Category Archives: Architecture

China Banking Corporation Building (Binondo, Manila)

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The magnificent, seven-storey China Banking Corporation (China Bank) Building in Binondo, originally designed by German architect Julius Arthur Niclaus Gabler Gumbert (also the designer of the Yutivo Hardware Building in Binondo and the San Miguel Brewery Building, now the New Executive Building of the Malacanang Complex) in the Neo-Classical fashion, utilizing a variation of the Beaux-Arts style.

China Banking Corporation Building

It was built from 1923 to 1924 as the head office of China Bank. Originally it had five storeys but it was later extended to seven. During the Japanese Occupation, it was used as a headquarters of the Japanese and, during the Battle for Manila in 1945, was burned by the Japanese and destroyed.

The restored building’s Neo-Classical facade

After the war, it repaired and again used as the office of the bank in July 1945. The building served as the bank’s head office until 1969, when China Bank moved its key operations to Makati. On March 14, 2018, to mark the 100th anniversary in 2020, China Bank decided to restore building and the Binondo Heritage Restoration Project team, led by SVP Alexander Escucha, was tasked with the job. For the restoration, they engaged the services of heritage architect and author Manuel Noche (Noche + Architects), former secretary of the Heritage Conservation Society which advocates for the restoration and renewal of the Binondo area.

A row of fluted Corinthian pilasters

Much of the construction work, to make the building LEED (Leadership in Energy and Environmental Design, the widely used green building rating system in the world) compliant, required extensive structural, architectural, mechanical, electrical, plumbing, and insulation work, aimed to strengthen the building, make it energy efficient, and bring it up to modern building codes and safety standards.

Reliefs of festoons in the shape of garlands and wreaths

On April 04, 2019, construction started. All the floors were retrofitted with a Japanese technology of rubber dampeners, the first of its kind in the country.  A commissioned hydrological study showed that the lobby was below the Pasig River’s level at high tide, so a modern pipe system and a cement barrier was installed in the ground floor.

The arched arcade

The original grills and arches, previously walled in for the last 70 years, were meticulously restored, giving the refreshed building an elegant and nostalgic vibe.  Inside, the high ceiling, beautiful granite floor, and natural light streaming in from the arches opened up the space and made it look grander.  Professionally designed exterior lights were installed to light up the building at night.

National Historical Commission of the Philippines plaque

On August 14, 2020, the restored façade and ground floor were unveiled, just in time for China Bank’s centennial anniversary and, on December 17, 2020, was declared by the National Museum of the Philippines as an Important Cultural Property.  On January 31, 2021, the Binondo Business Center (BBC) Cash Department was officially opened at the lobby and, on December 22, 2021, a historical marker from the National Historical Commission of the Philippines was unveiled.

National Museum of the Philippines plaque designating the building as an “Important Cultural Property”

The China Bank Museum, curated by Marian Pastor Roces, was also built at the fourth floor (which formerly housed the executive offices) for the public to appreciate the business and culture of banking through memorabilia, art, and mementoes.

AUTHOR’S NOTES:

The corner facing façade of the building has an arcade lined with semicircular arches, reaching up to the mezzanine level, with corbel keystones.  Above the cornice are rows of fluted Corinthian pilasters up to the fifth level and flanking rectangular windows topped by triangular pediments. Below some of the windows are reliefs of festoons in the form of garlands and wreaths.  The roof cornice is lined with dentil moldings.

China Banking Corporation (China Bank) Building: Dasmarinas cor. Juan Luna Sts., Binondo, Manila. Tel: 2247-5388.

Pacific Commercial Company Building (Binondo, Manila)

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The historic, five-storey Pacific Commercial Company Building, also known as the  Juan Luna Building, Juan Luna Plaza, the First National City Bank (now Citibank) Building and the Ayala Building, was built in the 1920s. Designed by American architects Murphy, McGill and Hamlin of New York City and Shanghai, it was built at a cost of two million pesos, finished by July 1922 and inaugurated on November 13, 1922.

Pacific Commercial Company Building

Later bought by Enrique Zobel, the building was known as the “Ayala Building” from 1940 to 1959. In 2007, LBC Properties Inc. led a renovation of the building. The First National City Bank also occupied the building.

In 2009, the building was bought by businessman Carlos Araneta who planned to the building to host a business process outsourcing company. The building underwent renovation in 2012 and was meant to be named as the Juan Luna e-Services Building. The facade of the building was preserved. However lack of investors hindered Araneta’s plan and the Juan Luna Building was purposed as a mixed-used building that also serves as a living museum.

