Category Archives: Architecture

Chapel of Sto. Niño de Paz (Makati City, Metro Manila)

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Chapel of Sto. Nino dela Paz

The modern, dome-shaped, open-sided Chapel of Sto. Niño de Paz (Holy Child of Peace), set amidst the verdant lushness under the leafy canopies of the tree-filled Greenbelt Park, a green oasis in the heart of the concrete jungle and chaos of the city.

Checked out “Greenbelt Park”

Amidst skyscrapers in the financial district, it stands as a quiet retreat floating in the middle of a pond and accessible by a narrow pathway through dense vegetation. It has. Surrounded by a tranquil pond, green plants and spectacular sculptures, the park is an idyllic escape from the cacophony of the city.

The church’s open air interior

Commonly called the Greenbelt Chapel, it is perhaps the only church hidden in the lush and landscaped gardens of a bustling retail, dining and commercial center and is one amongst the most impressive and outstanding buildings of the city. It is also one of only two known round chapels in the country (the other is the Church of the Holy Sacrifice in Diliman, Quezon City).

Check out “Church of the Holy Sacrifice”

 Unlike traditional Roman Catholic churches with thick enclosed walls, this chapel is open air and it mostly resembles a pavilion, with a roof built in the shape of a soldier’s cap and a covered walkway leading to the center of the church from the entrance.

The lagoon

Originally, the church was not part of the plans of owner Ayala Corporation, developer of the country’s financial capital. In the 1970s, the chapel’s site used to be an aviary, a particular attraction at Greenbelt Park, then the breathing space of the old Makati Commercial Center.

Dominating the landscape then were spacious parking lots, a popular supermarket and stand-alone restaurants and shops. Today, the Greenbelt Chapel is the only existing landmark among its contemporaries in the park within the steel and concrete enclave of Makati.

The author

The chapel was a brainchild of Ms. Fanny Del Rosario Diploma (a cancer survivor) and her husband, Atty. Nordy Diploma. Coming from a wealthy family, they decided to build a chapel as thanksgiving for Fanny’s new lease on life.

Jandy

Approaching the Ayalas, they offered to build a church if a site was made available for them in the largely still undeveloped Central Business District. After seeing seen the master plan, Fanny pointed at a very unlikely place to build anything – the center of the lagoon.

The Ayalas agreed, on condition that nothing permanent would be built on the site.  Anytime it was needed, the chapel can be removed. Contrary to popular belief, the Greenbelt Chapel was not made of thin shell concrete and was not designed by National Artist for Architecture Leandro V. Locsin. For this very special project, the couple called their architect, Enrique “Jess” Dizon (architect-on-record) who, in turn, called the young Topy Vasquez, his former staff who was, at that time, working for Architect Gabriel Formoso. Dizon rendered the circular pattern of the building while Architect William Fernandez designed the structure.

The suspended cross

Given the condition that the structure be temporary, both architects used a simplistic yet amazing design that featured a steel-framed dome clad with staggered 6 mm. (1/4”) thick marine plywood (at the time, the Diplomas owned one of the largest plywood manufacturing companies), waterproofing and paint. In case Ayala Corporation decided to assert their right over the “temporary” chapel’s site, it can be lifted and moved by helicopter.

One of the confessionals

Originally, the design called for a dome that would seem to float over water plus a basement (to be ventilated underneath the concrete cantilevers, just above the water line) where the sacristy and offices would be housed. However, due to budget constraints, the basement was scrapped.  Instead, small extensions at the sides and back of the dome were built for the sacristy and offices.

The Mudrass Cross

During the construction, Ramon Orlina, another young architect, approached Architect Dizon and proposed glass sculptures (Orlina further studied glass sculpture techniques in Europe) to become part of the chapel. Complementing the simple yet powerful architecture of the chapel, the now renowned master glass sculptor fabricated the ceiling, the Dove of Peace, tabernacle, sacristy, the Mudrass Cross (the cross at the entrance outside the chapel), the altar table (made of glass and narra wood) with its tabernacle (that seems to miraculously rise out of nowhere) and the God the Father resin image (made with plexiglass wood) on the dome.  All these dazzling commissioned artworks, beautifully integrated into the architecture, has not seen before in any church by the secular population.

God the Father resin image (Ramon Orlina)

A year after the chapel was granted a 30-year contract by the Ayala Corporation to use its present site at the Greenbelt Park, the chapel was completed and inaugurated and dedicated on July 28, 1983 by His Eminence the late Cardinal Jaime Sin with Jaime Zobel de Ayala, Atty. Nordy and Fanny Diploma and numerous benefactors and guests.

The church bell

In the last 30 years, the dome-shaped chapel has seen the completion of the high-end, Ayala owned Greenbelt Chain of Malls around it.  When the chapel’s lease contract with Ayala Corporation expired on March 31 2012, Ayala Land Inc., its property arm, decided to retain the chapel in its present location, turning over its management to the Roman Catholic Archdiocese of Manila.

The chapel offices

The beautiful chapel’s unorthodox design sports a domed ceiling that curves all the way to the ground in places. Today, Fanny’s temporary open-air chapel has outlived her and the chapel remains untouched and looks exactly the way it was designed in the early 1980s (the only practical additions were the corner office cubicles and the roofs at bridge entrances). It is now recognized as one of Makati’s tourist attractions. 

Chapel of Sto. Nino de Paz: Greenbelt Park, Ayala Center, Makati City, Metro Manila.  Tel: (632) 7729-8173.

Church of St. Andrew the Apostle (Makati City, Metro Manila)

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The modern, tent-like Church of St. Andrew the Apostle

The modern, beautifully designed Roman Catholic Church of St. Andrew the Apostle, a unique monument of sorts that honors a community’s Catholic faith, a legacy of a visionary businessman, and the artistry of the Filipino, all rolled into one, has the eye-catching form and a unique layout that reflects the ingenuity of its creator, my late uncle and National Artist for Architecture (1990) Leandro V. Locsin and, overall, the church structure  pays homage to the Space Age era of the ’60s.

The author with the church in the background

In 1965, a group of residents belonging to the village communities of San Miguel and Bel-Air dreamed of having a parish that they could call their own.  Rufino Cardinal Santos approved the establishment and formation of the parish and appointed Msgr. Emilio Bularan as the first parish priest.

