Heritage Notes
Heritage Notes
Heritage Notes
It is declared as a National Cultural Treasure by the Philippine government in 1973; and a UNESCO
World Heritage Site under the collective group of Baroque Churches of the Philippines in 1993.
History: The earliest historical record of the area dates back to 1593 and it became an
independent Augustinian parish in 1686. Building of the present church was started in 1694 by
Augustinian friar Father Antonio Estavillo, completed in 1710 and rededicated in 1896. Some
portions of the church were damaged in the 1865 and 1885 earthquakes but was later restored
under the initiative of former First Lady Imelda Marcos.
Restorations: Several projects for the restoration of Paoay Church were sought by government
and non-government organizations due to possible question on its structural integrity.
The local government of Ilocos Norte through resolution seeks the reconstruction of the church
convent presently in ruins and retrofitting of the church. Restoration of the church's buttresses,
walls, tower, and interior was announced in 2018.
Architectural characteristics:
• Buttresses- The most striking feature of Paoay Church is the 24 huge buttresses of about
1.67 meters (5.5 ft) thick at the sides and back of the church building extending from the
exterior walls. It was designed in solving the possible destruction of the building due to
earthquakes. Its stair-like buttresses (known as step buttresses) at the sides of the church
is possibly for easy access of the roof.
• Walls- Its walls are made of large coral stones on the lower part and bricks at the upper
levels. The mortar used in the church includes sand and lime with sugarcane juice boiled
with mango leaves, leather and rice straw. Its walls suggest Javanese architectural styles.
• Facade: The stone façade appears as massive pediment rising from the ground and is built
leaning towards the front. Square pilasters and stringed cornices divide the facade
vertically and horizontally respectively. Its bottom part is plain. Gothic features are also
present through the use of finials while the triangular pediment shows Chinese elements
and Oriental strokes. The façade is made of brick on the lower level and coral stones on
the upper level.
• Bell tower: Adjacent to the façade is a three- storey coral bell tower constructed
separately from the church building on the right side resembling a pagoda. It was in 1793
when the cornerstone of the bell tower was laid. It stands at some distance from the
church as a protection against earthquake. It served as observational post for Filipino
revolutionaries against the Spaniards in 1898 and by Filipino guerrillas against Japanese
soldiers during World War II. According to historians, the bell tower also served as a status
symbol for the locals. It is said that the bell would ring more loudly and more times during
the wedding of a prominent clan than during the wedding of the poor.
2. Church of San Agustin:
The Church of Saint Augustine Filipino: Simbahan ng San Agustin, (Iglesia de San Agustín), also
known as the Archdiocesan Shrine of Our Lady of Consolation and Cincture (Spanish: Santuario
Arquidiocesano de Nuestra Señora de la Consolación y Correa) or the Immaculate Conception
Parish (Filipino: Parokya ng Imakulada Conception, Spanish: Parroquia de la Inmaculada
Concepción)
It is a Roman Catholic church under the divine order of Saint Augustine located inside the historic
walled city of Intramuros in Manila, Philippines.
Completed in 1607, it is the oldest stone church in the country. In 1993, San Agustin Church was
one of four Philippine churches constructed during the Spanish colonial period to be designated
as a World Heritage Site by UNESCO, under the collective title Baroque Churches of the
Philippines. It was named a National Historical Landmark by the Philippine government in 1976.
History: San Agustin Church is located in General Luna St., Metro Manila. The present structure
is actually the third Augustinian church erected on the site. The first San Agustin Church was the
first religious structure constructed by the Spaniards on the island of Luzon.
Made of bamboo and nipa, it was completed in 1571, but destroyed by fire in December 1574
during the attempted invasion of Manila by the forces of Limahong. The Augustinians decided to
rebuild the church using stone, and to construct an adjacent monastery. Construction began in
1586, based on a design by Juan Macías. The structure was built using hewn adobe stones
quarried from Meycauayan, Binangonan and San Mateo, Rizal. The work proceeded slowly due
to the lack of funds and materials, as well as the relative scarcity of stone artisans. San Agustin
Church is currently administered by the Augustinian friars of the Province of the Most Holy Name
of Jesus of the Philippines.
Architectural Style:
The San Agustin Church is patterned after some of the magnificent temples built by the
Augustinians in Mexico. The present edifice was built in 1587, and completed, together with the
monastery, in 1604. The atmosphere is medieval since "both church and monastery symbolize
the majesty and equilibrium of a Spanish golden era."[according to whom the massive structure
of the church is highlighted by the symmetry and splendor of the interiors (painted by two Italians
who succeeded in producing trompe l'oeil) the profile of the mouldings, rosettes and sunken
panels which appear as three-dimensional carvings, a baroque pulpit with the native pineapple
as a motif, the grand pipe organ, the antechoir with a 16th-century crucifix, the choir seats carved
in molave with ivory inlays of the 17th century and the set of 16 huge and beautiful chandeliers
from Paris.