Historical plaque installed by the National Historical Commission in 2017

Past midnight of May 28, 2018, a fire broke out at the nearby Land Management Bureau Building. By 8 AM (PST +8:00), the fire has reached the Juan Luna Building and the fire affected the third floor and portions of the fourth floor.  The fire, put out around 4 PM, also affected the 150 Plaza Cervantes Building, the Moraga Mansion and the National Archives of the Philippines office (although the agency stated that no historical documents were burnt since it keeps these in their offices in Paco and Ermita). Due to the timing of the start of the fire, the incident is suspected to be caused by arson.

Occupying an approximately 1,800 sq. m. (19,000 sq. ft.), irregularly shaped corner lot adjacent to El Hogar, it has a frontage of 43 m. (141 ft.), along General Luna St., and 46 m. (151 ft.) along Muelle de la Industria, along the Pasig River.

Check out “El Hogar Filipino Building”

The building’s design is derived from the trademark architectural features set by the International Banking Corporation of New York for its overseas branches. The bank’s prototype, made up of a row of colossal columns in antis, was faithfully reproduced for its Manila headquarters. The ground floor, with arched openings with fanlights emphasized by stones forming the arch, was fully rusticated to effect a textured finish.  Lintels, resting on consoles, adorned the main doors.

Six three-storey high, engaged Ionic columns, dominating the south and west facades above the ground floor, end in an entablature topped by a cornice and are flanked by a pair of pilasters on both fronts. The slightly indented fifth floor is also topped by an entablature crowned by strip of anthemion.

Pacific Commercial Company Building: Juan Luna St. cor. Muelle de la Industria, Binondo, Manila.

El Hogar Filipino Building (Binondo, Manila)

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The El Hogar Filipino Building (Spanish: Edificio El Hogar Filipino), also known simply as El Hogar, was an early skyscraper in the Philippines. Built sometime between 1911 and 1914, it was designed by Spanish-Filipino engineer Don Ramón José de Irureta-Goyena Rodríguez and architect Francisco Perez-Muñoz in the Beaux-Arts style, its architecture reflecting elements of Neoclassical and Renaissance styles.  Opened on December 2014, it was one of the first buildings in Manila built entirely out of concrete.

El Hogar Filipino Building

Right across Juan Luna Street, on its northern front, is Pacific Commercial Company Building (commonly known as the First National City Bank Building, it was built in 1922), another important edifice, and the Hong Kong and Shanghai Bank Building on its rear.

Check out “Pacific Commercial Company Building” and “Old HSBC Building”

The four-storey building, by the Pasig River, was built as a wedding present of Don Antonio Melian y Pavia, a Spanish businessman who was titled as the third Conde de Peracamps, to his bride Doña Margarita Zóbel y de Ayala, who was a sister of  patriarch Don Enrique Zóbel de Ayala.

Don Antonio was born on May 21, 1879 in Las Palmas in the Canary Islands in Spain. From Spain, he sailed to Peru in 1903 where he held posts in the insurance company La Previsora and in the Casino Español de Lima. In 1907, he first set foot in Manila and, on June that same year, married Don Enrique Zóbel de Ayala‘s sister Doña Margarita Zóbel y de Ayala at San Agustin Church.  In 1910, he sailed from Peru back to the Philippines and established the El Hogar Filipino and the Filipinas Compañía de Seguros together with his brothers-in-law Enrique and Fernando Zóbel y de Ayala.

The El Hogar housed the Melián business empire, such as the Filipinas Compañía de Seguros (the first local-owned fire insurance company), Tondo de Beneficiencia, Casa de España, Casa de Pensiones, and Sociedad El Hogar Filipino, a financing cooperative and lending company. Other tenants of the El Hogar include Ayala y Compañía, Sociedad Lizárraga Hermanos, and Smith, Bell and Company (a shipping company). In the 1920s, after the completion of its own building at the foot of the Jones Bridge in Plaza Moraga, a short walk from the El Hogar, the Filipinas Compañía de Seguros moved out of the El Hogar.

Check out “The Revitalized Jones Bridge”

It survived World War II (it only suffered minor damages during the Battle of Manila in 1945) and a number of earthquakes and is one of two remaining American-era structures in the area facing the Pasig River. In the post-war years, Sociedad El Hogar Filipino closed down, along with other Melián businesses, leaving only the Filipinas Compañía de Seguros. Because of this, the Meliáns sold the El Hogar to the Fernandez family, and the El Hogar was rented out to other companies, mostly customs brokerage firms with few residential tenants. It also became the shooting location of movies, TV shows and fashion and advertising shoots.  Some decades ago, the building was finally abandoned as an office building and fell into neglect and decay.