There dream came true when Don Andrés Soriano Jr., President of the conglomerate  San Miguel Corporation, offered to have a church built in honor of his late father, the loved and respected Don Andres Sr.. The parish was to be named after St. Andrew the Apostle, the patriarch’s namesake (“Andres” is Spanish for “Andrew”), the patron saint of Metro Manila and Bel-Air Village in Makati.

My son Jandy

On February 8, 1967 (the 69th birth anniversary of the late Don Andres Soriano the Feast of St. Andrew), the cornerstone of the proposed church was laid at the 3,494-sq. m. (37,610 sq. ft.) lot donated by the Ayala family through the Makati Development Corporation.

The church interior

The construction of the church employed the round, concrete-heavy design of Leandro V. Locsin, then an up and coming architect, whose first notable work was the Church of the Holy Sacrifice in the University of the Philippines Diliman campus, itself a round concrete church completed in 1955. It’s interesting to note that, around this time, the future National Artist for Architecture was also busy in the design of the Cultural Center of the Philippines Main Theater, considered his magnum opus.

Check out “Church of the Holy Sacrifice”

The halo-like chandelier above the altar

After about a year’s time, on November 30, 1968, St. Andrew the Apostle Parish was formally opened at half past eight in the morning.  The unveiling of the church marker was witnessed by Andres Soriano Jr. (San Miguel Corporation); Jose Ma. Soriano (Chairman and President of A. Soriano y Cia); Enrique Zobel (President of the Ayala Corporation); and other donors from Roxas y Cia.

Commemorative plaque

In 2002, Msgr. Emmanuel Sunga supervised the improvement of flooring, the provision of airconditioning, building of Parish Office annex, refurbishment of halo chandelier, the altar of the church and the construction of the carillon bell tower.

The copper cross (Vicente Manansala)

Aside from Leandro V. Locsin, the Church of St. Andrew the Apostle also boasts works of two other renowned Filipino National Artists. For instance, the copper cross that hangs on top of the altar is a work of the late Vicente Manansala, National Artist for Visual Arts – Painting (1981).

The white baptismal font designed by Napoleon Abueva

The baptistery also boasts works of the late Napoleon V. Abueva, National Artist for Visual Arts – Sculpture (1976), who designed the white baptismal font. Additionally, the late Eduardo S. Castrillo also created the sculpture as well as the blue baptismal font at the baptistery.

The blue baptismal font designed by the late sculptor Eduardo Castrillo

The sculpture, done by the late sculptor Eduardo Castrillo, of the Baptism of Christ by St. John the Baptist

This project was to be one of many collaborations between Abueva and Locsin.  Aside from this church, they also collaborated on the abovementioned Church of the Holy Sacrifice in Diliman (Quezon City), the Church of the Immaculate Heart of Mary in Quezon City (1975), and the Church of St. Alphonsus Mary de Liguori in Makati City (1968).

Check out “Church of St. Alphonsus Mary de Liguori”

The unique cross shape at the top of the church

The design of the unique cross shape, seen in the church’s peak, is symbolic of the manner the martyr died crucified on an X-shaped cross, formally called a saltire.  Christian tradition states that Andrew, one of the 12 disciples/apostles of Jesus Christ, was put to death by crucifixion on such a cross as he felt he was unworthy to be crucified on the regular cross (also called the Latin cross) that Christ was crucified onto. Today, this type of cross has also come to be known as the “St. Andrew’s cross.”

The church carillon

An example of biomorphic architecture, it resembles coconut leaves bundled together to make a giant native salakot.  This parish church is flanked by curved concrete walls while the curved shell is made of thin-shell concrete, considered revolutionary during its time.  The pews surrounding the altar form an octagon.

The arrangement of the church pews

The tent-like church’s butterfly shaped floor plan emanates from this cruciform. A symbolic feature is the giant customized circular chandelier suspended over the cross and the altar which is reminiscent of a saintly halo.

Statue of St. Andrew the Apostle

Church of St. Andrew the Apostle: 62 Constellation cor. Nicanor Garcia St. (formerly Reposo St.), Bel-Air Village, Makati City 1209 Metro Manila. Tel: (02) 8890 1796 and 8890-1743. E-mail: saapoffice@gmail.com, secretariat@saaparish.com and media@saaparish.com.  The parish territories are Bel-Air Village and Salcedo Village in Barangay Bel-Air, Rizal Village and Santiago Village in Barangay Valenzuela, and San Miguel Village in Barangay Poblacion.

Manila Memorial Park (Paranaque City, Metro Manila)

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Manila Memorial Park and its iconic landmark – the Meditation Tower

Due to the COVID 19 imposed social distancing requirement, all memorial parks and cemeteries were slated to be closed from October 29 to November 3.  All Saints’ Day was still a month away but I now decided to make an early visit to the 142-hectare Manila Memorial Park (MMP) where my parents, father-in-law, paternal grandparents and two of my first cousins are buried.

This would be my second travel outside our subdivision since the lockdown started six month ago and the first time with me driving.  Bringing along my son Jandy, I also experienced my first traffic gridlock since the lockdown, with heavy traffic around the City Hall area.

Jandy beside the plot of his grandparents who are buried in a lawn lot (only underground burials allowed), double tierred (you may inter two fresh bodies underground) contained in sealed concrete vaults. Interments are marked with flat markers (lapidas) of uniform size and make

The Manila Memorial Park (MMP) was established in 1964 when Parañaque, now a city and a part of Metro Manila, was still a municipality of Rizal province. The first company to introduce the memorial park concept in the Philippines, in the past, the Filipino idea of burial was to place dead bodies inside protruding stone tombs. Manila Memorial Park changed all that with the introduction of the Western concept of lawn burials where the dead are buried in a lawn setting of open, manicured and green fields, with trees and garden in the perimeter, and with the grave markers on top.

Now the largest memorial park developer in the country (with a total of 427 hectares, 242 of which are fully developed), the flagship cemetery became part of a larger network of burial sites of Manila Memorial Park, Inc. with five other beautifully-maintained memorial parks, under the Manila Memorial Park brand, opened in other parts of the Philippines with three (aside from MMP) in Luzon (MMP – Holy Cross in Novaliches in Quezon City; the 128-hectare MMP – Dasmariñas in Cavite, opened November 1991; the 45-hectare MMP-Bulacan in Plaridel, opened June 1998) one in the Cebu (the 40-hectare MMP – Cebu) in the Visayas and one in Davao City (MMP – Davao) in Mindanao.

