  Their names are placed on 60cm. x 60cm. tiles that have a 16cm. x 16cm. shoe design made of brass.

Monique Wilson and Brian Tenorio

Also outside the Shoe Museum is a century-old acacia tree, one of two Heritage Trees in Marikina which are enduring witnesses to city’s history, particularly the growth and struggles of its footwear industry. Now laying on its side, the trunk blocking J.P. Rizal Street and half of the roots unearthed and exposed, it was uprooted by a tornado spawned by Typhoon Ompong on September 14, 2018. First aid methods and bonsai techniques had been used to revive this acacia and it is now considered a symbol of the community’s own survival and resilience.

The still resilient Heritage Tree

Museo ng Sapatos:  J.P. Rizal St., San Roque, Marikina City (50 m. from the Sentrong Pangkultura ng Marikina), Metro Manila.  Open daily, 7:30 AM to 4:30 PM.  Admission: Php50.  Tel: (632) 696-6516.E-mail: marikinatourism@gmail.com.

How to Get There: take the LRT-2 to Santolan (its last stop) and then take a San Mateo-bound jeepney to City Hallon Central Shoe Ave.  From there, it is a short walk to the museum.

Sentrong Pangkultura ng Marikina (Metro Manila)

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Sentrong Pangkultura ng Marikina

The over two century old Sentrong Pangkultura ng Marikina, formerly the old Kapitan Moy building, was constructed in 1780 by Don Jose Guevarra whose family owns “Asyenda Tyason.” Andres Bonifacio of the Katipunan once visited the place and, in 1901, the American soldiers made it a camp.

National Historical Commission plaque installed in 1970

Once owned by Don Laureano “Kapitan Moy” Guevarra (July 4, 1851 – December 30, 1891), recognized as the father of the shoe industry in the Philippines (he also served as capitan municipal in the former municipality), the first pair of shoes in Marikina was designed and made in 1887.

Don Laureano “Kapitan Moy” Guevarra

Doña Teresa dela Paz, a haciendera, then bought the house of Kapitan Moy to serve the needs of the marginal sector of the community, converting it into a home of needy residents of Marikina. Doña Teresa then presented the dwelling to his brother-in-law Don Jose Espiritu who transformed it into a primary school from 1907 to 1955.

Interior

When the Americans occupied the Philippines, the building also served as the house of the American tribunal. From 1942 to 1945, when the Japanese came over, it became the Japanese Imperial Army’s headquarters.

In 1968, it was also declared as a National Shrine by the municipal council and NHCP.  On April 16, 1970, the building was commemorated with a cast-iron plaque marker and listed as a Historic Site and Structure by the National Historical Commission of the Philippines (NHCP) for being the Unang Pagawaan ng Sapatos sa Marikina or the First Shoe Workshop in Marikina.

Galeria

It is also recognized as a Cultural Property of the Philippines by the National Commission on Culture and the Arts, National Historical Commission of the Philippines, and the National Museum of the Philippines.

Cafe Kapitan Restaurant

On April 16, 1986, the building was declared as the Sentrong Pangkultura ng Marikina (Cultural Center of Marikina) by the Marikina local government. On September 14, 2018, the building was damaged by a tornado , a day before Typhoon Mangkhut (Ompong) struck Cagayan Valley, disrupting the wedding reception held at the building.

Cafe Kapitan Restaurant

Inside this building can be found Doll Museum, Marikina City’s museum, a diorama showcasing the events and history of Marikina. It also houses two restaurants (Café Kapitan Restaurant and Kusina ni Kambal).

Exterior stairs leading to the second floor

At the Café Kapitan Restaurant is an old well which serves as a décor and a wishing well to customers at the ground floor and is also a venue for seminars, conventions and other events.

Bulwagang Bayani

The fully airconditioned Bulwagang Bayani, located on the second floor, can accommodate 400 to 450 guests. The Plaza Kapitan may also be rented for different occasions.

The author at Sentrong Pangkultura ng Marikina

Sentrong Pangkultura ng Marikina: 323 J.P. Rizal St.,1800  Marikina City, Metro Manila.

Quezon Heritage House (Quezon City, Metro Manila))

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Quezon Heritage House

The Quezon Heritage House, a historic house museum within the grounds of the Quezon Memorial Circle, is situated across the Quezon City Hall. It serves as a museum focusing on the personal life of former President Manuel Quezon, complementing the nearby Museo ni Manuel L. Quezon at the base of the Quezon Memorial Shrine which focuses on the former president’s political career.

Check out “Quezon Memorial Circle,” “Quezon Memorial Shrine” and “Museo ni Manuel L. Quezon”

Built in 1927, the house was originally located at 45 Gilmore Street in Hacienda Magdalena (now New Manila). The Quezons moved to the house in 1927 when it was offered to them after Manuel Quezon contracted tuberculosis as the Santol Sanitarium  was just nearby.  The Quezons acquired the house on installment and managed to acquire three adjacent properties near the house.

Until they were forced to flee to Corregidor in 1941 during the World War II, the house was used as a weekend home by the Quezons.  After Manuel Quezon died in 1944, his family moved back to the house the next year, making it again as their family weekend house.  Later, it was occupied by the family of Maria Zeneida Quezon-Avanceña but, due to health reasons, she later moved out of the house to reside in Alabang.

During the administration of then city mayor Feliciano Belmonte Jr., plans to preserve the house were made. Belmonte approached the National Historical Commission of the Philippines and had talks on the city government’s prospects of acquiring the house, as well as the registration of the building as a heritage site.  However, the house did not meet all requirements for the designation.

