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8/14/2019 DINALUPIHAN RESTORATION OF ST.JOHN THE BAPTIST HURCH
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SUBMITTED BY:
SAMSON,KATHLEEN CELINE D.
DIAZ, RODOLF D.
RODRIGUEZ, LYNELD IVAN M.
BS ARCHITECTURE 4B
SUBMITTED TO:
ARCHITECT JESUSA ROBLES
ARCHIRECTURAL DESIGN 413
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RESTORATION OF ST. JOHN THE BAPTIST CHURCH
: Old photos of St. John the BaptistChurch
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:Old Photos of St. John the Baptist Church
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I: INTRODUCTION
ABSTRACT
The research paper present concepts, methods and details adopted for the
restoration of Saint John the Baptist church in Dinalupihan, Bataan. The church
has minor structural problems which are able to fix other part of the church such
as appropriate specifications for plasters, waterproofing materials, structural
solution also use of original materials, as far as possible. The replacing of theother material to a new materials and stitches for specific repairs like about the
gutter, canopy, roof and other minor part are some adjustment in some part of
the church. Materials and features from the restoration period are identified,
and features from the restoration period will be maintained, protected, repaired
and replaced, if necessary. The historic buildings appearance may be defined by
the form and detailing of its exterior materials, such as masonry, wood, and
metal; exterior features, such as roofs, porches, and windows; interior materials,
such as plaster and paint; and interior features, such as mouldings and
stairways, room configuration and spatial relationships. As opposed to other
treatments; missing features from the restoration period may be replaced, based
on documentary and physical evidence, using traditional materials or compatible
substitute materials. The final guidance emphasizes that only those designs that
can be documented as having been built should be re-created in a restoration
project. Identify, retain, and preserve materials and features from the restoration
period the guidance for the treatment restoration begins with recommendations
to identify the form and detailing of those existing architectural materials and
features that are significant to the restoration period as established by historical
research and documentation.
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-
-
-
: Present condition
of St. John the Baptist Parish
:Front Elevation
:Main Entrance
: Side Elevation
:Rear Elevation
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: OLD INTERIOR OF ST. JOHN THE BAPTIST CHURCH
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: PRESENT INTERIOR OF ST. JOHN THE BAPTIST CHURCH
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II. ARCHITECTURAL DETAILS
Church: ST. JOHN THE BAPTIST CHURCH
Location: RIZAL ST., POBLACION, DINALUPIHAN, BATAANArchitectural Style: MODERN ARCHITECTURE
Modern architecture is generally characterized by simplification of
form and an absence of applied decoration. It is a term applied to an overarching
movement, with its exact definition and scope varying widely.
Architectural Characters:
- simplicity and clarity of forms and elimination of "unnecessary detail"
- visual expression of structure (as opposed to the hiding of structural
elements)
- Emphasis on function
- Walls: contrasting materials and textures, or smooth, blank walls
- Windows: "special" windows, such as ribbon, picture, or awning windows;
usually a marked use of large expanses of glass on one section of the
structure, most often the rear, with small windows, if any, on other sections of
the church
- Landscape Integration: sliding glass doors, patios and outdoor living spaces,
large expanses of glass, courtyards, horizontal orientation and integration of
natural landscape features into design, use of natural materials
- Form: horizontal with simple, clean lines, form following function, exposed
structure, asymmetry, de-emphasis or lack of articulation at main entrance,
and lack of ornamentation.
- Modernist architecture emphasizes function. It attempts to provide for specific
needs rather than imitate nature.
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St. John the Baptist Parish was formerly constructed on November 11,
1913, designed by Architect Luis S. Manansala Jr...
It was reconstructed on June
30, 1985 under the Msgr.
Bruno Torpigliani,DJCD,D.D.
Presently, it was restored on
the early days of 2013.
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III. HISTORICAL BACKGROUND
When the Spaniards arrived, Dinalupihan was a sitio of the community
of Llana Hermosa, which was in turn a town of Pampanga. Pampanga thenwas an encomienda. Dinalupihan became one of the vast properties of the
Archdiocese of Manila. As early as 1756, the former priests of Hermosa had
urged the people to make voluntary contributions of land to the Archdiocese.
Parcels of Dinalupihan became the favorite donation. In time, the Diocese
was able to accumulate vast tracks of land which became known as Diocesan
Estate which later on was known as Dinalupihan Estate.
The Dinalupihan Estate was a vast land covering the Tucop-
Pagalanggang agricultural area. It was the product of labor and perseverance
of the original settlers who had cleared and worked on the land. Before they
knew it, the archbishop had already obtained a grant from the Spaniards
government making the church as the owner of the estate.
Between 1817-1819, the Archbishop of Manila, Juan Antonio Zulaibar,
attempted to make money out of the vast area. He ordered the conversion of
the Dinalupihan Estate into a hacienda. He solicited funds from affluent
Manila based Spaniards and spent P 15,000.00 for the development of the
area into both sugar and rice fields. For the first three years, he sent 2,424
cavans of palay for seedlings and food for the farm managers or inquilinos.