Double niche measuring 4 m. x 4.88 m. (19.52 sq. m.) with 8 single tiered underground burials and 2 above ground niches (optional), a total of 10 burials spaces.

After Pope John Paul II lifted the ban on cremation for Catholics in 1983, MMP built a crematorium in August 1985, becoming the first cemetery to host a modern crematorium in a memorial park setting.

Columbarium

Currently, Manila Memorial Park operates four sets of crematories, one in its Sucat Park, the second in Holy Cross in Novaliches, Quezon City., the third in Dasmariñas in Cavite, and the fourth in its Bulacan park.

Administration and Information Center

For the sake of convenience (not to mention sparing the city’s already traffic-prone streets from even worse traffic), wakes can be held at 3 venues all set amidst the Park’s signature lush greenery – the park’s old main chapel and two spacious, clean and modern air-conditioned branches of popular funeral homes in the metropolis.

Funeraria Paz

In 2001, MMP partnered with La Funeraria Paz & the House of Investments to open Paz Memorial Chapels – Sucat, a full-service mortuary set in a modern 3-story edifice right inside MMP’s flagship park. The Rizal Premier Chapel, a new funeral venue, was built from December 2016 to August 2017.

Rizal Premier Chapel

The Main Chapel

Aside from utility, memorial parks, as sacred and serene places for rest, comfort and inspiration, also operate on the concept of beauty, both natural and man-made. Within the park are at least 250 species of trees, flowering shrubs, ornamental plants, cacti, succulents, ferns, orchids and even variegated palms, most of them planted by the park management or by the families. Ayahuma  or cannonball tree (Couroupita guianensis), frangipani (Plumeria rubra, locally called  kalachuchi) tree, dita trees (Alstonia scholaris), fish poison tree (Barringtonia asiatica, locally called botong, bitun, bitung or boton), several ficus trees, bougainvillea hybrids and hedge plants are extensively used in the park landscaping.

At least 2 dozen bird species (Eurasian tree sparrow, Philippine pied fantail, turtle doves, pigeon, etc.) also call the park as home while the the wooded areas also host a number of bats, butterflies and bees. An informal jogging group also meet at the park.

The bridge over the creek

A creek, crossed by bridges, flows within the park. The Meditation Tower, one of the landmarks in the park, is modeled after two hands clasped in prayer. Inside is a large metal-welded sculpture of the Risen Christ flanked by burial niches.

The welded metal statue of the Risen Christ inside the Meditation Tower

Of course, no memorial park, or cemetery for that matter, is complete without mausoleums of all shapes and sizes. Mausoleums stand as proof of a surviving family’s love for their deceased loved ones and some of the grandest and most beautiful mausoleums in the country can be found in the park. Just like luxury residences (in this case, for the dead), some of them are exquisitely designed.

A row of mausoleums

Many consider the MMP as the southern and more contemporary equivalent of the Manila Chinese Cemetery, with many Filipino-Chinese buried here, a lot of them entombed within exquisite and sometimes massive mausoleums. Some have traditional mini censers (where incense is lit to honor their dead) usually seen beside a Chinese tomb.

Symbolizing the highest form of immortalizing your loved ones, mausoleums (or family estates) are available in clusters of 18, 24, 36 and 96 lots.  Each lot in the family estate allows for one underground burial, contained in a sealed concrete vault.  The construction of a mausoleum, whether open or closed-type, is subject to inventory and Company regulations.  The incorporation of bone boxes or columbary niches in the mausoleum is allowed and comfort rooms are allowed to be built inside the mausoleum..They are classified into the following:

  • Junior Estate (24 lots) – an open type of mausoleum that may contain not more than six above ground tombs, while a closed structure may contain up to 12 above ground tombs. A comfort room is allowed inside the mausoleum.
  • Garden Estate (15 lots) – may construct a memorial structure or mausoleum which shall not exceed 35% of the property size and not more than 3 m. in height.
  • Prestige Estate – measuring 6 m. x 7.32 m. (43.92 sq. m.) with 18 single tiered lots. Construction of the mausoleum’s height must not exceed 3 m.. A maximum of 4 niches and a comfort room is allowed inside the mausoleum.
  • Senior Estate – Measuring 9 m. x 9.76 m. (87.84 sq. m.) with 36 single tiered lots. Constructions of mausoleum is allowed but not to exceed 50% of the property. Mausoleum’s height must not exceed 5 m.. A comfort room is allowed inside the mausoleum.
  • Premier Estate.(96 lots) – construction of this mausoleum shall not exceed 5 m. in height. An open structure may contain a maximum of 20 above-ground tombs while a closed one may contain a maximum of 40 above ground tombs. A comfort room is allowed inside the mausoleum.

The Parthenon-like Po Family Mausoleum

The largest mausoleum in the park is a huge, multi-column mausoleum, reminiscent of the Greek Parthenon (an ancient temple dedicated to goddess Athena), sitting on a 1,383-sq. m. land or about 500 lots and said to be owned by Po family. In front is a short, Egyptian-inspired obelisk.

In front of the mausoleum is an Egyptian-style obelisk surrounded by statues of female figures. The pediment depicts scenes in the life of Christ, notably his Resurrection

The Memorial Memorial Park is the burial site of notable Filipino individuals which includes a president, four senators, a Cabinet secretary, 2 city mayors, a number of actors, a noted fashion designer and a world champion boxer.

The author at the Aquino Mausoleum. My guess is this is a basic unit consisting of 12 contiguous lots with option to construct 2 above ground tombs with back wall and overhang type of roofing. All sides of the structure are open. Cory Aquino tomb is on the left and Ninoy Aquino is on the right

Yuchengco Family Mausoleum

Manila Memorial Park – Sucat: Dr. A. Santos Avenue,  Sucat, Parañaque, Metro Manila, Philippines. Tel: (02) 820-2392 and (02) 820-1577.  Fax: (02) 826-3917.

How to Get There: From South Luzon Expressway (SLEX), take Sucat exit. Go towards the direction of Baclaran/Airport. Manila Memorial Park-Sucat is on the left side.

Church of Our Lady of Atocha (Alicia, Isabela)

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Church of Our Lady of Atocha

We after checking out at The Sophia Hotel and brunch, with Vice-Gov. Faustino “Bogie” Dy III, we were finally on our way back to Manila but, 23.4 kms. out of the city, we made a short stopover at the beautiful and solid Church of Our Lady of Atocha (Nuestra Señora de Atocha) in Alicia.

