ICP Restoration Documentation

IMMACULATE CONCEPTION PARISH CONSERVATION:
An Investigative Research Through Documentation and Recording

of its Architectural Features and its Impact to the Local Community
Project Leader:
Angellie Faye V. Sale
Researchers:
Diane V. Palamine
Jonnette C. Esteves
March 2018
I. Abstract
Aside from documenting the different phases of restoration of the architectural
elements of Immaculate Conception Parish Church in Jasaan, this study also focuses on the
impact of the restoration to the cultural appreciation of the local community. Furthermore, the
study aims to create an official documentation that will serve as a base record of details in
the restoration of the church.
The data of this study is from the documents of Jasaan Parish Restoration
Development Inc which includes all architectural plans and other documents related to the
restoration.
As a conclusion the researchers found out that the entire procedure of the restoration
is divided into 4 phases with different scope of works from the exterior to the interior of the
Church. Currently the Phase 4, the completion of the ceiling restoration, is still on going. The
researchers also found out the different levels of Cultural appreciation of the classification of
people's association to the church.
Tags:
Baroque Church
Conservation
Cultural appreciation
Heritage Church
Historical documentation
ICOMOS
JPRDCI
National Cultural Treasure
NCCA
Restoration
II. Background and Rationale

Conservation of cultural heritage requires a critical understanding of the significance,
condition, and complexity of a place. Documentation is an essential element in building this
understanding. It is a critical component of the conservation planning process and provides a
long-term foundation for the monitoring, maintenance, and management of a site. Equally
important, good documentation ensures that knowledge of heritage places will be passed on
to future generation ( Eppich, 2007).
In 2001, the National Commission for Culture and the Arts has spearheaded the
conservation of 26 Spanish colonial-era churches in the country, all of which were
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recognized as National Cultural Treasures by the National Museum. The declaration was
made in support of the state policy to preserve and protect important cultural properties and
safeguard their intrinsic value. One of the chosen church was the Immaculate Conception
Church located in Poblacion, Upper Jasaan in Misamis Oriental, Philippines.
The Baroque church was declared by the National Museum as a National Cultural
Treasure in Northern Mindanao due to its artistic design and cultural values. Built in the late
19th to early 20th century by the Jesuits, the church was a provincial attempt to mimic the
famous San Ignacio Church of Intramuros in Manila. (Galende,2007). A number of additions
have been introduced to the church since it was first built. There are some parts of the
church that are in bad condition due to the damaged caused by the elements and careless
attempts of restoration in the late 20th century.
Areas and parts of the church that had structural distress, a structural engineering
design solutions compatible with conservation principles and techniques had to be
introduced to the church .
In pursuant to the National Cultural Heritage Act otherwise known as the "Cultural
Properties Preservation and Protection Act", the church today is undergoing repair and
restoration to maintain and preserve the image and cultural significance of the La
Immaculada Conception Church, not only for Jasaan but for the nation in general.
The Jasaan Parish Restoration and Development Committee Incorporated (JPRDCI)
was organized to oversee the implementation of the project.
Phases of restoration has been completed, however these changes don’t have an
organized record of documentation but as stated in ICOMOS, there should always be
precise documentation in the form of analytical and critical reports, illustrated with drawings
and photographs in all works of preservation, restoration or excavation. This research
focuses on documenting and recording the architectural elements, spaces and features of
the Immaculate Conception Parish in all its restoration phases.
As the church undergoes restoration, it has affected the local community's cultural
appreciation and will served as the second primary concern of this research.
III. Statement of research problem

 How did the restoration of ICP go through?
 What is the level of cultural appreciation of the locals throughout the
restoration?
IV. Objectives of the study

This study primarily aims to create a documentation and recording of the architectural
elements, spaces and features of the Immaculate Conception Parish to create an accurate
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metric archive for the analysis and future needs. Furthermore, this study aims to measure
the cultural appreciation of the locals on the restoration. Specifically, it sought to:
 To create official documentation that may serve as base records of details in
conserving the built heritage of Immaculate Conception Parish
 To create a record of the cultural significance and meaning of the built
heritage through measuring the cultural appreciation of the people
V. Limitations of the study

This study is all about the different phases of restoration of the Immaculate Parish
and its impact to cultural appreciation of the community. The study is more concerned with
the restorations of architectural elements that are only included in the budget and scope of
works proposed by the JPRDC to the NCCA. Historical data is also gathered however, it will
not discuss thoroughly the first original reconstruction during the late 19th and early 20th
century - a construction led by the Jesuits. The existing design and condition of the church
before the start of proper restoration implemented in 2011 is discussed thoroughly to
compare the changes of each of the phases of restoration approved by NCCA.
Furthermore, the cultural appreciation is measured through survey of randomly selected
people only.
VI. Significance of the study