Naturally, Archbishop Zulaibar expected big profits from the venture which he
intended to use to support the San Carlos Seminary, an archdiocesan facility.
Unfortunately, the operation of the hacienda was a failure. The fields
continued producing stunted plants. The appointed estate managers insisted
that it resulted from insect menace and regular flooding. It turned out,
however, that the managers were simply not entering into the books all the
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rentals that they were collecting from the workers. After three years, the
Archbishop closed the hacienda and opened another ranch somewhere else.
Sometime in 1820, or immediately after Manila Archbishop Juan Antonio
Zulaibar stopped the operation of Dinalupihan Hacienda, Dinalupihan is
believed to have been established as an informal pueblo (town).
Don Pedro Fermn Bernal, a secular priest from Lubao as the first
recorded Filipino missionary assigned in Dinalupihan. He was the pioneer
parish priest of Dinalupihan from 1839-1842. Don Pedro was assigned in
Dinalupihan to take care of spiritual needs of the early settlers in the area who
spent many years working in the sugarcane fields of Tucop and
Pagalanggang which were owned by the Archbishop of Manila. Starting from
scratch, Don Pedro immediately built the first visita (chapel) of St. John the
Baptist in its present site in 1839. It was the time when only town roads were
in actual use in Dinalupihan. These were the Burgos and the Zamora Streets
where the former Hacienda workers actually settled down while working in the
sugarcane fields.
Don Pedro Bernal stayed in Dinalupihan for three years and was
replaced by another secular priest, Don Bernardo Marcelo, in 1842. The third
secular priest was Don Mariano Miranda. The latter stayed in Dinalupihan
from 1847 until 1857, eight years before the former barangay of Hermosa
finally became a regular town.
Don Victoriano Chevarria, another secular parish priest, replaced Don
Miranda until 1875. The seculars continued to minister the parish until after
1898.
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A List of succeeding parish priest of Dinalupihan:
1875 - Don Bonifacio Socco
1885 - Don Bonifacio Icasiano
1890 - Don Bonifacio Socco
1893 - Don Domingo T. Anonuevo
1896 - Don Mariano Sarili
1897 - Don Francisco Ortiz
1898 - Don Mariano Almeyda
During the American and Japanese Occupations, the Church of St.
John the Baptist was under the ministration of the Parish Priest of the Church
of Llana Hermosa, which is under the Archdiocese of San Fernando,
Pampanga.
A List of succeeding parish priest of Dinalupihan:
1942Fr. Eduardo Cabangis
1943Msgr. Ricardo Esguerra
1957Fr. Vicente Alarcon
1957 - Fr. Florentino Guiao
1988Msgr. Wilfredo Fabros
1994Msgr. Josue Enero
2002Msgr. Edilfredo Cruz
2008Fr. Froilan Miguel
2010Fr. Maximo Villanueva
2011Fr. Rene De Leon
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IV. RESTORATION
A. Definition of Restoration
Restoration is defined as the act or process of accurately depicting
the form, features, and character of a property as it appeared at a particular
period of time by means of the removal of features from other periods in its
history and reconstruction of missing features from the restoration period. The
limited and sensitive upgrading of mechanical, electrical, and plumbing systems
and other code-required work to make properties functional is appropriate within
a restoration project. Building restoration describes a particular treatmentapproach and philosophy within the field of architectural conservation.
ARCHITECTURAL CONSERVATION
Architectural conservationdescribes the process through which the
material, historical, and design integrity of humanity's built heritage are prolonged
through carefully planned interventions. The individual engaged in this pursuit is
known as an architectural conservator. Decisions of when and how to engage in
an intervention are critical to the ultimate conservation of the immovable object.
Ultimately, the decision is value based: a combination of artistic, contextual, and
informational values is normally considered. In some cases, a decision to not
intervene may be the most appropriate choice.
Architectural conservation deals with issues of prolonging the life
and integrity of architectural character and integrity, such as form and style,
and/or its constituent materials, such as stone, brick, glass, metal, and wood. In
this sense, the term refers to the "professional use of a combination of science,
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art, craft, and technology as a preservation tool" and is allied with - and often
equated to - its parent fields, of historic environment conservation and art
conservation.
B. TREATMENT APPROACHES TO ARCHITECTURAL CONSERVATION:
Preservation, "places a high premium on the retention of all historic fabric
through conservation, maintenance and repair. It reflects a building's
continuum over time, through successive occupancies, and the respectful
changes and alterations that are made."
Rehabilitation"emphasizes the retention and repair of historic materials,
but more latitude is provided for replacement because it is assumed the
property is more deteriorated prior to work. (Both Preservation and
Rehabilitation standards focus attention on the preservation of those
materials, feature, finishes, spaces, and spatial relationships that,
together, give a property its historic character."
Restoration "focuses on the retention of materials from the most
significant time in a property's history, while permitting the removal of
materials from other periods.Restoration is defined as the act or processof accurately depicting the form, features, and character of a property as it
appeared at a particular period of time by means of the removal of
features from other periods in its history and reconstruction of missing
features from the restoration period. The limited and sensitive upgrading
of mechanical, electrical, and plumbing systems and other code-required
work to make properties functional is appropriate within a restoration
project.