Check out “Hotel and Inn Review: The Sophia Hotel“

 Built by Fr. Tomas Calderon, O.P. and roofed with G.I. sheets by Fr. Manuel Alvarez, it was inaugurated in February 1849, with Fr. Francisco Gainza, OP, then vicar of Carig (now Santiago City), in attendance.  The church served as a safe refuge for Yogads from the plundering Ifugaos.

The Baroque facade

This 753.48 sq. m. church, the smallest (in terms of floor area) and the youngest (at 171 years) Spanish-era church in the Cagayan Valley, has a brick façade with a semicircular arched main entrance on the first level and semicircular arched statue niches on the second level, all flanked by engaged columns that divide the façade into 3 segments.

Antique church bell above entrance portico to bell tower

It also has a two-level undulating pediment topped by urn-like finials.  The four-storey, quadrilateral and domed bell tower, on the church’s left, has blind semicircular arches on the fourth level.  At the tower’s base is an entrance portico with the church’s old (1876) bell displayed prominently at the top.

The modern church interior

This church, as well as the Church of St. Rose of Lima in Gamu, and the Church of Our Lady of the Pillar in Cauayan City, are examples of what is called as the “Cagayan Style” of Spanish churches that was inspired by the Tuguegarao church. It was officially declared by the Philippine Department of Tourism as a national religious tourist destination in the Philippines.

Check out “Church of St. Rose of Lima” and “Church of Our Lady of the Pillar“

Statue of Our Lady of Atocha

Church of Our Lady of Atocha: Maharlika Highway, Brgy. Antonino, Alicia 3306, Isabela.  Tel: (078) 662-7108.  Mobile number: (0908) 36-3045.  Feast of Our Lady of Atocha: September 8.

Isabela Provincial Tourism Office: Provincial Capitol Complex, City of Ilagan, Isabela. Tel: (078) 323-3146.  Mobile number: (0917) 317-3820.  E-mail: isabelatourismoffice@gmail.com.

Isabela Provincial Information Office: Provincial Capitol Complex, City of Ilagan, Isabela. Tel: (078) 323-0248.  Mobile number: (0927) 395-7555.  E-mail: letters_info@yahoo.com.

How to Get There: Alicia is located 353.72 kms. from Manila and 59 kms. southwest of the City of Ilagan.

San Pablo de Cabigan Church Ruins (San Pablo, Isabela)

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San Pablo de Cabigan Church Ruins

This church, the oldest in Isabela, was was built using adobe instead of red bricks, which sets it apart from most of the Spanish-colonial era churches of the Cagayan Valley.

Now in ruins, this church was founded by Dominican Fr. Pedro de Santo Tomas in 1625.  Probably the third on that site, the present structure was built in 1709 by Fr. Diego de la Torre.

Buttresses at the side of the church

It was already damaged by Japanese bombing in World War II when the strong December 27, 1949 Intensity 7 earthquake further damaged it.  Three years later a fire destroyed the church’s roof.

Within the ruins, a smaller church, a third of the original structure, was built in the 1950s. The rest is a garden.

The facade of the church built in the 1950s

The interior of the church

The church’s two level High Baroque-style façade has a semicircular arched main entrance flanked by semicircular arched statue niches containing icons of St. Paul, St. Vincent Ferrer and St. Isidore, now all defaced.

The author seated at the stairs leading up to the entrance to the bell tower

The second level has a centrally located statue niche flanked by circular windows.  The undulating pediment has a centrally located circular window and finials. Gorgeous clay insets of rosettes and sun emblems decorate the elegant walls.

The 6-storey bell tower

Its six-storey square bell tower, on the church’s right, is the tallest in the Cagayan Valley.  Rising in receding storeys, it has blind semicircular arched windows and is topped by a dome.

Bas relief of foliage at the right side of the church ruins

Inside, one can still see the arched support of the choir loft.

The author underneath the arch support of the choir loft.

San Pablo de Cabigan Church Ruins: San Pablo, Isabela.  Feast of St. Paul the Apostle: January 15.

Isabela Provincial Tourism Office: Provincial Capitol Complex, City of Ilagan, Isabela. Tel: (078) 323-3146.  Mobile number: (0917) 317-3820.  E-mail: isabelatourismoffice@gmail.com.

Isabela Provincial Information Office: Provincial Capitol Complex, City of Ilagan, Isabela. Tel: (078) 323-0248.  Mobile number: (0927) 395-7555.  E-mail: letters_info@yahoo.com.

How to Get There: San Pablo is located 464.01 kms. from Manila and 57 kms. north of the City of Ilagan.

Church of St. Matthias (Tumauini, Isabela)

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Church of St. Matthias

The notable, Roman Catholic Church of St. Matthias (Spanish: Iglesia Parroquial de San Matías), within the jurisdiction of the Roman Catholic Diocese of Ilagan, is the best-preserved church complex in Isabela.  Known for its brick, Baroque-style architecture, it is considered to be the best and most artistic brick structure in the country.

The church complex

Tumauini became a separate parish independent from Cabagan  in 1751. Dedicated to Saint Matthias, it was first built in nipa and other light materials by Dominican Fr. Francisco Nunez in 1707.

Historical plaque installed by the National Historical Institute (NHI) in 1989

In 1733, it was rebuilt by Dominican Fr. Domingo Forto who hired artisans from as far south as Pampanga. It was continued in 1788 by Fr. Antonio Herrera and was completed in 1805.

The celebrated circular bell tower

During the Second World War, the church was damaged by American bombing but a faithful reconstruction program followed, with undamaged parts of the church building retained.

Buttresses supporting the side of the church

On February 24, 1989, it was made a National Historical Landmark by the National Historical Commission of the Philippines. The church is now listed by the National Museum of the Philippines as a National Cultural Treasure.

A buttress with steps integrated into it for servicing the roof

Since 2006, together with the churches of Patrocinio de María in Boljoon, Cebu; La Inmaculada Concepción in Guiuan, Samar; San Pedro Ápostol in Loboc, Bohol and San Isidro Labrador in Lazi, Siquijor, the Tumauini Church has been considered for the UNESCO World Heritage Tentative List under the collective group of Baroque Churches of the Philippines (Extension).

Paired Corinthian columns at the facade

This foremost example of ecclesiastical ultra-Baroque architecture in the country is unique for its extensive use of different types of baked red clay brick both for its delicate wall finishing and ornamentation.