Heritage Threats:
The Binondo-Intramuros Bridge opened in 2022. Although the bridge is about 550 meters (1,800
ft) away from San Agustin Church, it is believed to have encroached on the buffer zone prescribed
for church, which includes the walls of Intramuros and the immediate areas outside. However,
the national government argues that the bridge will have no direct physical or visual impact to
the San Agustin Church, owing to its remote distance and the number of taller structures between
the bridge and the church. So far, the World Heritage Convention (WHC) has identified several
potential indirect and long-term impacts to the church. WHC noted that the church could be
impacted by more ground vibration due to vehicular traffic, and air and noise pollution. Moreover,
the bridge would have a direct visual impact on the overall setting and sense of place of the
property, including Intramuros' fortified wall, as well as the Maestranza strip and Plaza México,
the visual corridor of the Pasig River, and the underlying remains of Baluarte de Santo Domingo.
To mitigate the situation, it was recommended to the national government to reconsider the
bridge's and location, convert the surrounding roads of the church into pedestrian areas, conduct
structural assessment of the church, and adapt the design of the bridge to the character of
Intramuros.
San Agustin Church was collectively declared as a UNESCO World Heritage Site in 1993, together
with Paoay Church in Ilocos Norte, Santa Maria Church in Ilocos Sur, and Miag-ao Church in Iloilo.
If it will be delisted, the three other churches would also be removed from UNESCO's heritage
list.
It was listed as a UNESCO World Heritage Site in 1999 and voted as a New7Wonders of Nature in
2012.
It also became a Ramsar Wetland Site in 2012.
A major tourist destination that is mostly accessed through road trips to the seaside village of
Sabang where one of the many Bangkas (Kayaks) take visitors to the park.
History: In 2010, a group of environmentalists and geologists discovered that the underground
river has a second floor. Which means that there are small waterfalls inside the cave. They also
found a cave dome measuring 300 m (980 ft) above the underground river, rock formations, large
bats, a deep water hole in the river, more river channels, and another deep cave, as well as marine
creatures and many more.
Deeper areas of the underground river are almost impossible to explore due to oxygen
deprivation.
On November 11, 2011, Puerto Princesa Underground River was provisionally chosen as one of
the New 7 Wonders of Nature and officially confirmed on January 28, 2012.
4. Mount Hamiguitan Range Wildlife Sanctuary:
is a mountain located in the province of Davao Oriental, Philippines. It has a height of 1,620
metres (5,315 ft). The mountain and its vicinity have one of the most diverse wildlife populations
in the country. Among the wildlife found in the area are Philippine eagles and several species of
Nepenthes. Such as the Nepenthes peltata and Nepenthes micramphora that are endemic to the
area. The mountain has a protected forest area of approximately 2,000 hectares. This woodland
is noted for its unique pygmy forest of century-old trees in ultramafic soil with many endangered,
endemic and rare species of flora and fauna.
In 2003, The Mount Hamiguitan range with an area of 6,834 hectares (68.34 km2) was declared
a national park and a wildlife sanctuary.
In 2014, the park was inscribed as a UNESCO World Heritage Site becoming the first in Mindanao
and the sixth in the Philippines.
The Mount Hamiguitan is part of the Eastern Mindanao Biodiversity Corridor. Conservation of the
mountain range is a multisectoral effort done involving the provincial government of Davao
Oriental, Department of Environment and Natural Resources, Local Communities and Indigenous
People.
IMPORTANCE OF HERITAGE CONSERVATIONS
(Dick Netzer) The importance of conservation and heritage preservation proves its value in the
affirmation of the uniqueness of a place. When cultural heritage is appreciated, enhance and
enriched. The socio-cultural, religious, political and economic gains are manifested.
(Justice William Brennan) Structure with special historic, cultural or architectural significance
enhances the quality of life for all. Not only do these buildings and their workmanship represent
the lesson of the past and embody previous features of one's heritage, they serve as examples of
quality for today. Enhancing perhaps developing for the first time and the quality of life for the
people.
UNESCO has been instrumental in propagating the notion of the universal responsibility for the
conservation of the World Heritage Council from 1972-1973.
IMPORTANCE OF HERITAGE CONSERVATIONS
➢ Heritage sites reflect the anthropological, historical, and cultural values of a people (De la
Torre 2013). These include human behavior, beliefs, art and relations. Therefore, it is vital
to conserve heritage sites and properties as a platform for teaching or learning the past
way of life of a given group of people (Embaby, 2014). Some of these sites serve as a
significant reminder of the origin or occurrence of a given phenomenon.
➢ The rich historical social delineations associated with a given heritage site or property play
a significant role in reminding members of the society of the social values that governed
the ancestors of a particular group of people in the past (Jones, 2017).