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V. GUIDELINES IN RESTORATION OF THE CHURCH
A. Used as Reflection of Propertys Restoration Period
St. John the Baptist Parish will be utilized as it was historically use
which reflects the property's restoration period as the Mother Parish of the town
of Dinalupihan. This is under the Diocese of Balanga, Bataan. It was under the
ecclesiastical authority of Most Rev. Ruperto Santos, D.D., Bishop of Balanga.
Previously, the whole town of Dinalupihan was ecclesiastically under the Parish
Church of St. John the Baptist. The Parish celebrates its Feast Day every June
24; in honour of St. John the Baptist. The Parish also considers the Blessed
Virgin Mary as their Patroness. Presently, St. John the Baptist Parish covers the
18 Poblacion Barangays of the town of Dinalupihan.
B. Retention and Preservation of Materials and Features from Restoration
Period
Materials and features from the restoration period will be retained and
preserved. The removal of materials or alteration of features, spaces, and spatial
relationships that characterize the period will not be undertaken. The historic
character of a property will be retained and preserved. The replacement of intact
or repairable historic materials or alteration of features, spaces, and spatial
relationships that characterize a property will be avoided. Distinctive materials,features, finishes, and construction techniques or examples of craftsmanship that
characterize a property will be preserved.
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Materials used in St. John the
Baptist Parish:
a.) Spanish Style Ceramic Roof Tiles
The recent roof covering of the church
used red galvanized iron roof tile as
mirrored from the original ceramic tile of
the church. The used G.I. roof tile will be
replaced with Spanish Style Ceramic Roof Tiles to preserve the original
manifestation of the church.
RESTORE METHODOLOGY:
Identifying, retaining, and preserving roofsand their functional and decorative
featuresthat are important in defining the overall historic character of the
church. This includes the roofs shape, decorative features; and roofing material
the clay tile as well as its size, colour, and patterning. Stabilizing the deteriorated
or damaged roofs as a preliminary measure, when necessary, prior to
undertaking appropriate preservation work. Protecting and maintaining a roof bycleaning the gutters and downspouts and replacing deteriorated flashing. Roof
sheathing should also be checked for proper venting to prevent moisture
condensation and water penetration; and to insure that materials are free from
insect infestation. Providing adequate anchorage for roofing material to guard
against wind damage and moisture penetration. Protecting a leaking roof with
plywood and building paper until it can be properly repaired. Repairing a roof by
reinforcing the historic materials which comprise roof features using recognized
preservation methods. The new work should be unobtrusively dated to guide
future research and treatment. Replacing in kind extensively deteriorated ormissing parts of roof features or roof coverings when there are surviving
prototypes the new work should match the old in material, design, colour, and
texture; and be unobtrusively dated to guide future research and treatment.
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b.) Stained glass window
The stained glass is coloured glass
used as a material or to works created from it.
Throughout its thousand-year history, the term has
been applied almost exclusively to the windows of
churches and other significant buildings.
RESTORE METHODOLOGY:
Stained glass used in the
window of the church to show the religious
images like the station of the cross and
religious symbols. These windows provide
natural lighting in the church as well as
aesthetic material. As the natural light pass
through the glass window, the created
figures and images in the stained glass glow and shine that makes the interior
more scenic and exquisite to the viewers.
The stained glass will be cleansed and polished to
maintain its natural pigmentation. Shuttered and mislaid pieces
of glass will be superceding
with new glass having the
same property and quality of
the antiquated glass. The outerface of the window will have
maintenance cleaning to
preserve the historical quality
of the church.
: ALTAR WINDOW
: STAINED GLASS WINDOW
: ALTAR WINDOWS
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c.) Marble finishes wall and flooring
The church used a combination of pure white marble
in the walls, floors and holy water font or stoup, and
red marble in the flooring which results to a
magnificent effect in the interior creating a more scenic
view.
RESTORE
METHODOLOGY:
The marble floorings and wallings will be cleansed
using a power wash with a high pressure compressor
to extremely clean the material. Stains will be
eradicated using chemical formula that will not alter the
physical properties and quality of the marble. Cracked
fragments will be repair and replace with comparable
features to maintain the antiquity of the church. Stabilizing deteriorated or damaged interior features
and finishes as a preliminary measure, when
necessary, prior to undertaking appropriate
preservation work. Protecting and maintaining marble
that comprise interior features through appropriate
surface treatments such as cleaning, stain removal,
limited paint removal, and reapplication of protective
coating systems.
: HOLYWATER FONT OR STOUP
: SESSION HALL FLOORING
: COLUMN FACADE
: AISLE FLOORING
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d.) Wall cladding
Cladding is the application of
one material over another to provide a
skin or layer intended to control the
infiltration of weather elements, or for
aesthetic purposes. Cladding does not
necessarily have to provide a waterproof
condition but is instead a control element.
This control element may only serve to
safely direct water or wind in order to
control run-off and prevent infiltration into
the building structure. Cladding applied to
windows is often referred to as window
capping and is a very specialized field.