Finials crowning the wavy silhouette of the facade

Since stones of good quality couldn’t be found in the area, bricks were used instead and artisans from Pampanga were hired to craft the wooden moldings for the clay inset of the bricks for the façade. Each brick was numbered in the design.

Niche with a statue of a headless saint

Its architecture bears Chinese influence. The façade,  flanked by two pseudo-Corinthian columns and niches (one located above the entrance and the two remaining larger niches on each side of the columns), has a circular pediment that is unique relative to all other churches built during the Spanish Era.

A rather unusual “3” molding

The church’s ornately designed clay bricks were individually designed, prepared, fired, customized to fit the wall, and numbered and dated for the correct sequence respectively for construction purposes.

Bas relief of flowers

They come to life in concentric circles with spiral curves on the finials crowning the wavy silhouette of the facade whose centerpiece is a rose window on the circular pediment which is flanked by pinnacled steps terminating into a coil.

Bas relief of St. Andrew

Serpentine reliefs and many finely molded details: flowers, foliage, wheels, ovules, hearts, sunbursts, squares and circles, oblongs and rectangles, curlicues; three long garlands, vegetal forms, clam shells, also adorn the facade.

Bas relief of a sunburst

Bas relief of a wheel

Statued niches of saints (one headless) also flank the semicircular, richly-molded arched doorway.   

Bas relief of a headless cherub

There are also eight pilasters; six mini reliefs of saints and cherubim (one cherub defaced). At the end walls is a rather unusual “3” molding.

Bas relief of flowers

The adjoining unique, four-storey, unique cylindrical bell tower, built in 1805, is the only known Spanish colonial era cylindrical tower in the country.

Bas relief of garlands decorating the perimeter of the circular tower

The tiered belfry notably resembles a wedding cake.  Its bell has bullet holes but was never recast.

The church interior

Its interior has no retablo (altar backpiece), just a simple altar under an ornate, white dome and the Crucified Lord against the brick wall.

The retablo-less main altar

Also inside are 24 symmetrically arranged, Neo-Corinthian faux columns and ten arched windows with white-green-yellow stained-glass panes adorned with yellow and blue clam shells and red crosses.

Symmetrically arranged Neo-Corinthian faux columns

The ruins of the church’s convento (clergy house), located on the gospel side of the church, has a vaulted ceiling that still has impressions of the mats used in construction as forms to mold wet plaster.

The front garden has a low, undulating brick wall.

Part of the undulating, low brick wall

Church of St. Matthias: National Highway, Brgy. Annafunan, Tumauini 3325, Isabela.  Mobile number: (0927) 791-5490.  Feast of St. Mathias: May 14.

Isabela Provincial Tourism Office: Provincial Capitol Complex, City of Ilagan, Isabela. Tel: (078) 323-3146.  Mobile number: (0917) 317-3820.  E-mail: isabelatourismoffice@gmail.com.

Isabela Provincial Information Office: Provincial Capitol Complex, City of Ilagan, Isabela. Tel: (078) 323-0248.  Mobile number: (0927) 395-7555.  E-mail: letters_info@yahoo.com.

How to Get There: Tumauini is located 451.1 kms. (a 9-hour drive) from Manila and 38.6 kms. (a 1-hour drive) northwest of Ilagan  City.

Immigration Museum (Melbourne, Australia)

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Immigration Museum

This museum, founded in 1998, is a division of Museums Victoria which administers the cultural and scientific collections of the State of Victoria.  Its sister museums are Melbourne Museum (including the Royal Exhibition Building) and Scienceworks Museum. The museum’s two floors house temporary and permanent exhibitions. Primarily displaying Australia‘s immigration history, it is located on  in the grand Old Customs House building which originally looked out onto ships tied up at the adjacent Queen’s Wharf.

Check out “Melbourne Museum” and “Royal Exhibition Building“

The building’s Renaissance Revival facade

The 3-storey former Customs House Building, resting on a bluestone foundation, occupies the site of Fawkner’s Hotel, one of the first buildings in the city, built in 1835 by John Pascoe Fawkner, one of the founders of Melbourne.

It is of architectural significance as an example of the work of three of the Victorian Public Works Department‘s most talented and accomplished architects – Scottish immigrant Peter Kerr, who did the initial design, and Arthur E. Johnson and John G. Clark, who prepared the final design, which incorporated the earlier building (but without the projected grand stairs and classical portico).

Historical plaque

Between 1856-58 and 1873-76, it was constructed in two separate stages.  In 1965, the building was converted to the Commonwealth Parliamentary Offices and, in 1998, became an immigration museum. On September 8, 1994, it was included Victorian Heritage Register.

Jandy, Grace, Kyle, Cheska and Bryan at the steps leading to the museum entrance

One of the finest examples of a customs house in Victoria, it is an extraordinary example of the Italian Renaissance style (with remnants of Greek Revival influence), a style greatly favored for official buildings in Melbourne during the 1860s and 1870s. It has a rusticated ground floor facade while the two upper floors are surmounted by a simple projecting cornice running around the whole building.

Reception counter

A flight of stairs leads up to the entrance doors, above which four Ionic-style columns run through the two upper floors in support of the fascia and cornice. The site is delineated by a fine wrought iron fence with bluestone posts and base.

Second floor lobby

The impressive and opulent former Long Room, one of the grandest and most elegantly proportioned classical interiors in Melbourne, now houses the main exhibition space of the Immigration Museum.  A notable piece of Renaissance Revival architecture, it features giant Ionic colonnades (modeled after the Erechtheion Temple in Athens) and high ceilings.  The hand-laid tessellated tiles, based on fragments of encaustic tile found in floor fill, were made at Stoke-on-Trent in the UK.

The Long Room

The museum facilities and activities include a Discovery Center, community gallery, touring exhibitions and public and educational programs, including community festivals, exhibitions and many community engagement activities.

The museum’s permanent exhibitions explores Victoria’s immigration history through global motivations for leaving homeland, personal stories of immigrants from various countries and time periods, the ship journey over time, and a history of Australia’s immigration policies and processes.

On display are hundreds of objects from the Museum’s collections, some developed through partnerships with families and communities, relating to migration, cultural diversity, transport technology, customs and quarantine, and popular culture. All these subjects are presented in a number of ways – object and image-based displays, audio-visual presentations, immersive experiences (such as a series of recreated ship environments), interactive theater, on-site computer information outlets and the Museum website.