This way, it is possible to comprehend and even gain from the social values of such people
for the betterment of society. Furthermore, the cultural identities associated with certain
heritages help to enhance a sense of belonging to a particular group or clan of people
(Shinbira, 2012).
➢ With proper conservation, it is possible that a particular heritage property or site can
become a tourist attraction due to its architectural beauty as well as its historical
significance (García-Hernández et al., 2017). In such a manner the heritage can provide
economic benefits not only to the government but also the community living within the
vicinity of such a heritage.
➢ Retaining Our Identity. Heritage precincts are focal points for community gatherings and
events. The importance of their preservation stretches beyond their history, attributing
more to the unique character and sense of belonging they evoke in our hearts.
Furthermore, these heritage architectural elements also contribute to the aesthetics of
our streetscapes.
➢ Promotes Cultural Tourism. Heritage tourism is often deeply rooted in historic buildings.
These intriguing and tangible connections to our past spur interest for tourists to soak in
its distinct ambiance and this alone helps attract business.
➢ Statistics have also shown that heritage visitors have a greater economic impact as they
tend to stay for a longer duration and spend more than a day.
➢ Reduction of Demolition Waste. Conservation and restoration of heritage buildings are
the ultimate forms of recycling. Research has shown that the demolition of a typical brick
house results in an average of 60-100 tons worth of waste. To top it off, restoration is also
proven to be a massive energy saver. The energy required to demolish an old building and
erect a new one is estimated to be equivalent to the energy needed to operate it for 40
years. Imagine the number of invaluable resources and savings that could be put to better
use.
PRIMARY THREATS TO HERITAGE
WHAT ARE THE THREATS TO OUR CULTURAL HERITAGE?
Globalization causes rapid flow of people, products and information. Which menaces the
minority society, particularly their cultural heritage. Study shows that many indigenous languages
and cultures are on the verge of becoming extinct due to globalization. Heritage is often lost or
damaged in conflict as a consequence of development (both buildings and agricultural
expansion). It's important to note that the loss of heritage from illegal development is common
problem in a peacetime.
The standard list of threats affecting the Outstanding Universal Value of World Heritage
properties consists of a series of primary factors, encompassing each a number of secondary
factors:
THESE ARE THE PRIMARY THREATS TO CULTURAL HERITAGE
1. Buildings and Development
➢ Housing
• Urban high rise or urban sprawl
• Encroachment/ changes to skyline
➢ Commercial development
• Skyscrapers
• Large shopping malls
➢ Industrial areas
• Individual factories
• Industrial parks
➢ Major visitor accommodation and associated infrastructure
• Hotels, restaurant, golf courses, ski resort.
• Major/permanent high-cost tourism facilities (pontoons, jetties,
observatories, cable cars, chalets, fully serviced camping areas, etc.)
➢ Interpretative and visitation facilities
• Visitor center
• Site museum
• Signages
• Trail hardening (trail markers etc.)
• Information booth etc.
• Minor picnic facilities
• Moorings/markers buoys
People are becoming more and more conscious of the unity of human values and regard ancient
monuments as a common heritage. The common responsibility to safeguard them for future
generations is recognized. It is our duty to hand them on in the full richness of their authenticity.
3. ICOMOS- (International Council on Monuments and Sites) has pioneered the way since Athens
Charter 1931. ICOMOS works for the conservation and protection of cultural heritage. It is the
only global non-government organization of this kind which is dedicated on promoting application
of theory , methodology, And scientific techniques to conservation of architectural and
archeological heritage. Its work is based on the principles enshrined in the 1964 International
Charter on the Conservation and Restoration of Monuments and Sites (the Venice Charter).
ICOMOS is a network of experts that benefits from the interdisciplinary exchange of its members,
among which are Architects, Historians, Archaeologist, Geographers, Engineers and Urban
planners. The members of ICOMOS contribute to improving the preservation of heritage. The
standards and the techniques for each type of cultural heritage property: buildings, historic cities,
cultural landscapes and archaeological sites.
4. ICCROM-(International Charter for the Conservation and Restoration of Monuments)
ICCROM is an intergovernmental organization working in service to its Member States to promote
the conservation of all forms of cultural heritage in every region of the world. It operates in the
spirit of the 2001 UNESCO Universal Declaration on Cultural Diversity which states that "Respect
for the diversity of cultures, tolerance, dialogue and cooperation in a climate of mutual trust and
understanding are among the best guarantees of international peace and security." For more than
six decades, ICCROM has partnered with Member States to support them in safeguarding
heritage within their borders and beyond. The organization engages and informs new generations
of professionals and the general public with an interest in heritage.
ICCROM is small and agile enabling it to respond swiftly to the needs of its Member States. As an
intergovernmental organization with a vast network of conservation experts. ICCROM relies on
formal institutional collaborations with organizations such as UNESCO, ICOMOS, ICOM, ICA and
IIC.