Masonry is the type of wall
cladding used in St. John the Baptist
Church, which involves the application of
carved stone or brick to the facade of the
church. Stone as a cladding material is
typically very durable, though depending
on the particular design, it may not be as
waterproof as other types of cladding.
Certain types of stone cladding may allow
water to penetrate to the underlying woodsurface, which can allow it to rot if left
unattended.
: ALTAR WALL
: FACADE WALL
: STUCCO AND BRICK SIDE WALL
: FACADE WALL CLADDING
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RESTORE METHODOLOGY:
Bricks, stone and adobe wall cladding in
the exterior and decorative brick stone and marble
wall cladding in the interior are used in the walls of
the St. John the Baptist church. Stabilizingdeteriorated or damaged masonry as a
preliminary measure, when necessary, prior to
undertaking appropriate preservation work.
Protecting and maintaining masonry by providing
proper drainage so that water does not stand on
flat, horizontal surfaces or accumulate in
curved decorative features. Cleaning
masonry only when necessary to halt
deterioration or remove heavy soiling.
The upgrade will involve a general
cleaning of the faade and every wall in
the interior and exterior using a power
wash with a high pressure compressor in
all the brick work and wall cladding in
these areas. The exterior of the wall especially the rear elevation which is a
session hall for prayers before will be cleaned and concealed in order to be used
again. The finished application will be invisible, the original appearance and
breathability of the cladding will be maintained. Repairing masonry walls andother masonry features by repointing the mortar joints where there is evidence of
deterioration such as disintegrating mortar, cracks in mortar joints, loose bricks,
damp walls, or damaged plasterwork.Repairing masonry features by patching,
piecing-in, or otherwise reinforcing the masonry using recognized preservation
methods. The new work should be unobtrusively dated to guide future research
and treatment. Applying new or non-historic surface treatments such as water-
repellent coatings to masonry only after repointing and only if masonry repairs
have failed to arrest water penetration problems.
: GATE ADOBE COLUMN
: REAR STONE WALL CLADDING
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e.) Wood ceilings, altar and detailed works
The church used plank wood panels in the altar
ceiling, mahogany solid wood in the altar,wall
panels,and confession area, and large ply wood
for the church ceiling. Some of these areas have
deteriorated wood part. The ceiling near the bell
tower have water leakage that made the ceiling
ruined due to the rain water that passes through
the roof. Other wood works needs maintenance in
cleaning to preserve the natural appearance of
the wood.
RESTORE METHODOLOGY:
Identifying, retaining, and preserving wood
features that are important in defining the
overall historic character of the building such
as siding, ceilings, cornices, brackets,
window architraves, and doorway
pediments; and their paints, finishes,
and colors. Stabilizing deteriorated or
damaged wood as a preliminary
measure, when necessary, prior to
undertaking appropriate preservation
work. Protecting and maintaining
wood features by providing proper
drainage so that water is not allowed to stand on flat,
horizontal surfaces or accumulate in decorative
features. Applying chemical preservatives to wood
: ALTAR DECORATED WOODEN COLUMN
: ALTAR WOODEN CEILING
: ALTAR WOOD ORNAMENTS
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features such as beam ends or outriggers that are
exposed to decay hazards and are traditionally
unpainted. Retaining coatings such as paint that
help protect the wood from moisture and ultraviolet
light. Paint removal should be considered only
where there is paint surface deterioration and as
part of an overall maintenance program which
involves repainting or applying other appropriate
protective coatings. Inspecting painted wood
surfaces to determine whether repainting is
necessary or if cleaning is all that is required.
Removing damaged or deteriorated paint to the
next sound layer using the gentlest method
possible (handscraping and handsanding), then repainting.Applying compatiblepaint coating systems following proper surface preparation. Repainting withcolors that are appropriate to the historic building and district. Evaluating the
existing condition of the wood to determine whether more than protection and
maintenance are required, is, if repairs to wood features will be necessary.
Repairing, stabilizing, and conserving fragile wood using well-tested
consolidants, when appropriate. Repairs should be physically and visually
compatible and identifiable upon close inspection
for future research. Repairing wood features by
patching, piecing-in, or otherwise reinforcing the
wood using recognized preservation methods.
The new work should be unobtrusively dated to
guide future research and treatment.
: CONFESSION ROOM
: DETERIORATED CEILING
: DECORATIVE ALTAR DECORATION
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f.) Architectural Metals
(Cast iron, steel, pressed tin, copper,
aluminium, and zinc)
St. John the Baptist church used
architectural metals in the church details. In the
main entrance gate and main entrance porch of
the church, architectural details as the metal
gates and decorations can be seen in the entry
way. The old church bell is located in the western
front of the church. Other architectural metals are
the historical plate of the church, gate
decorations, chandelier, wall lightings, and stairs
to the bell tower, prayer templates, door swings
and windows. Some of these features are old
and deteriorated which needs to be repair and
restore the quality of the materials, especially the
stairs to the bell tower, which needs a wide
renovation in order to be operating again.