The Migration collection includes over 6,000 objects which document the migration experiences of Victorians since the 1830s and, consequently, the long history of the cultural diversity of the Victorian and broader Australian population.

“Leaving Home” Exhibit

The “Leaving Home” Exhibition, using sound, objects, still and moving images, explores the reasons why people left their countries to come to Australia and what they brought with them. Some of the many reasons include fleeing from the ravages of war, hunger, religious persecution and political repressions while others were lured by a sense of adventure, by the prospect of a new beginning, of owning land, of making a fortune, or to be reunited with love ones.

Many arrive with keepsakes, precious reminders of loved ones or special places. The experiences of arriving in a new country vary from person to person, with stories that are sometimes sad, sometimes funny, but always engaging.

“Identity Yours, Mine, Ours” Exhibit

The “Identity: Yours, Mine, Ours” (What does it mean to belong and not belong in Australia?) Exhibition explores how our cultural heritage, languages, beliefs, and family connections influenced our self-perceptions and our perceptions of other people – perceptions that can lead to discovery, confusion, prejudice and understanding.

Visitors are invited to find connections with others, as well as challenge the assumptions we make about each other every day through engaging personal stories, intriguing objects, compelling images and interactive multimedia experiences.  Visitors are also encouraged to share their stories, affirm their identities and celebrate diversity in our community.

“Getting In” Exhibit

The “Getting In” Exhibition, showing how and why Australia’s immigration policies have changed, focuses on four periods – the Gold Rush Days of the 1840s to 1900; Federation to the end of the Second World War;  Post-War to the Early Seventies, and 1973 to the Present Day.  Since 1788, more than 9 million people have migrated to Australia while countless others have tried and failed.

Since the 1800s, various immigration policies have dictated who gets in and photographs, historical objects and personal stories show the effects of these policies on cultural diversity in Victoria. An interactive theater experience, central to the exhibition, finds visitors find themselves in the role of a government official charged with the responsibility of interviewing people applying to migrate to Australia, and discovering whether or not they “get in.”

Customs Gallery

The Customs Gallery shows the story of Customs House, where officials controlled what-and who-could enter Victoria. Customs officers collected import duties, inspected ships for smuggled goods, controlled immigration to Victoria, and prevented the importation of items such as illegal drugs, endangered and contaminated animal products, and banned books and films.

Discovery Center

The Discovery Center, set in the beautifully restored 19th century vaults of the Customs House, is a perfect place to relax in comfy lounges; talk to helpful staff; research family history; explore Australia’s migration history; share personal stories; research contemporary issues; and understand its culturally diverse community.

You can a book from its unique reference library, explore its collections and vast web resources online, or enjoy the screen lounge showcasing stories of cultural celebrations.

“Our Bodies, Our Voices, Our Marks”

During our visit, the temporary exhibition Our Bodies, Our Voices, Our Marks was ongoing.  It features a suite of exhibitions and experiences that explores the art of tattoo, alongside themes of identity, self-expression, culture and community.

Check out “Our Bodies, Our Voices, Our Marks” Exhibition“

Museum Shop

The Immigration Museum Shop offers a wide range of souvenirs, gifts and books while its Museum Café offers coffee, soft drinks, snacks, confectionery and more.

Tribute Garden

The Tribute Garden, located in the northern garden of the museum, is a public artwork that pays tribute to 7,000 people who have made the journey to Victoria.  It features the names of immigrants who came from over 90 countries, from the 1800s to the present day.  The region now known as Victoria is represented by the people of the Kulin Nation as traditional owners of the land, and records the names of languages and dialects spoken by Aboriginal communities. Launched in 1998 and concluded in 2002, Melbourne-based artist Evangelos Sakaris designed the original artwork while Gina Batsakis led the design for the following stages of the project.

The Atrium

The Atrium, a beautiful glass conservatory at the rear of Old Customs House, connects the main building to the Courtyard. It can accommodate long-table dinners running the entire length of the Atrium, or layout more intimate round tables throughout. Sliding double doors open from the glass-walled Atrium into the sun-drenched Festival Courtyard which is utilized to host community festivals which are an amalgamation of food, music and culture.  The wide hallway connecting the Atrium to the rest of the museum is home to changing feature exhibitions, usually hanging art that tells a story.

Festival Courtyard

Immigration Museum: 400-424 Flinders Street, Melbourne, Victoria 3000.  Tel: 1311 02.  E-mail: mvbookings@museum.vic.gov.au. Website: www.museumsvictoria.com.au/immigrationmuseum/. Open daily, 10 AM – 5 PM (closed Christmas Day and Good Friday). Admission: adults ($15), children (free).  Entry to the Tribute Garden is free.

The Great Ocean Road Adventure Tour: Lorne (Australia)

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The seaside town of Lorne and its surfing beach

During our 1 hour 10-min. (57.3 km.) drive, via the Great Ocean Road/B100, to the picturesque seafood village of Apollo Bay from the Great Ocean Road Memorial Arch, we made a short nature call stopover at the seaside town of Lorne, a popular destination on the Great Ocean Road (it extended to this town in 1922).

Check out “The Great Ocean Road Adventure Tour: Memorial Arch“

This quintessential holiday retreat, attracting visitors for more than a century, has a relaxed Mediterranean feel, mild weather, charming picture-postcard scenery and beautiful Art Deco architecture.  Tall old gum trees line its hilly streets.

From the roadside, we had a panoramic view the 2-km. long, sheltered Lorne surf beach, the only patrolled beach in town, and bathers here were cooling off in the sparkling waters of picturesque Loutit Bay. On the foreshore, residents were picnicking under the trees.   At the pier, people fish for barracuda, whiting and trevally.

Great Pacific Hotel : home of one of the town’s two pubs

A tourist town, Lorne’s main shopping strip is filled with a large number of boutiques and clothing stores, boutique gift stores, cellars, restaurants (serving freshly caught seafood), sidewalk cafes and some art galleries/craft shops.

The foreshore

During the first weekend of January, the town hosts the 1.2 km Pier to Pub swim, described in the Guinness Book of Records as “the largest organized ocean swim in the world” with over 20,000 spectators.

The author, Jandy, Grace and Kyle

How to Get There: Lorne is located 140 kms. (a 2-hour drive) south of Melbourne. From Melbourne, daily coach services are available or rail/coach services via Geelong.