On February 2014, news involving the El Hogar sparked when it was reported that it was sold to The Ritz Premiere Corporation, a Chinese-Filipino real estate developers, which reported that it will demolish the El Hogar because of the building’s stability, and be turned into a condominium. By November, G.I. sheets fenced up the El Hogar Building, seemingly being prepared for demolition.

The news spread like a wildfire throughout heritage conservationists (who wrote to both the city government of Manila and the National Historical Commission of the Philippines, or NHCP, to stop the demolition of the El Hogar), cultural advocates, and ordinary citizens alike. Because of this, a petition to stop the demolition was created. The Ritz Premiere Corporation said that they do not have plans of demolishing the El Hogar but will, instead, use it as a warehouse.   The NHCP issued a cease and desist order and attempted to purchase the iconic building.  However, negotiations were halted when NHCP and The Ritz could not agree with the price.  The building’s status is still uncertain.

Some of the building’s interesting features are its two garden courtyards and its unique mirador (balcony) where one can see the Pasig River and the southern part of Manila which includes the walled city of Intramuros, Ermita, and Malate.  El Hogar’s magnificently ornate grand staircase, considered as one of the most ornate in the city, has a sculpted mythical griffin as its base and bears Antonio’s and Margarita’s initials. However, on July 6, 2014, the magnificent and intricate grille work of the building’s grand staircase were seen being loaded to a truck belonging to a building contractor.

The value of the El Hogar Filipino Building is its architecture.  A representation of American period design, materials and construction methods, the building is a representation of the architecture of business establishments of that era. It also has a collective value as one of the significant structures within the historic Binondo district and Escolta Street, along the cultural landscape of the Pasig River.

El Hogar Filipino Building: cor. Juan Luna St. and Calle Muelle dela Industría, Binondo, Manila.

Church of St. Jerome (Morong, Rizal)

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Church of St. Jerome

This intricately-designed church, dedicated to St. Jerome (patron of scholars of the Bible, this saint translated the Bible), is one of the splendid examples of tropical Baroque architecture (more properly described as Baroque Revival architecture) in the Philippines, with its unique bell tower shape and finely detailed façade with fanciful balusters, large pillars and carved stone ornaments.  It is a favorite subject for photographers and a lovely backdrop for weddings and selfies.

The unique bell tower shape of the facade

It was first built in wood by Franciscan friars in 1612 opposite of its present location, on the south bank of the river.  After it was destroyed by fire together with a large part of the pueblo in 1612, it was rebuilt, on elevated ground at the opposite bank of Morong River (which ensured its safety from floods and fires) from 1615 to 1620 by Fr. Blas de la Madre with stone and mortar.

The finely-detailed Baroque facade

Stones were quarried from a hill called Kay Ngaya; lime from the stones of the mountain Kay Maputi; and sand and gravel from Morong River. Measuring 42 varas long by 12 varas wide, the church had a single nave with a semicircular apse, built under the direction of Chinese master craftsmen.

The plaque installed by the Philippine Historical Committee in 1939

In 1850, Fr. Maximo Rico commissioned Don Bartolome de Palatino, a native of Paete, to renovate the facade and build the four-storey, 30 m. (100-ft.) high octagonal bell tower.  Completed on February 2, 1853, the new Baroque façade, designed by Severo Sacramento, had a towering height of 20 varas. During the Philippine Revolution, Spanish casadores and other loyal civil guards were besieged in the church and convent, finally surrendering to the Katipuneros on August 19, 1898.

The left side of the church

The central portion of the elaborate, exquisitely carved and frequently photographed three-storey Baroque façade, one of the most striking of all church facades along Laguna de Bay, surges outward and the catenated balustrade above gives the whole a dynamic feeling.

The church interior

It has superpositioned Doric columns, a semicircular arched main entrance and an elaborately decorated segmental pediment with carved cornice and tympanum.  Horizontal string courses with decorative moldings and balustrades identify each level. Various decorative elements, some Mexican in origin, give the facade a richness characteristic of Baroque.

The choir loft

Chinese influence is seen at the two (a boy and a girl) Chinese lion sculptures at the entrance to the steep entrance driveway (it is 30 feet above the town). One lion, said to be the girl lion (said to have a hidden treasure inside it), was stolen between 2000 and 2005. The male lion is safeguarded at the St. Jerome school vicinity.

Main altar area

Above the main entrance is its landmark single bell tower (characteristic of European churches), the church’s focal point, with its statue of St. Michael the Archangel on top and ornamented with floral and scroll designs.