RESTORE METHODOLOGY:
Identifying, retaining, and preserving
architectural metal features such as, window
hoods, or stairways that are important in defining
the overall historic character of the building; and
their finishes and colours. Identification is also
critical to differentiate between metals prior to
work. Each metal has unique properties and thus
requires different treatments. Stabilizing
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deteriorated or damaged architectural metals as a
preliminary measure, when necessary, prior to
undertaking appropriate preservation work.
Protecting and maintaining architectural metals
from corrosion by providing proper drainage so
that water does not stand on flat, horizontal
surfaces or accumulate in curved, decorative
features. Cleaning architectural metals, when
appropriate, to remove corrosion prior to
repainting or applying other appropriate protective
coatings. Identifying the particular type of metal
prior to any cleaning procedure and then testing to assure
that the gentlest cleaning method possible is selected or
determining that cleaning is inappropriate for the
particular metal. Repairing, stabilizing, and conserving
fragile architectural metals using well-tested consolidants,
when appropriate. Repairs should be physically and
visually compatible and identifiable upon close inspection
for future research. Repairing architectural metal features
by patching, piecing-in, or otherwise reinforcing the metal
using recognized preservation methods. The new work
should be unobtrusively dated to guide future research
and treatment.
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: DOOR GRILLED GATES
: BELL TOWER STAIRCASE
: ENTRANCE GATE
: SIDE GATE
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C. Preservation of distinctive materials, features, finishes, and construction
techniques or examples of craftsmanship that characterize the restoration
period
Windows, doors, materials and other architectural features make a considerable
contribution to the overall quality of buildings and these must be respected when
contemplating any alteration or extension. Traditional details found on the original
building should be carefully restored rather than replaced, and such details
should be incorporated into any extension
Architectural Characters and Features of St. John the Baptist Church:
a.) Architectural Mouldings
Mouldingis decorative strip either
a strip of wood or another material used to
decorate or finish a surface of a wall or a
piece of furniture which is something made
or produced in mould. Moulding is a member
of construction or decoration so treated as tointroduced varieties of outline or contour in
edges, or surfaces, whether on projections
or cavities, as on cornices, capitals, bases door and window jambs and
heads. Decorative mouldings are used in door jamb and altar of St. John
Church. The door jamb was decorated with egg and dart moulding which is
also called as Egg-and-tongue is an ornamental device often carved in wood,
stone, or plaster quarter-round ovolo mouldings, consisting of an egg-shaped
object alternating with an element shaped like an
arrow, anchor or dart. Different kinds of
architectural mouldings are used in the altar and
in the faade of the church.
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: JESUS SHRINE MOULDINGS
: PARAPET CORNICES
: CANOPY MOULDING AND CORNICE
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b.) Architectural cornices
Cornice is any moulded
projection which crowns or finishes
the part to which it is fixed. It is an
ornamental moulding usually wood
or plaster, running round the walls of
a room just below the ceiling. These
cornices are used in the ceiling and
below the ceiling of the church.
Cornices were also used in the
decorations of the altar which is
made up of wood, varnished with
mahogany red colour pigment and
golden paint.
: CEILING CORNICES
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c.) Doors and Windows
Windows and doorsare some of the most important features of the
church. Even small alterations can have a huge impact on the buildings overall
appearance. Where the original windows exist, they should be repaired rather
than replaced. It is often cheaper to employ a specialist craftsman to overhaul the
existing rather than insert new ones. Where replacement is unavoidable,
accurate reproductions of the original are essential.
New windows should be fixed in the same position as
the original, recessed from the face of the building. The
windows used stained glass creating images which
contribute to the religious value of the church. The door
used door grill to provide natural ventilation in the
church. The main door used sliding door solid wood
curved with the Ten Commandments of God which is
hidden inside the wall of the church. The window in the
bell tower used clay window to provide natural lighting
and ventilation inside the tower.
: ALTAR CLERESTORY WINDOW
: SLIDING PANEL DOOR
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Protecting and maintaining the
architectural metals which comprise
the window frame, sash, muntins, and
surrounds through appropriate surface
treatments such as cleaning, rust removal, limited paint removal, and re-
application of protective coating systems.
: GRILLED ENTRANCE DOOR
: BELL TOWER SCREEN BLOCK WINDOW
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e.) Stucco Wall
Stucco or render is a material made of an aggregate, a binder, and
water. Stucco is applied wet and hardens to a very dense solid. It is used as
decorative coating for exterior walls of the church as an artistic material in
architecture. Stucco may be used to cover other construction materials such as
concrete, cinder block, clay brick, adobe, or wood.
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f.) Coffered and
Suspended ceiling
A coffer (or
coffering) in architecture,
is a sunken panel in the
shape of a square,
rectangle, or octagon in a
ceiling, soffit or vault. A
series of these sunken
panels were used as
decoration for a ceiling or a vault, also called caissons ('boxes"), or lacunaria
("spaces, openings"),so that a coffered ceiling can be called a lacunar ceiling: the
strength of the structure is in the framework of the coffers. Square coffered
ceiling was used in the ceiling of St. John Church.