St. Paul’s Cathedral (Melbourne, Australia)

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St. Paul’s Cathedral

St. Paul’s Cathedral, an Anglican cathedral, is the cathedral church of the Diocese of Melbourne and the seat of the Archbishop of Melbourne (who is also the metropolitan archbishop of the Province of Victoria and, since June 28, 2014, the present seat of the Primate of Australia).

The cathedral’s Gothic transitional facade

Here are some interesting trivia regarding the cathedral:

  • The cathedral was designed by the English architect William Butterfield, known for his distinctive interpretation of the Gothic Revival.
  • It is one of Melbourne’s major architectural landmarks.
  • To fit the block, the cathedral was orientated in line with the central city grid, just off the north-south axis, rather than facing east, the traditional direction.
  • The location for the cathedral marks the place of the first public Christian service in Melbourne was conducted, by Dr. Alexander Thomson, in 1835.
  • In contrast to the bluestone Gothic of St Patrick’s Roman Catholic cathedral, on the eastern hill of the city, as well as other grand 19th century public buildings faced in light grey sandstone imported from other states, the cathedral’s interior stonework is  a mixture of sandstone from the Barrabool Hills and Waurn Ponds limestone, with contrasting stripes of Victorian bluestone, that gives the cathedral a warm coloring. Also, because the spires are built from Sydney sandstone and are 40 years newer, they are different and darker in color than the older parts of the building.
  • Once the Moorhouse Spire, the central spire, was completed to its full height of 95 m. (312 ft.), St Paul’s became the tallest structure in central Melbourne. With the retail heart height limit of 40 m., it has retained its dominance of the immediate area, dominating the city’s skyline when viewed from the south. For nearly 40 years, even without the spires, the cathedral presented a rather solid, horizontal mass.
  • From the southern approaches to the city, St. Paul’s Cathedral occupies a prominent and dominating location at the center of Melbourne, being situated diagonally opposite Flinders Street station (the hub of 19th-century Melbourne and an important transport center) and, immediately to its south, Federation Square (the new public heart of Melbourne). Continuing south down Swanston Street is Princes Bridge, which crosses the Yarra River, leading to St Kilda Road.
  • Besides Sunday and weekday Eucharists, the cathedral maintains the English tradition of a daily choral Evensong, being the only Australian Anglican cathedral to do so.
  • Its 2009 restoration project was acknowledged by the Australian Institute of Architects, the Victorian Chapter Heritage Architecture Award 2009 and the Lachlan Macquarie National Award for Heritage Architecture 2009.

Check out “Federation Square,” “Flinders Street Station” and “St. Patrick’s Cathedral”

Nighttime view of the cathedral

The awe-inspiring St. Paul’s Cathedral, planned in a traditional Latin cross, has a long nave, side aisles, short transepts, a tower at the crossing, with choir below, sanctuary and altar beyond, and a pair of towers framing the ceremonial main entrance.

Heritage Council of Victoria Plaques

The cathedral’s Gothic transitional architecture combines Early English and Decorative Gothic styles. Highlights include the fine polychromatic brickwork, beautifully patterned floor and wall tiles and mosaics, banded masonry stonework, exquisitely timbered roof and tiled dado walls.

The cathedral’s nave

It has played host to many prime ministers, premiers, governors, governors-general and other significant people; hosted many significant occasions in national, Commonwealth and international history; and continues to be the choice venue for many state funerals.

The north aisle

Here’s the historical timeline of the cathedral:

  • In 1880, the foundation stone was laid by the Governor of Victoria, John, Earl of Hopetoun (later Marquess of Linlithgow), in the presence of the Rt Revd Charles Perry, Bishop of Melbourne.
  • In 1884, Butterfield resigned due to disputes between him and the church authorities in Melbourne. The job was then awarded to a local architect, Joseph Reed (of the Australian firm Reed, Henderson and Smart), who completed the building generally faithfully to Butterfield’s design
  • In 1889, Reed designed the attached chapter house in a style matching Butterfield’s.
  • On November 15, 1889, the cathedral’s bells were dedicated and first rung for the departure of Sir Henry Loch (later Baron Loch), the Governor of Victoria.
  • On January 22, 1891, the cathedral (without the spires) was consecrated by the Rt Revd Field Flowers Goe, Bishop of Melbourne.
  • In 1926, construction of the spires began to a new design by John Barr of Sydney, in a more traditional Gothic Revival style and with different stone from the Sydney area. It was also much taller than Butterfield’s original design.
  • In 1929, the pipe organ was rebuilt by Hill, Norman & Beard when the action was electrified and a new console supplied.
  • In 1932, the spires reached their full height
  • On April 30, 1933 a service of thanksgiving was held for their completion.
  • The 1960s saw extensive work completed to the exterior of the cathedral
  • On November 28, 1986, on his arrival in Melbourne, Pope John Paul II paid a visit to St Paul’s Cathedral in recognition of the dialogue between the Anglican and Roman Catholic churches in Melbourne fostered by their respective former archbishops, the Most Reverend Sir Frank Woods (Anglican) and the Most Reverend Sir Frank Little (Roman Catholic).  As the Pope entered the cathedral, the choir sang “Ecce vicit Leo.” After this, the Pope prayed for Christian unity and lit a meter-long candle.
  • From 1989 – 90, the $726,000 restoration work of the organwas completed, by Harrison & Harrison Ltd, Durham, with the help of a major National Trust The façade pipe stenciling was done by Marc Nobel, Christine Holmes and John Dale after a design by Lyon, Cottier, Wells & Company.
  • On November 28, 2007, a carol service called Carols from St Paul’s Cathedral Melbourne featuring the cathedral choir, was recorded by the Australian Broadcasting Corporation and broadcast Australia-wide on Christmas Eve.
  • In 2009, the A$18 million, seven-year major restoration works, under the guidance of Falkinger Andronas Architects and Heritage Consultants (now Andronas Conservation Architecture) and undertaken by Cathedral Stone, were completed. Significant repairs were done to restore the spires. Stone heads of the former dean David Richardson and the philanthropist Dame Elisabeth Murdoch, created by Melbourne sculptor Smiley Williams and carved by stonemason Daryl Gilbert, were added to the spires.  Also installed were the colored glass “Eighth Day” lantern, in the Moorhouse Tower, and  new dalle de verre colored glass doors, created by Janusz and Magda Kuszbicki, and a glass walled airlock for the west Great West door.

The south aisle

The interior, compared to the exterior, feature rich colors and strident color contrasts, characteristic of Butterfield’s work, with all the stonework constructed using Waurn Ponds limestone, its stripes contrasting with the very dark-colored local bluestone.