Four angels, representing the cardinal virtues (Prudence, Justice, Restraint and Courage), stand at the corners of the bell tower. The Franciscan coat-of-arms (indicating it was once assigned to Franciscan missionaries), the hands of Jesus and St. Francis of Assisi, is seen on the main facade of the bell tower.

The cross at its tip is illuminated at night and can be seen from the surrounding countryside. When fishing at night and during the storm, the bell tower is used by local fisher man in the nearby towns as a light house. Fr. Felix Huerta, writing in 1852, states that the facade had finials shaped as jars and shells used for illuminating it.

An added attraction in the church is the first class relic (a part of the saint’s body) given to the parish year in 2005, through the effort of then parish priest Rev. Fr. Lawrence “Larry” Paz, when they had their first pilgrimage tour to Holy Land and Vatican City.

Publicly exposed every Saturday during the anticipated mass (the kissing of the relic is done every last Saturday of the month), the relic is guarded by the knights of St. Jerome. Another much bigger relic, given, in 2007 to the parish as a gift from the main chaplain of the church of St. Jerome in Rome, is now buried on top of the table of the main altar.  It is kissed by the priest every time there is a mass.

 

The Four Evangelists

Church of St. Jerome: Turentigue St., Brgy. San Jose, Morong, Rizal. Tel: 8653-1259.  View Map>>>Feast of St. Jerome: September 30.

How to Get There: Morong is located 4.5 kms. (a 2-hr., 15-min. drive), via R-6, from Manila and 26.6 kms. (a 1-hr. drive), via Sumulong Highway, from Antipolo City.

St. John the Baptist Church (San Juan City, Metro Manila)

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Church of St. John the Baptist

St. John the Baptist Church (Filipino: Parokya ng San Juan Bautista), also known colloquially as the “Pinaglabanan Church,” is located several meters from the Pinaglabanan Shrine.

Check out “Pinaglabanan Memorial Shrine”

The first church was constructed, under the supervision of architect Luis Arellano and the financial support of Mariano Artiaga. A Franciscan, Fr. Roman Pérez, OFM, a year after the parish was established on July 15, 1894.  Fr. Perez served as the first parish priest from 1894 until 1897.

The Romanesque Revival facade

On August 30, 1896, the Battle of San Juan del Monte between Filipino and Spanish troops occurred on the tract of land fronting the newly built church. Damaged during the Philippine Revolution, Ramón J. Fernández spearheaded repairs to the church.

Plaque installed by the National Historical Commission in 1974

In 1951, when Fr. Hernando Antiporda (who later became Auxiliary Bishop of Manila) was parish priest, the church was renovated and expanded under the supervision of architect Otilio A. Arellano (grandson of Luis Arellano, the original architect) who notably preserved the original façade and nave of the structure.  The church acquired two additional front doors with the expansion.

The church’s interior

In 1975, Msgr. Severino Casas built two mortuary chapels in the church compound. In 1983, the nave was lengthened, the choir loft above the main door was removed and a crucifix above a new altar was installed.  The retablo (reredos) was preserved and the antique, centuries-old image of St. John the Baptist (previously at the top-center of the retablo) was moved to the St. Joseph Chapel.

Main altar

In 1987, a rectory, social hall, and crypt were built on the location of the Our Lady of Lourdes grotto (built in 1955) and, a year later, a Perpetual Adoration Chapel was built (only to be demolished to make way for the Holy Child Parochial School, now the St. John the Baptist Catholic School). In 2009, a smaller, air-conditioned Adoration Chapel, at the ground floor of the school near the church’s southern entrance, was finished.

St. John the Baptist Catholic School

The St. John the Baptist Church was declared as a historical landmark through San Juan Municipal Council Resolution, Ordinance No. 63 Series of 1989.

San Juan Centennial Belfry

On May 15, 1994 (Feast of the Ascension), Jaime Cardinal Sin, Archbishop of Manila, blessed and inaugurated the new San Juan Centennial Belfry, built to commemorate the church’s hundredth anniversary. Designed by Architects Renato Berroya and Arsenio Topacio, the belfry matches the façade and houses the church bell that dates to 1896.

Centennial Tower plaque

AUTHOR’S NOTES

The church’s single level Romanesque Revival façade has a semicircular arch main entrance in receding planes.   It is flanked by semicircular arch niches with statues of St. Peter and St. Paul.  The triangular pediment, with its oculus, is topped by a small decorative cupola. The left and right wings, with their square doors, were added during the 1951 expansion.