Those working on the front lines of heritage preservation, including scientists, conservators,
museum curators, site managers, archivists, researchers and archaeologists, rely on ICCROM for
its world-class initiatives in conservation training, information, research, cooperation and
advocacy.
5. BURRA CHARTER- The Burra Charter is a document published by the Australian ICOMOS which
defines the basic principles and procedures to be followed in the conservation of Australian
heritage places. The Charter was first endorsed in 1979 as an Australian adaptation of the Venice
Charter but with the introduction of a new analytical conservation model of heritage assessment
that recognized forms of cultural heritage beyond tangible and physical forms. The Charter was
the first national heritage document to replace the Venice Charter as the basis of national heritage
practice.
6. NARA DOCUMENT ON AUTHENTICITY- The Nara Document on Authenticity is a document that
addresses the need for a broader understanding of cultural diversity and cultural heritage in
relation to conservation in order to evaluate the value and authenticity of cultural property more
objectively. It was drafted by 45 representatives from 28 countries after their deliberation on the
definition and assessment of authenticity during the Nara Conference held in Nara, Japan in
November 1994.
The National Museum of Anthropology stages the Philippine ethnographic and terrestrial and underwater
archaeological collections narrating the story of the Philippines from the past, as presented through
artifacts as evidences of its pre- history.
The National Museum of Natural History houses 12 permanent galleries that exhibit the rich biological and
geological diversity of the Philippines. It includes creatively curated displays of botanical, zoological, and
geological specimens that represent our unique natural history. Situated at the center of the museum is a
"Tree of Life" structure that proudly connects all the unique ecosystems in the Philippines, from our
magnificent mountain ridges to the outstanding marine reefs.
The National Museum of the Philippines maintains regional, area and site museums all over the country.
There are 16 NMP-run museums outside of the National Capital Region (NCR). Republic Act 11333 or the
National Museum Act of the Philippines mandates the establishment of regional museum and satellite
office in each administrative region outside of NCR, and area and site museums and offices whenever
necessary. The regional, area and site museums have outstanding national artistic, cultural and natural
heritage significance.
5. National Planetarium
The National Planetarium was established to disseminate astronomical information through various
platforms and technology, such as full-dome digital and mobile planetarium shows, lectures,
demonstrations, exhibitions, and actual celestial observations.
The gallery at the National Planetarium entitled “Filipino Life Guided by Skies” focuses not only in modern
astronomy but primarily in ethnoastronomy practices used by our Filipino cultural communities. This
ethnoastronomy exhibition is divided into six sections, namely: The Cosmic Timeline, Cultural Astronomy,
Philippine Night Sky, Time Reckoning, Farming and Hunting, and Seafaring and Navigation.
THE PHILOSOPHY OF REPAIR
Traditional or vernacular building is concerned with utilizing indigenous materials and with local
knowledge of climate and topography. The geology and topography of a region determine the character
of its building. (William Smith the "father of geology") The essential and distinctive character of each
region always starts with landscape and the earth (granite, sand, slate, chalk, clay etc.) followed with
illustrations of hills and fields which gives each region and its buildings their character.
How ever regional character is quickly eroded by unsympathetic repair and alteration using
materials imported into the region by "renewal" rather than repair, consolidation and effective ongoing
maintenance.
The key to appropriate historic building repair is "awareness" of the fundamentals difference
between modern construction and traditional building.
Modern Construction is based around impermeability and thinness. Et al. Cavity Wall Construction, Rain
Screen Principle = capillary action.
Traditional Building by contrast is based around very different principles: thermal mass; breathability;
flexibility and the use of a protective or sacrificial skin. Thick walls provide thermal mass sustaining warmth
in cold season and coolness in hot season. Walls and floors are breathable and admit moisture which
evaporates freely. Masonry construction, lime mortar is softer than the structural material which allows
the building to move and settle without cracking. Also breathable compared to impermeable Portland
cement.
It is essential that traditional buildings are repaired sympathetically. Historic building repair embraces a
spectrum of interventions from routine maintenance and the "do nothing" option, through a
comprehensive repair programme, to restoration, the replacing of lost features or entire rebuilding,
provided there is precise evidence of what was there. Replacement is never acceptable when it is
conjectural.Sir Bernard Feilden listed the seven degrees:
1. Prevention of Deterioration
2. Preservation of the Existing State
3. Consolidation of the Fabric
4. Restoration
5. Rehabilitation
6. Reproduction
7. Reconstruction
THE PREFERRED OPTION IS ALWAYS MINIMAL INTERVENTION AND THE GENERAL PRINCIPLE IS
TO USE TRADITIONAL MATERIALS AND TECHNIQUES WHEREVER POSSIBLE.