A dropped or suspended ceiling is often a secondary ceiling, hung
below the main (structural) ceiling. It may also be referred to as a drop ceiling, T-
bar ceiling, false ceiling, or suspended ceiling, and is a staple of modern
construction and
architecture. The
area above the
dropped ceiling is
called the plenum
space, as birds and
bats are stayingduring the mass in
the church.
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g.) Painted Altar Ceiling
One of the most magnificent features of St. John the Baptist Church
was the ceiling painting above the altar. The painting was the Holy family when
Jesus Christ was still a baby with angels flying in the background. The Holy
Family consists of the Child Jesus, the Virgin Mary, and Saint Joseph. The Feast
of the Holy Family is a liturgical celebration in the Roman Catholic Church in
honour of Jesus of Nazareth, his mother, the Blessed Virgin Mary, and his foster
father, Saint Joseph, as a family.
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h.) The Altar
Altar is an elevated
table, slab or structure often of
stone, rectangular or oval, for
religious rites or offerings. St.
Johns altar was made up of
magnificent solid mahogany
wood polished and varnished,
and painted with golden pigment
in some decorative details of the
altar. The details of the altar
were classical style which uses
capitals, columns, and
architectural mouldings and
cornices making it as the central
attraction of the church.
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i.) Bell Tower
A bell tower is a tower which contains one or more
bells, or which is designed to hold bells. The Italian term
campanile (/kmpnili/; Italian pronunciation:
[kampanile]), deriving from the word 'campana' meaning
bell, is synonymous with 'bell tower'. A bell tower may also
be called a belfry, though this term may also refer to the
substructure which houses the bells rather than the tower
as a whole.
Old bell towers may be kept for their historic or iconic
value, though in countries with a strong campanological
tradition they often continue to serve their original purposesas well.
j.)Canopy
A canopy is an overhead roof or else a
structure over which a fabric or metal covering is
attached, able to provide shade or shelter. A
canopy can also be a tent, generally without a
floor. Architectural canopies include projections
giving protection from the weather, or merely
decoration. Such canopies are supported by the
building to which they are attached and often alsoby a ground mounting provided by not less than
two stanchions, or upright support posts.
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k.) Parapet
A parapet is a barrier which is an extension of the wall at the edge of a roof,
terrace, balcony, or other structure. Where extending above a roof, it may simplybe the portion of an exterior wall that continues above the line of the roof surface,
or may be a continuation of a vertical feature beneath the roof such as a fire wall
or party wall. Parapets were originally used to defend buildings from military
attack, but today they are primarily used as guard rails and to prevent the spread
of fires.
l.) Bas Relief
Relief, or relievo rilievo, is a sculptural
technique. The term relief is from the
Latin verb relevo, to raise. To create a
sculpture in relief is to give the
impression that the sculpted material
has been raised above the background
plane. What is actually performed when
a relief is cut in from a flat surface of
stone or wood is a lowering of the field,leaving the unsculpted parts seemingly
raised. The technique involves
considerable chiselling away of the
background, which is a time-consuming
exercise with little artistic effect if the
lowered background is left plain, as is often the case. On the other hand, a relief
saves forming the rear of a subject, and is less fragile and more securely fixed
than a sculpture in the round, especially one of a standing figure where the
ankles are a potential weak point, especially in stone. In other materials such as
metal, clay, plaster stucco, ceramics or papier-mch the form can be just added
to or raised up from the background, and monumental bronze reliefs are made by
casting. The bass relief was located in the rear wall in the church showing the
station of the cross. This area was hidden garden of arts where visitors are
prohibited to enter due to the development undertaken in the church.
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m.) Classical Chandelier
A chandelier is a decorative ceiling-
mounted light fixture. Chandeliers are oftenornate, and normally use lamps. Crystal
Chandeliers has more or less complex arrays of
crystal prisms to illuminate a room with refracted
light.
n.) Awning Window
Awning windows are hinged
at the top and open outward. Usually
wider than they are tall, their entire
sash opens to provide full side-to-side
ventilation.
An awning window is a casement window that is hung horizontally,
hinged on top, so that it swings outward like an awning.
o.) Screen Wall Blocks
A unique product separates and
defines space and creates openness like no
other. This decorative, yet functional block
provides excellent protection against the
sun's heat and action from glare, at the
same time allowing welcoming breezes to
pass through. This wall block was used as
window in the bell tower of the church which
provide natural and ventilation inside.
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RESTORE METHODOLOGY:
Materials, features, spaces, and finishes that characterize other
historical periods of St. John Church will be documented prior to their alteration
or removal. Deteriorated features from the restoration period will be repaired
rather than replaced. Where the severity of deterioration requires replacement of
a distinctive feature, the new feature will match the old in design, colour, texture,
and, where possible, materials.
Replacement of missing features from the restoration period will besubstantiated by documentary and physical evidence. A false sense of history
will not be created by adding conjectural features, features from other properties,
or by combining features that never existed together historically.
Chemical or physical treatments, if appropriate, will be undertaken
using the gentlest means possible. Treatments that cause damage to historic
materials will not be used. Designs that were never executed historically will not
be constructed.