Chancel and High Altar

The dado (created with patterned glazed tiles), floor (entirely paved with encaustic tile imported from the English firm of Maw & Co., featuring both patterned layouts and patterns within the tiles), high altar and reredos (made from Devonshire marble, alabaster and glittering Venetian glass mosaics) are outstanding examples of High Victorian Gothic polychromy.

The narthex

In Persian tile, on the rear wall of the narthex, is a replica of an 8-pointed star found in two churches of the Anglican Diocese of Iran (the church of St. Simon the Zealot in Shiraz and St. Luke’s Church in Isfahan).  There are two baptismal fonts – a round font of Harcourt granite (installed when the cathedral was first built) and a cruciform immersion font (built in 1912 in memory of Field Flowers Goe, third Bishop of Melbourne). One of the carved figures on the pulpit is said to be the image of a daughter, who died in infancy, of the former Mayor of Melbourne.

Baptismal Font (South Aisle)

The Chapel of Unity, a memorial chapel, commemorates the historic visit of Pope John Paul II: only the third time in four centuries when a reigning Pope had made an official visit to an Anglican cathedral.

Immersion Font

The pipe organ, commissioned from English builder T. C. Lewis and Co  (one of the most prominent organ builders of the 19th century) of Brixton, England, cost over 6,500 pounds for its construction, shipping and installation before it was played at the cathedral’s 1891 inaugural service .

Interior from the south aisle

Since then, various modifications and maintenance works have been carried out. After the 1989 -90 restoration, the organ, housed in the cathedral’s south transept behind newly stenciled façade pipes, now has four manuals and pedals with 53 stops, all with electro-pneumatic action.

Commemorative plaques along the wall

St. Paul’s ring of 13 bells, a gift from Thomas Dyer Edwardes and all cast by Mears & Stainbank of Whitechapel Bell Foundry in 1889, consists of 12 bells set for change ringing in the key of C♯, plus an extra bell to allow different subsets of the full number to be rung still to a diatonic scale.  The tenor originally weighed 31 cwt but, after the whole set was sent to Taylor’s Bell Foundry in 1963 for retuning, it now weighs 29cwt.

One of the cathedral’s stained glass windows

St. Paul’s Cathedral : 198 -206 Flinders Street cor. Swanston Street, Melbourne, Victoria 3000, Australia. Tel: 9653 4333. E-mail: welcome@stpaulscathedral.org.au. Website: www.stpaulscathedral.org.au. Open Mondays to Fridays, 8 AM – 6 PM; Saturdays, 9 AM – 4 PM and Sundays, 7:30 AM – 7:30 PM.  Masses: Sundays (8 AM, 9 AM, 10.30 AM, 6 PM), Mondays to Saturdays (12.15 PM).

Federation Square (Melbourne, Australia)

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Federation Square

Federation Square, a venue for arts, culture and public events on the edge of the Melbourne central business district, covers an area of 3.2 ha (7.9 acres) and was built above busy railway lines and across the road from Flinders Street station.

It incorporates major cultural institutions (Ian Potter Centre, ACMI, Koorie Heritage Trust, etc.) as well as cafes and bars, in a series of buildings centered around a large paved square, and a glass walled atrium.

Check out “Ian Potter Centre: NGV Australia“

Melbourne’s central city grid was designed without a central public square, long seen as a missing element. From the 1920s there were proposals to roof the railway yards on the southeast corner of Flinders and Swanston Streets for a public square, with more detailed proposals prepared in the 1950s and 1960s.

In the 1960s, the Melbourne City Council decided that the best place for the City Square was the corner of Swanston and Collins Streets, opposite the town hall. The first temporary square opened in 1968, and a permanent version opened in 1981. It was however not considered a great success, and was redeveloped in the 1990s as a smaller simpler space in front of a new large hotel.

Meanwhile, in the late 1960s, a small part of the railway lines had been partly roofed by the construction of the Princes Gate Towers, known as the Gas & Fuel Buildings after their major tenant, the Gas and Fuel Corporation, over the old Princes Bridge station.

This included a plaza on the corner, which was elevated above the street and little used. Between the plaza and Batman Avenue, which ran along the north bank of the Yarra River, were the extensive Jolimont Railway Yards, and the through train lines running into Flinders Street station under Swanston Street.

This open public square had its beginnings in 1996 when the then Premier Jeff Kennett announced that the Gas & Fuel Buildings would be demolished, the rail yards roofed and a complex including arts facilities and a large public space to be named Federation Square would be built.

Lobby of Ian Potter Centre: NGV Australia

It was opened in 2001, in time to celebrate the centenary of Australia’s Federation, and included performing arts facilities, a gallery, a cinemedia center, the public space, a glazed winter garden, and ancillary cafe and retail spaces.

Built at a cost of approximately $467 million (over four times the original estimate of between $110 and $128 million), its main funding came primarily from the state government, some from the federal government, $64 million from the City of Melbourne while private operators and sponsors paid for fit outs or naming rights. The square was opened on October 26, 2002.

Australian Centre for the Moving Image (ACMI) – Australia’s national museum of film, video games, digital culture and art

In 2006, the vaults under Princes Walk (a former roadway) were redeveloped by Federation Wharf into a large bar, with extensive outdoor areas on the Yarra riverbank, with elevator access to Federation Square.

In October 2011, Elizabeth II visited Federation Square. On October 2018, an interim decision to list Fed Square to the Victorian Heritage Register resulted in the square being formally listed in August 2019.

Occupying roughly a whole urban block bounded by Swanston, Flinders, and Russell Streets and the Yarra River, Federation Square is directly opposite Flinders Street station and St Paul’s Cathedral.

The precinct’s layout was designed to connect Melbourne’s historical central district with the Yarra River and Birrarung Marr, a new park.

Its complex and irregular design had gently angled ‘cranked’ geometries (predominating in both the planning and the facade treatment of the various buildings and the winter gardens that surrounded and defined the open spaces) while a series of ‘shards’ provided vertical accents.

Interconnected laneways and stairways and the winter garden connects Flinders Street to the Yarra River. The open square, arranged as a gently sloping amphitheater, is focused on a large viewing screen for public events, with a secondary sloped plaza area on the main corner.

The 1.3 m. high bronze statue of the Fearless Girl by Kristen Visbal

Federation Square: intersection of Flinders and Swanston Streets.