 Church of St. John the Baptist: 140 Pinaglabanan cor. Mons Alvarez Sts., Brgy. Pedro Cruz, San Juan, Metro Manila. Tel: (02) 8725-7731.

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.

Check out “First United Building Community Museum”

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.

Church of St. John Bosco (Makati City, Metro Manila)

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Church of St. John Bosco

The Church of St. John Bosco, probably one of the famous churches in the city and now one of the most famous landmarks of Makati’s Central Business District, is noted for its unique and breathtaking geometric architecture.

This church, standing humbly amid the skyscrapers of Makati City, was designed by the late National Artist for Architecture (2014) Jose Maria V. Zaragoza, one of its parishioners and a daily mass goer.

Plaques expressing gratitude to the patrons and sponsors of the church

The relatively new parish was established on March 2, 1976 (just a year after I graduated high school in adjacent Don Bosco Technical Institute), with Fr. Godrey Roozen as the first parish priest.

Plaques paying tribute to the late church architect and National Artist Jose Ma. Zaragoza (left) and the 35 anniversary of the church’s dedication (right)

Zaragoza, one of the well-known architects of the 1970’s, was commissioned by the Salesian Congregation because of his remarkable use of concrete which show unstagnant flow of forms.

The church interior

One of a significant body of ecclesiastical architecture of about 45 religious structures across the country designed by Zaragoza, he was the same architect behind the postwar Santo Domingo Church, the old Union Church of Manila nearby, and the 15-storey Meralco Building, among others.

The starburst tabernacle and its anahaw leaf-inspired backdrop

Though not be as prominent as the aforementioned works of his, Zaragoza’s work on the church is still an iconic one.

The suspended metal and wood cross designed by the late sculptor Eduardo Castrillo

For the design of the church, Zaragoza employed a clamshell-inspired contemporary design with a semicircular interior layout. Cardinal Jaime  Sin laid the cornerstone of the church on April 15, 1977 and, on its completion, also dedicated it on March 4 1978. Its exterior is reminiscent of the edge of a leaf.

Statue of St. John Bosco and St. Dominic Savio (Eduardo Catrillo)

The distinctive and iconic concave interior features flowing lines.  The starburst tabernacle has a golden anahaw or footstool palm (Saribus rotundifolius) leaf as its dramatic backdrop.

Statue of the Madonna and Child (Eduardo Castrillo)

Above the altar, series of widening ripples evoke the graces streaming from the Blessed Sacrament and flowing into the vaulted ceiling.

Cross beams

The exposed white ceiling, accented with diagonal, crisscrossing concrete beams (sort of a stylized net for the “fishers of men”), also gives an impression of outward rays.

Confessionals

The treatment of the ceiling adheres to Pier Luigi Nervi’s thrust in dealing with circular covers or roofs.

The church grounds

A gallery of religious statuary

The statues (St. John Bosco with St. Dominic Savio, the Madonna and Child) and the suspended crucifix (which seemingly rides the crest of a magnificent wave) that adorn the church were done by the late sculptor Eduardo Castrillo.

Statue of St. John Bosco, Dominic Savio and Laura Vicuna

At night, this awe-inspiring interior looks better because of the lighting.

The resurrected Christ

A Station of the Cross

Church of St. John Bosco: Antonio Arnaiz Ave. (formerly Pasay Rd.) cor. Amorsolo St., Makati City 1200, Metro Manila. Tel: +63-2-8894-5932 to 34. Website: www.sjbmakati.com.  E-mail: info@sjbmakati.com.

Sanctuario de San Antonio (Makati City, Metro Manila)

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Sanctuario de San Antonio

The Sanctuario de San Antonio, in the heart of upscale Makati City, was built by the Franciscans after the San Francisco de Asis Church, their mother church in Intramuros was destroyed during the 1945 liberation of Manila in World War II.

The Baroque-style church was built on 2 hectares of once-idle grassland in Forbes Park that was donated by Joseph McMicking of Ayala Corporation (the pioneer behind the rise of Makati as the country’s premier financial district that it is today) in July 17, 1951.

The church interior

On August 24, 1951, the Most Rev. Gabriel M. Reyes, Archbishop of Manila, granted permission for the church’s construction and, August 1, 1951, the cornerstone was laid.

The main altar and retablo

Built in the Californian Mission style, the church was completed and blessed by the Most Rev. (later cardinal) Rufino Santos, Archbishop of Manila, on December 8, 1953 and was given the name Santuario de San Antonio.

The left-side altar

The right side altar

The late National Artist Fernando Amorsolo was commissioned to create the pair of hand-painted mural paintings, based on the paintings done in the 13th century by the Italian artist Giotto for the Basilica of St. Francis in Assisi, located on opposite sides near the church entrance.