Each property will be recognized as a physical record of its time, place,
and use. Work needed to stabilize, consolidate and conserve materials and
features from the restoration period will be physically and visually compatible,
identifiable upon close inspection, and properly documented for future research.
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D. Archaeological resources affected by a project will be protected and
preserved in place. If such resources must be disturbed, mitigation
measures will be undertaken.
The demolition, extension or insensitive alteration of these buildings
could result in the loss of areas special character and this should be remembered
when considering any works.
Statues and Bass
Reliefs
One of the distinct
features of St. John the Baptist
Church was the bass reliefs in the
rear area of the church, statues
and shrines. This area was a
garden with bass reliefs
comprising of the station of Jesus
in the Cross. This magnificent
creation was hidden due to the
alteration done in the church. The
session hall in the rear of the
church became storage because
of the orientation of the area which was no longer able to use. The cave like
appearance of the session hall was a distinct feature like a hidden paradise in theback of the church. Restoration of the area will be a satisfactory for everyone
who will visit the church. Sculptures inside and outside the church enhance the
religious factor of the church.
: ANGEL STATUE
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: SAVE THE UNBORN SHRINE : JESUS SHRINE
: LAST SUPPER BASS RELIEF
: VIRGIN MARY SHRINE: RELIGIOUS STATUES
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: JESUS STATUE
: STONE TABLE
: JESUS AT THE GETHSEMANE
: HIDDEN PARADISE
: BASS RELIEF
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RESTORE METHODOLOGY:
Protect and maintain materials and features from the restoration period
after identifying those existing materials and features from the restoration period
that must be retained in the process of Restoration work, then protecting and
maintaining them is addressed. Protection generally involves the least degree of
intervention and is preparatory to other work. Protection includes the
maintenance of historic material through treatments such as rust removal,
caulking, limited paint removal, and re-application of protective coatings; the
cyclical cleaning of roof gutter systems; and other temporary protective measures
in St. John Church.
Restoration guidance focuses upon the preservation of those materials
and features that are significant to the period. Consequently, guidance for
repairing a historic material, such as masonry, again begins with the least degree
of intervention possible, such as strengthening fragile materials through
consolidation, when appropriate, and repointing with mortar of an appropriate
strength. Repairing masonry as well as wood and architectural metals includes
patching, splicing, or otherwise reinforcing them is using recognized preservation
methods. Similarly, portions of a historic structural system could be reinforced
using contemporary material such as steel rods.
In Restoration, repair may also include the limited replacement in
kindor with compatible substitute materialof extensively deteriorated or
missing parts of existing features when there are surviving prototypes to use as a
model. Examples could include stucco wall , wood works, or bass relief massing.
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VI. MINOR PROBLEMS AND THEIR RESTORE METHODOLOGY:
a.) Bell Tower
The stairway case condition was ruined,
worsen, and functionless due to the steeldeterioration and have unstable condition. Some
of its treads and runs are dangerous to escalate,
and almost the whole steel stair was ruined by
the rust. The covering at the top of the bell tower
has a ravage area causing the water to leak
inside the bell tower. The maintenance of the
tower was not retaining due to thick dungs and
waste of birds and bats on the flooring and steps
of the stair. The painted Walls in the bell tower
faded.
RESTORE METHODOLOGY:
Retaining and preserving architectural metal features particularly
stairways are important in defining the overall historic character of the church and
their finishes and colours. Stabilizing the deteriorated or damaged architectural
metals as a preliminary measure, when necessary, prior to undertaking
appropriate preservation work. Protecting and maintaining architectural metals
from corrosion by providing proper drainage so that water does not stand on flat,
horizontal surfaces or accumulate in curved, decorative features. Cleaningarchitectural metals, when appropriate, to remove corrosion prior to repainting or
applying other appropriate protective coatings. Replacement of new staircase
can be a possible solution to make the bell tower functionable.
b.) Drainage System (Gutter, downspouts,
flashing and canopy)
Some of the old gutters and downspouts of thechurch were wrecked and removed by time, which
causes rain water to flow inside and outside the
church. The fascia board around the roof and the
exterior ceiling were being shattered due to the water
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leakage and has to be repair due to the
deterioration of the materials.
Canopy
The gutters and downspouts of the canopy
were also dislocated that causes water-leaks at the
main entrance of the church.
RESTORE METHODOLOGY:
Replacement of new gutters and downspouts below the roof and the
canopy will be a better solution to prevent the continuous damage in the ceiling
and board in the exterior of the church. A proposal of storm drainage system will
be insinuate to preclude the rain water to flow inside the church during rainy day
seasons. The flushing and gutters between the roof and the wall of the bell tower
shall be repair and replace with new gutter to obstruct the water leakage inside
the church which caused the fragmenting of the ceiling inside the church.
c.) Ceiling
Some portions of the ceiling
were removed and decayed due to
the water leakage from the flashing
and gutter above the ceiling. Some
painted parts of the ceiling have
been faded having a stained from
rotting wood and rust from the roof.