THE BASIC WELL KNOWN GOLDEN RULE OF CONSERVATION, MINIMAL INTERVENTION,
CONSERVE AS FOUND, LIKE FOR LIKE REPAIRS, REVERSIBILITY
PHILIPPINE GOVERNMENT AGENCIES ON CULTURAL HERITAGE CONSERVATION
NATIONAL COMMISSION FOR CULTURE AND THE ARTS (NCCA)
National Commission for Culture and the Arts is the overall policy making body, coordinating and
grants giving agency for the preservation, development and promotion of Philippine arts and
culture.
The passage of R.A. 7356 that created the NCCA. The coordination among the cultural
agencies was strengthened by the virtue of Executive Order No. 80, which placed the
1. Cultural Center of the Philippines,
2. National Historical Commission of the Philippines
3. National Museum of the Philippines
4. The National Library of the Philippines
5. National Archives of the Philippines
under the NCCA umbrella.
Further, through Republic Act No. 9155, administratively attached the earlier
aforementioned five cultural agencies to the NCCA, including now the Komisyon sa Wikang
Filipino (Commission on the Filipino Language).
The Commission together with the six cultural agencies works with the principle of
partnership, collaboration and shared responsibility in achieving effectively and efficiently the
implementation of cultural programs as well as maximizing of resources.
VISION
A Filipino people with a strong sense of nationhood and deep respect for cultural diversity.
MISSION
NCCA is the prime government agency that safeguards, develops, and promotes Filipino
culture through the formulation and implementation of enabling policies and programs as well as
the administration of endowment funds for culture and arts.
According to Sections 8 and 12 of RA No. 7356, the NCCA is created and mandated to formulate
and implement policies and plans in accordance with the principles stated in Title I of RA No.
7356:
• To formulate policies for development of culture and the arts;
• To implement these policies in coordination with affiliated cultural agencies;
• To coordinate implementation of programs of these affiliated agencies;
• To administer the National Endowment Fund for Culture and the Arts (NEFCA);
• To encourage artistic creation within a climate of artistic freedom;
• To develop and promote the Filipino national culture and arts; and,
• To preserve Filipino cultural heritage.
MANDATE
• To encourage the continuing and balanced development of a pluralistic culture by the
people themselves;
• To conserve, promote and protect the nation's historical and cultural heritage;
• To ensure the widest dissemination of artistic and cultural products among the
greatest number of people across the country and overseas for their appreciation and
enjoyment;
• To preserve and integrate traditional culture and its various creative expressions as a
dynamic part of the national cultural mainstream; and,
• To ensure that standards of excellence are pursued in programs and activities
implementing policies herein stated, it shall encourage and support continuing
discussion and debate through symposia, workshops, publications, etc., on the highest
norms available in the matrix of Philippine culture.
CORE VALUES
• Nationalistic
• Committed to Service
• Competent
• Artistic and Culture Sensitive
➢ Nationalistic. We strive to uphold the interest of the peoples of the Philippines and the
country, which shall have priority over all other considerations.
➢ Committed to Service. We commit to serve all people and institutions in conformity with
the highest standards of excellence.
➢ Competent. We believe in the continuous enhancement of the skills, competence, and
expertise of our personnel as a basic right of every member of the organization to self-
development and well-being.
➢ Artistic and Culture Sensitive. We discharge our mandate with respect for the peoples'
cultural wisdom which defines their identity.
BOARD of COMMISSIONERS
As governed by RA 7356, The National Commission for Culture and the Arts is governed by a Board
of Commissioners composed of 15 members namely:
**List of Board of Commissioners updated as of September 1, 2023
1. HON. VICTORINO MAPA MANALO, NCCA Chair (Executive Director, National Archives of
the Philippines)
2. HON. LOREN B. LEGARDA, Commissioner (Chairperson, Committee on Culture and the
Arts - Senate of the Philippines)
Alternate: SEN. MARIA LOURDES NANCY S. BINAY, (Vice Chairperson, Committee on
Culture and the Arts - Senate of the Philippines)
3. HON. ROMAN T. ROMULO, Commissioner (Chairperson, Committee on Basic Education
and Culture, House of Representatives)
4. HON. GINA O. GONONG, Commissioner (Undersecretary for Curriculum and Teaching,
Department of Education)
5. HON. SHEREEN GAIL C. YU-PAMINTUAN, Commissioner (Undersecretary for
Administration and Finance, Department of Tourism) or HON. MAE ELAINE T. BATHAN
(Undersecretary for Legal and Special Concerns, Department of Tourism)
6. HON. MICHELLE NIKKI M. JUNIA, Commissioner (President, Cultural Center of the
Philippines)
7. HON. EMMANUEL F. CALAIRO, Commissioner (Chairman, National Historical Commission
of the Philippines)
8. HON. JEREMY R. BARNS, Commissioner (Director-General, National Museum of the
Philippines)
9. HON. CESAR GILBERT Q. ADRIANO, Commissioner (Director IV, National Library of the
Philippines)
10. HON. ARTHUR P. CASANOVA, Commissioner (Chairman, Komisyon sa Wikang Filipino)
11. HON. OSCAR G. CASAYSAY, Commissioner (Executive Director, National Commission for
Culture and the Arts)
12. HON. REDEN S. ULO, Commissioner for Cultural Communities and Traditional Arts (Head
Sub-commission on Cultural Communities and Traditional Arts)\
13. HON. IVAN ANTHONY S. HENARES, Commissioner for Cultural Heritage (Head Sub-
commission on Cultural Heritage)
14. HON. ARVIN MANUEL R. VILLALON, Commissioner for the Arts (Head Sub-commission on
the Arts)
15. HON. CARLO B. EBEO, Commissioner for Cultural Dissemination (Head Sub-commission on
Cultural Dissemination)
The NCCA has four (4) Sub commissions made up of national committees composed of artists
and cultural workers from both the public and the private sector, representing different cultural
and non-government organizations.