The Stigmatization of St. Francis (Fernando Amorsolo)

One painting, The Stigmatization of St. Francis depicts the stigmata or the wounds of Christ received by St. Francis of Assisi (the founder of the Franciscans Order) while the other is The Sermon of the Birds which depicts St. Francis and another preaching to the birds.

The Sermon of the Birds (Fernando Amorsolo)

On August 26, 2014, a contract agreement was signed with the Roberto M. Lopez Conservation Center of the Lopez Museum for the art restoration of these two works of art.  The restoration was completed in 2015.

Baptistery

The nearly 70 old church features cross-shaped layout with a dome-shaped ceiling.

The candle gallery

A century-old statue of St. Anthony of Padua (after whom the church is dedicated), a war survivor from the patio of the original San Francisco Church in Intramuros, can be found in the central plaza between the church and the multipurpose hall.

The century-old statue of St. Anthony of Padua

Aside from masses, the church is now a popular venue for weddings (especially for couples belonging to some of the country’s most influential families) in the Makati area.

The central plaza

 

Santuario De San Antonio Church:  3117 McKinley Rd, Forbes Park, Makati City 1220, Metro Manila. Tel: (632) 8843-8830 to 31.  Website: www.ssaparish.com.  Feast of St. Anthony of Padua: June 13.

Church of St. Alphonsus Mary de Liguori (Makati City, Metro Manila)

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Parish Church of St. Alphonsus Mary de Liguori

The Parish Church of St. Alphonsus Mary de Liguori in Magallanes Village in Makati City, also known as Magallanes Church has, for a long time now, been a big part of our family life.  On August 1, 2003, my son Jandy and daughter Cheska were both confirmed here while my grandson Kyle was baptized here on September 29, 2012.

Jandy and Cheska after their August 1, 2003 confirmation at the old Magallanes Church

It was also Cheska’s and my son-in-law Bryan’s first choice for their wedding venue but they had to settle for the Shrine of St, Therese of the Child Jesus as their preferred time slot was already taken.  However, they did get Fr. Lorenzo Ruggiero, Magallanes Church’s parochial vicar, to officiate at their December 14, 2019 wedding.  We also frequently attend the Saturday (6 PM) anticipated masses here and, even during this pandemic period, patronized their online mass.

Kyle’s baptism at the church baptistery on September 29, 2012

The church, then and now, is a showcase of works of a number of National Artists of the Philippines. The original, intimate and low structure, started on July 11, 1968, was designed by my late uncle and National Artist for Architecture Leandro V. Locsin in his signature Brutalist-style.

The then 800 sq. m. parish church, much like a smaller version of the former Folk Arts Theater (now the Tanghalang Francisco Balagtas), had a perfect square plan (28 m. each side), with a 4 m. high wooden coffered ceiling and a central aisle that ran along the diagonal of the square. The church, with narra pews, had a seating capacity of 300.

The concrete buttresses

Along the perimeter were 28 massive, 4 m. high concrete buttresses, wide at the base and narrow at the top, which actually just supported a tall parapet wall (not a roof slab) that shielded the corrugated G.I. roof. Later, a PhP12 million airconditioning system was installed.

Within its 36 years of existence, Makati grew to become the country’s financial capital and it became one of the busiest churches in Metro-Manila. In 1991, the 22-storey Asia Pacific college building (on the lot once occupied by the Karilagan Finishing School) was built across it and the South Superhighway beside it became a two-level highway. On March 24, 2002, Palm Sunday, the Garden of the Way of the Cross, designed by late 2006 National Artist for Architecture Ildefonso P. Santos Jr. during the tenure of Monsignor Ernesto Cruz, was dedicated.

The church after the September 9, 2004 fire.  The carillon beside it survived unscathed (photo: www.stalphonsusrebuilds.blogspot.com)

On the morning of September 9, 2004, a fire (starting around 2 AM and extinguished 5:32 AM) gutted the nearly four decade old church. While the interior was razed, there was only minimal damage to the façade, with only the glass windows destroyed.

The church interior after the fire (photo: www.stalphonsusrebuilds.blogspot.com)

However, several small images of Mother Mary used in the procession celebrating the Feast of the Virgin Mary, some made of expensive ivory, were also consumed by the fire. Miraculously, a wooden statue of the Crucified Christ was recovered, relatively unscathed, from the fire and has been restored and again installed inside the rebuilt church.