RESTORE METHODOLOGY:
Protecting and maintaining wood features from the ceiling of the church by
providing proper drainage so that water is not allowed to stand on flat, horizontal
surfaces or accumulate in decorative features.Retaining coatings such as paintthat help protect the wood from moisture and ultraviolet light. Paint removal
should be considered only where there is paint surface deterioration and as part
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of an overall maintenance program which involves repainting or applying other
appropriate protective coating. Evaluating the existing condition of the wood todetermine whether more than protection and maintenance are required, that is, if
repairs to wood features from the restoration period will be necessary.
d.) Stained Glass Window
Some of the window frames were
ruined by the rust causing the steel
frames deterioration. Stained glasses
were not unsubstantiated which caused
the decreasing brightness of the
magnificent colour of the stained glass
religious scene in the interior of thechurch when the sunlight passes through
the coloured glass.
RESTORE METHODOLOGY:
Cleaning window frames to eradicate the grime and rust and when
appropriate, to remove corrosion prior to repainting or applying other appropriate
protective coatings. Surrogate the shambled window frames to maintain the
function of the openings. The exterior frontage of stainedglass from exterior area must be scour to sustain the
magnificent quality of the glass.
e.) Derelict and Unexploited rooms
The confession room and the session hall that was
used for private gatherings of parish staff was not retained,
and the other rooms were transformed into storage rooms..
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RESTORE METHODOLOGY:
- The derelict rooms like the prayer, confession and gathering room must be
cleaned and restore the details to retain their use in the church. Recreating
the missing parts and features of the church that existed during the periodretains the historical quality of the structure.
f.) Rear garden (hidden paradise of the church)
The old garden at the back of the church was
left unmaintained and abandoned. The bas relief,
showing the Stations of the Cross up to the Mt.
Calvary were left faded and broken. This magnificent
feature of the church was been neglected due to the
development that exist in the church. The new parish
office and convent block the way in the garden at back
of the church. Reopening the side of the church can
relief the community to apprehend the historical value
of the church.
RESTORE METHODOLOGY:
Using compatible substitute material is an
acceptable alternative in Restoration because, as
emphasized, the goal of this treatment is to replicate
the appearance of the historic building at a particular
time, not to retain and preserve all historic materials as
they have evolved over time. The materials used
in the bass relief must be identified to repair the
broken parts of the sculptures. Reopening of thegarden to the public must be utilized to be
apprehended by the community.
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VII.CONCLUSION FOR RESTORATION PROCESS:
a.) Identify, Retain, and Preserve Materials and Features from the
Restoration Period
- The churchs appearance may be defined by the form and detailing of its
exterior materials, such as masonry, wood, and metal; exterior features, such as
roofs, porches, and windows; interior materials, such as plaster and paint; and
interior features, such as mouldings and stairways, room configuration and
spatial relationships, as well as structural and mechanical systems; and the
buildings site and setting.
b.) Protect and Maintain Materials and Features from the Restoration Period
- Protection generally involves the least degree of intervention and is preparatory
to other work. For example, protection includes the maintenance of historic
material through treatments such as rust removal, caulking, limited paint removal,
and re-application of protective coatings; the cyclical cleaning of roof gutter
systems; or installation of fencing, alarm systems and other temporary protective
measures.
c.) Repair (Stabilize, Consolidate, and Conserve) Materials and Features
from the Restoration Period
- Restoration guidance focuses upon the preservation of those materials and
features that are significant to the period. Consequently, guidance for repairing a
historic material, such as masonry, again begins with the least degree of
intervention possible, such as strengthening fragile materials through
consolidation, when appropriate, and repointing with mortar of an appropriate
strength. Repairing masonry as well as wood and architectural metals includespatching, splicing, or otherwise reinforcing them uses recognized preservation
methods. Similarly, portions of a historic structural system could be reinforced
using contemporary material such as steel rods. In Restoration, repair may also
include the limited replacement in kindor with compatible substitute material
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of extensively deteriorated or missing parts existing features when there are
surviving prototypes to use as a model.
d.) Replace Extensively Deteriorated Features from the Restoration Period
- In Restoration, replacing an entire feature from the restoration period (i.e., a
cornice, balustrade, column, or stairway) that is too deteriorated to repair may be
appropriate. Together with documentary evidence, the form and detailing of the
historic feature should be used as a model for the replacement. Using the same
kind of material is preferred; however, compatible substitute material may be
considered.
e.) Remove Existing Features from Other Historic Periods
- Most buildings represent continuing occupancies and change over time, but in
Restoration, the goal is to depict the building as it appeared at the most
significant time in its history. Thus, work is included to remove or alter existing
historic features that do not represent the restoration period. This could include
features such as windows, entrances and doors, roof dormers, or landscape
features of the church.
f.) Re-Create Missing Features from the Restoration Period
- Restoration of the church involve re-creating features that were significant to
the building at a particular time, but are now missing. Each missing feature
should be substantiated by documentary and physical evidence. Without
sufficient documentation for these re-creations, an accurate depiction cannot be
achieved. Combining features that never existed together historically can also
create a false sense of history. Using traditional materials to depict lost features
is always the preferred approach; however, using compatible substitute material
is an acceptable alternative in Restoration because, as emphasized, the goal of
this treatment is to replicate the appearance of the church at a particular time,