1. Sub-commission on the Arts (SCA): Committees on Architecture & Allied Arts, Cinema,
Dance, Dramatic Arts, Literary Arts, Music, and Visual Arts.
2. Sub-commission on Cultural Heritage (SCH): Committees on Archives, Art Galleries,
Historical Research, Libraries and Information Services, Monuments and Sites, and
Museums.
3. Sub-commission on Cultural Dissemination (SCD): Committees on Communication,
Cultural Education, and Language and Translation.
4. Sub-commission on Cultural Communities and Traditional Arts (SCCTA): Committees on
Northern Cultural Communities, Central Cultural Communities, So Cultural Communities.
PHILIPPINE GOVERNMENT Agencies on Cultural Heritage Conservation (CCP)
• Cultural Center of the Philippines
(Filipino: Sentrong Pangkultura ng Pilipinas, or CCP) is a government-owned and
controlled corporation established to preserve, develop and promote arts and culture in the
Philippines. The CCP was established through Executive Order No. 30 s. 1966 by President
Ferdinand Marcos. Although an independent institution of the Philippine government, it receives
an annual subsidy and is placed under the National Commission for Culture and the Arts for
purposes of policy coordination. The CCP is headed by an 11- member Board of Trustees.
The CCP provides performance and exhibition venues for various local and international
productions at the 62-hectare Cultural Center of the Philippines Complex located in the cities of
Pasay and Manila.
Its artistic programs include the production of performances, festivals, exhibitions,
cultural research, outreach, preservation, and publication of materials on Philippine art and
culture.
It holds its headquarters at the Tanghalang Pambansa (English: National Theater) a
structure designed by National Artist for Architecture, Leandro V. Locsin. Locsin would later design
many of the other buildings in the CCP Complex.
History of NHCP
Before the turn of the 20th century, artistic performances were primarily held in plazas
and other public places. The Manila Grand Opera House, constructed in the mid-19th Century,
served as the primary venue for many stage plays, operas and zarzuelas and other events of
national significance. Conditions improve with the construction of the Metropolitan Theater in
1931 and smaller but adequately equipped auditoriums in institutions like Meralco, Philam Life,
Insular Life, Ateneo de Manila University and Far Eastern University.
1961
The Philippine-American Cultural Foundation started to raise funds for a new theater.
The structure, designed by Leandro Locsin, was to be built in Quezon City.
1965
Imelda Marcos expressed her desire to build a national theater. She works on the
theater started with the issuance of Presidential Proclamation No. 20 on March 12, 1966. The
First Lady persuaded the Philippine-American Cultural Foundation to relocate and expand plans
for the still-born theater to a new reclaimed location along Roxas Boulevard in Manila. To
formalize the project President Marcos issued Executive Order No. 30 establishing the Cultural
Center of the Philippines and appointing its board of directors with Imelda as chairperson
1970
The center was in the red mainly due to the costs of constructing the Theater of
Performing Arts. The board of the CCP asked Members of Congress to pass House Bill 4454 which
would convert the center to become a non-municipal public corporation and allow it to use the
principal of the CCP Trust Fund to pay off some of its debt.
1972
With the declaration of Martial Law on September 23, 1972. Congress was dissolved
and President Marcos signed Proclamation No. 15. A modified version of the proposed bill that
expanded the center's role from that of being a performance venue to an:
• The National Library of the Philippines was established as the Museo-Biblioteca de Filipinas
through the royal decree of August 12, 1887.
• The library was revived with the donation made by the American Circulating Library
Association of its Circulating Library to the government formalized through Public Act No. 96
passed on March 5, 1901. Public Law Act No. 1935, provided for the "the consolidation of all
libraries belonging to any branch of the Philippine government for the creation of the
Philippine Library", and for the maintenance of the same, and other purposes. To carry out
the provisions of this law, a Library Board was constituted consisting of the Secretary of the
Public Instruction, the Secretary of Interior, the Secretary of Finance and Justice, and the other
members to be appointed annually by the Governor General.