The house was sold in 2012 and was about to be razed, when Mayor Herbert M. Bautista (born May 12, 1968) had the house disassembled and reconstructed in Quezon Memorial Circle. In April 2013, a new foundation was laid for the house and then the house in Gilmore was disassembled. About 60% of the parts of the house were removed with care and used for restoration. In June of the same year, the disassembling process was finished.

The total cost for the relocation was ₱10 million. The Quezon family also donated some furniture and fixtures for the house. In 2015, the Quezon Heritage House was designated as a Local Heritage Site of Quezon City by virtue of Ordinance No. SP-2428 passed by the Quezon City Council.

The two-storey Quezon Heritage House, painted in beige and white, did not follow strictly the Neo-Classical style theme as it underwent, in the span of more than 50 years, several modifications by the Quezon family.   Serving as the main entrance of the house are glass doors etched with bamboo with iron-wrought leaves, one of the non-Neo-Classical features of the heritage house.

Social Hall

An adjacent, single-storey rectangular social hall, present in the Quezon house complex, has round columns and features Fu Dog sculptures and two Caryatids as part of the support. A rectangular pool, between the social hall and the house building, was converted into a fountain when the building was transferred to the Quezon Memorial Circle.

The house’s living room, on the ground floor, was used by former First Lady Aurora Quezon as her office where she was establishing the Philippine National Red Cross.  Also on the same floor is a room used by Aurora as her age advances.   During the time the Quezon-Avanceñas were occupying the house, it was used as a guest room. A kitchen, each for the first and second floor, was also constructed.

The second floor, the primary attraction of the museum, is where the two bedrooms, with the original narra beds, of former president Quezon and his wife (the couple had separate rooms due to Manuel Quezon’s illness) are situated.  Both are linked by a comfort room. The original spiral staircase was retained upon its relocation to its current place. The cabinets and mirrors, doors, grills and some stained glass panels are all original.

Aside from featuring the interiors, furnishing and properties of the Quezón family, also on display are artworks by Guillermo Estrella Tolentino (1890 -1976), Miguel Geronimo Galvez (1912-1989), Loreto T. Racuya (born 1940), German M. Icarangal (1914-1984), R.F. Tapino, P. Żółcią, and E.P. Lim.

Beside the Quezon Heritage House is the Philippine-Israel Friendship Park, inaugurated in 2017, which commemorates Pres. Quezón’s opening the Philippines to Jewish refugees from the Nazi  persecution of World War II.

Quezon Heritage House: Quezon Memorial Shrine, Quezon Memorial Circle, Elliptical Road, Diliman,  Quezon City, Metro Manila.  Admission is free.  Coordinates: 14°38′58.4″N 121°03′01.1″E

Barcelona Ruins Park (Sorsogon)

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Barcelona Ruins Park

Part of the Sorsogon Countryside Tour

Across the road from the Church of St. Joseph the Worker, built along the shoreline of the Pacific Ocean, is the Barcelona Ruins Park.  Located here are the ruins of a school building (for children of wealthy “illustrados”), at te southeastern tip of the park, and the prominent, two storey “La Presidencia,” at the northwestern tip of the park.

Check out “Church of St. Joseph the Worker”

Ruins of the Presidencia

Also within the park is a modern, solar-powered lighthouse (erected in 1994 through a grant from the British government) and a “Barcelona SORSOGON” sign, a trend among towns, cities and landmarks this decade. A great place to relax and view the bay for the locals, at some of its areas, there’s free WiFi connection.

Built in 1874, the nearly century and a half La Presidencia was the seat of the Spanish Colonial-era gobernadorcillo (“little governor”). Massive in size, this structure also doubled as a watchtower and fortress against Moro pirate attack.

In the event of a retreat from the attacks, there was originally an underground tunnel leading to the aforementioned church but was closed to prevent thieves from accessing religious relics in the church.

The solar-powered lighthouse

During the Japanese Occupation in World War II, it was used by the Japanese as a garrison.  After the war, it was again used as the seat of the municipal government.

The park sea wall

However, a series of typhoons, ripped the building’s roof and the building was abandoned.  Today, it is a historical landmark of the town.

AUTHOR’S COMMENTS

The feeling of mystery makes vegetation in ruins more appealing and enjoyable to visitors but it is a known fact that vegetation causes physical damage and deterioration to standing structures in archaeological sites and monuments thereby increasing the risk of collapse and danger to those underneath.  I suggest removal of such greenery.

A new Spanish-inspired, two-storey municipal hall building was built in 2020.

The new Barcelona Municipal Hall

Barcelona Ruins Park: Poblacion Central, Barcelona, Sorsogon.

How to Get There: Barcelona is located 548.5 kms. (an 11.25-hour drive) from Manila and 27 kms. southeast of Sorsogon City.  From Sorsogon City, take a jeepney to Gubat then transfer to another jeepney at Barcelona.

Sorsogon Provincial Tourism Culture and Arts Office: Ground Floor, Capitol Building, 4700 Sorsogon City. Mobile number: (0968) 624-6279. E-mail: tourism@sorsogon.gov.ph.  Facebook: www.facebook.com/sorsogonprovincialtourismoffice.

Barcelona Municipal Tourism Office: mobile numbers (0908) 927-6481 and (0917) 348-7084.

Ur Place Travel & Tours: OLV Pangpang, Sorsogon City, Sorsogon.  Mobile number (Viber): (0927) 950-3927 (Ms. Annie Gueb).  Facebook: www.facebook.com/urplacetravel.