The relatively unscathed wooden statue of the Crucified Christ recovered from the fire

After much deliberation, the parish decided that it would be more economical and symbolically pithy to preserve the concrete structure that survived the fire by salvaging the 28 buttresses that remained, rather than demolishing them and starting from scratch. The parish commissioned Dominic Galicia (who also designed the church’s Adoration Chapel in 2000) to lead the church rebuilding project with Ronald Santiago as the structural engineer.  During the duration of the construction, masses were held in a bahay kubo (originally a venue for social gatherings) at the back of the rectory.  The new church was dedicated on August 1, 2007, the feast day of St. Alphonsus Mary de Liguori.

Dedication plaque

The new rebuilt church, a symbol of a community transforming tragedy into grace, has an aesthetically pleasing facade, with a soaring roof that increased it height from 6 m. to 28 m.. A new mezzanine was added to increase seating from 300 to 900.

The new mezzanine

Spiral stairs leading up to the mezzanine

The existing structure was reused as the springboard for the soaring roofs. The new structure consists of 13 roof vaults (thin-shell concrete membranes clad in unglazed clay tiles, which will help reduce heat gain), representing Jesus and the 12 Apostles, resting on new composite columns.

The ascending vaults of the soaring roof

The 28 hollow buttresses, originally designed for aesthetic effect, now fulfill a new structural purpose as they were filled with concrete to of providing lateral support to the new composite columns. The 8 m. wide central roof vault, traveling the longest distance (which is the diagonal of the square plan), rises to a height of 28 m..

The roof vaults seen from the interior of the church.  The vaults are cladded with acoustic ceiling boards (for sound absorption) on aluminum T-runners

Independent, 4.5 m. wide roof vaults, ascend parallel to it on either side, beginning at 11 m. from ground level, then 14 m., 16 m., 18 m., 21 m., and 25 m., like the 12 apostles who accompanied Jesus Christ. The vaults are separated by clear glass windows which, in the upper reaches of the building, are also operable. The presence of these windows now provides a bright interior.

The massive church doors

The wooden church doors, featuring carvings of scenes from the life and death of Christ, were inspired by the 13th century frescoes by the Italian painter Giotto and made by the seasoned craftsmen of Betis (Pampanga).

The well lit church interior

The Art Deco-inspired interior features a simple wooden and glass altar, modern, Minimalist-looking pews and high ceilings.  The altar wall, made with wood-clad concrete, incorporates stained glass panels which depicts the burning bush where God appeared before Moses. Above it is the dove which represents the Holy Spirit. The altar pews are oriented so that all attention is on the altar, an arrangement somewhat reminiscent of the Church of the Holy Sacrifice in Diliman (Quezon City), another Locsin masterpiece.

Check out “Church of the Holy Sacrifice“

The altar wall with its stained glass depiction of the Burning Bush

September must be an unlucky month for the church as, on September 23, 2009, flash floods inundated the church at the height of Tropical Storm “Ondoy” (Typhoon Ketsana). The baptistery, a separate facility in the area, was was completed and blessed in October 2009. 

The Minimalist-style carillon.  In the background is the Asia Pacific College where Jandy finished college

Nest to the church entrance is the unique and splendid,  Minimalist carillon with four pointed steel arches of increasing height, the tallest at 17 m., which follows the design of the roof vaults of the main church facade. Dedicated on December 14, 2002 and spared from the 2004 fire, it carries 18 bronze bells from the Netherlands.

The Garden Way of the Cross

The Garden of the Way of the Cross, containing 14 Stations of the Cross (each a work of a noted artist, two of which are National Artists) is, outside the local community is practically unknown, despite being kept in a garden along one of the country’s busiest thoroughfares.

Station I – Last Supper (Napoleon V. Abueva)

Station II – Agony at the Garden by Abdulmari “Toym” Imao. His art is known for its commentary on Filipino social conditions, as well as for its pop culture sensibilities. Among his most notable early sculptures include the Tandang Sora National Shrine (Quezon City), the Andres Bonifacio National Shrine (Maragondon, Cavite), and the Dr. Jose P. Rizal statue (Carson City, California), ] In 2015, his exhibition “Desaparecidos” at the Bantayog ng mga Bayani was widely recognized as an important commemoration of the abuses of Martial law under Ferdinand Marcos.

Dedicated on March 24, 2002, it has glass canopies that shield them from rain and falling branches. A 1 m. wide running stream separates the sculptures from a reaching hand, without blocking the view and a wall of black java helps secure the garden and minimizes the noise coming from the highway.

Station III – Jesus is Condemned by Rosalio “Ros” B. Arcilla Jr.)