In 1916, The Philippine Library, Division of Archives, Patents, Copyrights and Trademarks
of the Executive Bureau and the Law Library of the Philippine assembly were merged into one
entity, called the Philippine Library and Museum. Twelve years later, the Philippine Legislature
separated the museum from the library. Public Law No. 3477 (1928) established the National
Museum under the Department of Agriculture and Natural Resources and changed the name of
the Philippine Library and Museum to The National Library.
The President of the Philippines changed the name of The National Library to Bureau of
Public Libraries in accordance with Executive Order No. 94, series 1947. This order was followed
by Republic Act No. 411, otherwise known as the Municipal Libraries Law, authored by the then
Senator Geronima T. Pecson. Republic Act No. 3873 passed in 1964 brought back to the Bureau
of Public Libraries its old name, The National Library. Currently, the library is known as the
National Library of the Philippines (NLP) pursuant to Republic Act No. 10087 enacted in May 13,
2010. The NLP is located at T.M. Kalaw Street, Manila.
VISION
By 2027, the National Library of the Philippines shall be the premier library in the country,
with an extensive collection of library resources available in different forms and media, providing
excellent customer service experience through automated library facilities and online services,
driving the intellectual, social, and cultural progress of the Filipino society.
MISSION
The National Library of the Philippines is an ISO certified national repository of printed
and recorded cultural heritage in the country that acquires, organizes, conserves, and preserves
Filipiniana resources and provides equitable access to information resources on various
platforms, and delivers world-class customer service for Filipinos.
MANDATE
The National Library of the Philippines (NLP) is the repository of the printed and recorded
cultural heritage of the country and other intellectual, literary resources and information sources.
Quality Policy
We, at NLP, as a repository of cultural heritage, commit to acquire, conserve and preserve all
printed and recorded Filipiniana resources, ensure equitable access @and provide inclusive and
resilient services to support, intellectual, cultural and national development in accordance with
the applicable requirements while continually improving our quality management system.
To uphold this commitment, we shall:
• Espouse human resource welfare and development and values formation programs to
harness the fullest potential of our people;
• Implement responsive policies, programs and initiatives;
• Acquire and generate the best-available library resources; and,
• Integrate risk and quality management systems into the processes across the organization
particularly in policy formulation, decision making, planning, service provision,
performance evaluation and improvement processes.
DIVISIONS
The National Library of the Philippines is currently being reorganized following the approval of its
Rationalization Plan in September 26, 2007. The new organization structure comprises the
following Divisions:
• Filipiniana
• Reference
• Public Libraries
• Collection Development
• Catalog
• Bibliographic Services
• Information Technology
• Finance and Administrative
• Research and Publications
• Office of the Director
DEFINITION OF TERMS
• CULTURE
- Ways of living that include behavioral patterns, arts, beliefs, institution and all products of human
work and thought shared that reflect the identity of a group.
• HERITAGE
- Legacies from the past, what we live with today, and what we individually or collectively pass on
to future generations.
• TANGIBLE HERITAGE
- A category of heritage that encompasses cultural heritage such as works of man like craft,
mountains, buildings and sites, and natural heritage, which are works of nature such as physical,
biological, geological and physiological formations, and natural sites.
• INTANGIBLE HERITAGE
- A category of heritage that encompasses practices, representations, expressions, knowledge and
skills of communities, groups, or in some cases, individuals.
• SIGNIFICANCE
- Pertains to the importance, relevance and the meaning of a heritage resource to an individual or
group of people. Heritage may have different levels of significance like individual, family, band,
community, province, region, country or world.
• VALUE
- An aspect worth ascribed by people to a heritage resource, that is used to justify the heritage
resource’s significance. A heritage may have a range of values for different individuals or groups.
• HISTORICAL VALUE
- Refers to a value that deals with past events, personage, groups and associations, trends and
movements.
• AESTHETIC VALUE
- Refers to a value that appeals to a sense of beauty based on the aspects of sensory perception,
such as from, scale, color, texture and material of fabric, as well as the smell and sounds associated
with the place and its use.
• ARCHITECTURAL VALUE
- Refers to a value that deals with the art and science of designing and building structures or open
spaces following aesthetic, functional, and technical criteria.
• SCIENTIFIC VALUE
- Refers to a value that measures the importance of data on its rarity, quality or characteristic
contributing to substantial information about the place.
• ARCHAEOLOGICAL VALUE
- Refers to a value that provides important resource of historic and other scientific information
based on the presence of cultural or physical remains in historical places.
• SOCIAL VALUE
- Refers to the sentimental value that a group or community attaches to a place.
• STRUCTURE
- The organization of arrangement of the aesthetic and technical framework of the building that
provides stability to its parts or elements.
• ENSEMBLE
- A group of individuals built and/or natural elements put together to form a whole, which
manifests in varying forms.