Station IV – Crowning with Thorns (Raphael Arcilla)

Parishioner and landscape architect Ildefonso P. Santos Jr., assisted by landscape architect Cecile Herras Tence, planned the plants that would go with the sculptures and designed a curvilinear landscape to soften their sculpture’s hard materials. A persisting threat to these prized artworks is the dust, grime and air pollution coming from the nearby South Luzon Expressway (SLEX).

Station V – Jesus Carries the Cross (Tito Sanchez)

Station VI – Jesus Falls (Jose M. Mendoza)

The stations, commemorating Jesus Christ’s Passion and Death through 14 contemplative markers, feature masterpieces by a virtual Who’s Who of contemporary Philippine art. All the sculptures were limited to 4 ft. in height, minus the base and all but one of the works were commissioned by the parishioners and donated to the church.

Station VII – Simon of Cyrene Helps Jesus (Ramon Orlina)

Station VIII – Jesus Meets the Women of Jerusalem (Juan Sajid Imao)

Mary and John at the Foot of the Cross (Station XI), a metal tableau of Mother Mary and the Apostle John at the foot of the cross, was a donation from the late artist himself, Solomon Saprid.  The Last Supper ( Station I), a creation in stone, was done by the late 1976 National Artist for Sculpture Napoleon V. Abueva, hailed as the father of modern Philippine sculpture.

The 1 m. wide running stream

The Agony in the Garden, another bronze statue of Christ, was done by the late 2006 National Artist for Sculpture Abdulmari “Toym” Imao. Jesus Dies (Station XII), a bronze of Jesus nailed to the cross, was fashioned by the late Eduardo Castrillo, the man behind the Edsa People Power Monument. Simon of Cyrene Helps Jesus (Station VII) is a chunk glass depiction of the encounter between Christ and Simon of Cyrene on the way to Calvary, was rendered by the renowned glass sculptor Ramon Orlina.

Station IX – Jesus is Nailed to the Cross (Francisco Verano)

Station X – Jesus Forgives a Thief at the Cross by Priscillano “Jun” Vicaldo Jr.. A native of Camarines Sur, Jun is dept in both classical and modernist styles. A graduate of the University of the Philippines (U.P.) College of Fine Arts (CFA), studied along with other noted artists such as Agnes Arellano and Peter Tiamzon de Guzman, under National Artist for Sculpture Napoleón Isabelo “Billy” Veloso Abueva. Vicaldo continued his studies at the La Salle SIA School for the Arts, in Singapore; and worked under Manuel Casal. His commissioned works include pieces at the Subic and Olongapo, Adamson University, National Historical Commission Building, Naga City Robredo Museum, Naga Cathedral and Penafrancia Shrine.

Jesus is Nailed to the Cross (Station IX), by Francisco Verano, depicts a muscular but proportionately formed Jesus Christ fastened to a large cross attached diagonally (instead of the usual upright) on a slab of slanting concrete.

Station XI – Mary and John at the Foot of the Cross (Solomon Saprid)

Sation XII – Jesus Dies (Eduardo Castrillo)

Jesus Meets the Women of Jerusalem (Station VIII), by Juan Sajid Imao, the younger brother of Abdulmari Imao, evokes the scene in a narrative composition. Two stations were also done by brothers, the  late Rosalio “Ros” B.  Arcilla Jr. (Jesus Is Condemned, Station III) and Raphael Arcilla (Crowning with Thorns, Station IV).

Station XIII – Jesus is Laid in the Tomb (Antonio T. Mondejar)

Station XIV – Resurrection (Dominic Galicia)

The Resurrection (Station XIV), a marble and black granite interpretation done by Dominic Galicia himself, features a black granite fountain that resembles a tabernacle with a wide, white marble basin on its top. A local marble wall, behind it, has a niche on the side that represents the empty cave following Christ’s resurrection.

The other stations were done by Tito Sanchez (Jesus Carries the Cross, Station V), Jose M. Mendoza (Jesus Falls, Station VI), Priscillano “Jun” Vicaldo Jr. (Jesus Forgives a Thief at the Cross, Station X), and Antonio T. Mondejar (Jesus is Laid in the Tomb, Station XIII).

Garden of the Risen Christ

Beyond the Stations of the Cross is the Garden of the Risen Christ, an impressively-designed memorial garden, surrounded by rows of tombs, featuring a sculpture of a risen Jesus Christ above a pond.

St. Alphonsus Mary de Ligouri Church: Humabon Place,  Lapu Lapu St., Magallanes Village, Makati City 1232. Tel: (02) 8851-0275, 8852-2750 and 8852-8228. Email: info@saintalphonsus.ph.