• BUILDING
- An Edifice of one of the physical end products of Architecture and Engineering works intended
for occupancy.
• MONUMENT
- A Site or Structure that is erected and/or preserved because of its historical, cultural, or aesthetic
importance.
• STREETSCAPE
- The overall appearance of street elements that make up the street scenery and may include
natural and man-made physical elements found within and along the street, as well as its activities
carried out on it.
• LANDSCAPE
- A visually distinct area whose character is the result of the action and interaction of
nature(natural landscape) or between nature and man (cultural landscape).
• VISTA
- A distant view of a natural and/or built environment, e.g. One seen through an opening. A
pleasing view, especially one seen through a long, narrow opening.
• BASIS
- Principal reference for establishing the significance of a heritage resource.
• AUTHENTICITY
- The measure of a heritage resource belongs truly to what it is claimed to be. Authenticity is to
be based on the cultural context/s to which the heritage resource belongs to.
• INTEGRITY
- A measure of the wholeness and intactness of a heritage resource and its attributes to secure,
sustain, and convey its significance. It pertains to the physical fabric, its risks in its environment
and the ability of the values of a resource to be respected and communicated.
• MATERIAL
- A physical attribute of a heritage resource that refers to the physical elements, constituents, or
substance it is composed of.
• FORM
- A physical attribute of a heritage resource that refers to its shape and structure.
• SCALE
- The ratio of the actual measurements of something and those of a drawing, map or model.
• FUNCTION
- An attribute of a heritage resource that refer to its natural purpose or intended to it.
• SETTING
- The immediate and extended environment that is part of, contributes to, its significance and
distinctive character.
• CONTEXT
- An attribute of a heritage resource that refers to the wider framework within which the values
of a place should be considered.
• CONSERVATION
- All the processes of looking after a heritage resource so as to sustain its values and its cultural
significance.
• PRESERVATION
- A process of maintaining the existing state of the heritage resource to retard deterioration and
prolong its existence.
• MAINTENANCE
- A continuous process of caring for heritage resource to retard its deterioration.
• REPAIR
- A process of putting together what is torn broken or replacing any part to keep the heritage
resource in good condition.
• RESTORATION
- A form of repair that returns a heritage resource to a previously known state, done without the
introduction of new materials to the existing fabric.
• REINSTATEMENT
- A form of restoration that refers to the returning of a component of a heritage resource to its
former condition or position.
• RECONSTRUCTION
- A form of repair that refers to the accurate rebuilding of a vanished or irreversibly deteriorated
heritage resource from a known earlier state and with the introduction of new materials.
• REPLACEMENT
- A form of reconstruction that refers to the substitution of a new material, preferably using an
equivalent material, to a damaged, depleted, deteriorated, or lost components of a formerly
known state of a heritage resource.
• RENOVATION
- A process of repair to increase the value, utility, and/or improve the aesthetic quality of a heritage
resource.
• CONSOLIDATION
- A process of renovation to secure or strengthen a building or structure by combining material,
use, form, size, or shape.
• RETROFITTING
- A drastic from of repair that entails furnishing the heritage resource with new or modified parts
or equipment not available or considered necessary at the same time of its creation. May involve
adding new materials, like mechanical, plumbing, fire safety or electrical equipment or other
elements and components often to meet the current code.
• CHANGE
- A process of drastic alteration or transformation of the material and/or form of a heritage
resource to make it radically different form the original.
• REFURBISHMENT
- A process of change that involves upgrading the material and/or form of a heritage resource,
often primarily for aesthetic purposes. May involve installing new equipment, fixtures, furnishings
ad finishes.
• REDEVELOPMENT
- A process of drastically changing the material and/or form of a heritage resource, in effect
renewing a heritage resource often without much regard to it heritage values.
• REPRODUCTION
- The process of copying to make a representation, counterpart, image, or copy of an original work.
It can be same form of material and size (replica), or same form but different size and material, or
same form and material but of different size.
• REPLICA
- Exact copy of an original work in all details that is same material, size, and form.
• REHABILITATION
- Modification of resource to meet various functional requirements such as safety, property
protection and access while preserving the historic character of the structure.
• ORIGINAL USE
- Refers to the initial intended function of a heritage resource.
• COMPATIBLE USE
- Being consistent to the original intended function of an existing heritage resource. It is a use that
involves no or minimal on the nature, fabric, and values of a heritage resource.
• ADAPTIVE RE-USE
- A new or modified function of an existing heritage resource achieved after making it fit through
modification or extensive modification.
• HISTORICAL MARKERS
- Historical markers are installed by the National Historical Commission of the Philippines (NHCP)
in the Philippines and places abroad that signify important events, persons, structures, and
institutions in Philippine national and local histories.
• HERITAGE SITES
- A historical site, a building, or an area of the unspoilt natural environment, considered to be
important to a country or area's heritage