In all works of preservation, restoration or excavation, there should always be precise
documentation in the form of analytical and critical reports, illustrated with drawings and
photographs. Every stage of the work of clearing, consolidation, rearrangement and
integration, as well as technical and formal features identified during the course of the work,
should be included. This record should be placed in the archives of a public institution and
made available to research workers. It is recommended that the report should be published.
(ICOMOS, 1964)
Documentation prior to any conservation and restoration works is essential in
understanding the historic building or site conservation process. It is a process which
continues during the conservation of any monument and is the only accurate tool for
recording information in order to understand the structure, ultimately leading to the
management of cultural heritage.
One of the major aims of this paper is to document and gather data of all the
restoration processes and how it affects the cultural appreciation of people throughout the
restoration of the Immaculate Conception Parish Church.
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VII. Definition of Terms
Aisle - a passage between rows of seats in a building such as church or theater, an

airplane, or a train.
Apse – a large semicircular or polygonal recess in a church, arched or with a domed roof,
typically at the eastern end, and usually containing the altar.
Atelier – a workshop where an artist creates.
Balustrade – an ornamental rail or coping with its supporting set of balusters.
Baptistry – hall or chapel situated close to, or connected with, a church, in which the
sacrament of the baptism is administered.
Baroque – relating to the highly decorated style in buildings, art, and music that was popular
in Europe in the 17th Century and the early part of the 18th Century.
Brick Veneer – a building construction technique in which an external, non-structural, brick
wall conceals a structural wall of another material (such as timber or steel).
Capiz – (or Lampirong) windows. One of the most distinct and beautiful architectural details
of details of old Philippine buildings are the windows made with shell rather than glass.
Chancel – the part of the church near the altar, reserved for the clergy and choir, and
typically separated from the nave by steps or a screen.
Choir Loft – a gallery occupied by church choir.
Conservation - means all the processes of looking after a place so as to retain its cultural
significance.
Cultural Appreciation -
Deterioration – the action and process of becoming impaired or inferior in quality,
functioning or condition.
Documentation – is a set of documents provided on paper, or online, or on digital or analog
media.
Dormer – a roofed structure, often containing a window, that projects vertically beyond the
plane of a pitched roof.
Epistle Side – is a term used to designate the side of a church on which the epistle is read
during the mass or Eucharist.
Façade – the face of a building, especially the principal front that looks onto a street or open
space.
Floor Joist - a horizontal structural member used in framing to span an open space, often
between beams that subsequently transfer loads to vertical members
Fumigation – a method of pest control that completely fills an area with gaseous pesticides.
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Galvanum Sheet – a carbon steel sheet coated with aluminum-zinc alloy by a continuous
hot-dip process
Girders – a large iron or steel beam or compound structure used for building bridges and
the framework of large buildings
Gospel Side – the other side of the church while the gospel is read. Facing the altar from
the nave, it is the left hand side.
Grille Door – an open grating of wrought iron, bronze, wood, etc. forming a screen to a
door, window, or other opening.
Handrail – a rail that is designed to be grasped by the hand so as to provide stability or
support.
Heritage – something that is handed down from the past, as a tradition: a National heritage
of honor, pride, and courage.
Historical Documentation – the process of gathering of original documents that contain
important historical information about the person, phase, or events, and can thus serve as
primary sources
Hollow Blocks – (or precast concrete block) it has hollow cores that can be filled with
concrete onsite for additional reinforcement.
Insignia - are representations of status or office, or of a body of government or jurisdiction.
International Council on Monuments and Sites (ICOMOS) – a professional association
that works for the conservation and protection of cultural heritage places around the world.
Jasaan Parish Restoration Development Committee Incorporated (JPRDCI)
Local Government Unit (LGU) – a part of government closes to the people and is in charge
of delivering basic services and facilities to its constituents.
louvre – each of a set of angled slats or flat strips fixed or hung at regular intervals in a door,
shutter, or screen to allow air or light to pass through.
Molave Wood - one of the hardest local woods, and has a fine texture that makes it smooth
to touch.
Moulding – also known as coving, is a strip of material with various profiles used to cover
transitions between surfaces or for decoration.
National Commission of Culture and the Arts (NCCA) – the official government agency
for culture in the Philippines. It is the overall policy making body, coordinating, and grants
giving agency for preservation, development, and promotion of the Philippine arts and
culture.
National Treasure – an artifact, institution, or public figure regarded as being emblematic of
a nation’s cultural heritage or identity
Niche – a shallow recess especially one in a wall to display a statue or other ornament.
Ornamentation – things added to something to provide decoration
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Pediment – a triangular upper front of a building in a classical style, typically surmounting a
portico of columns.
Pinnacle – relatively small upright structure, commonly terminating in a gable, a pyramid, or
a cone, rising above the roof or coping of a building, or capping of a tower, buttress or other
projecting architectural member
Plaster – a soft mixture of lime with sand or cement or water for spreading on walls, ceilings,
or other structures to form a smooth hard surface when dried.
Postigo – small door, wicket gate.
Preservation – the action or series of actions taken to maintain the fabric of the place, to
include but is not limited to the church edifies itself, its atrium, convent, bell tower, cemetery,
inner courts, ruins, and archeological sites, as well as other exterior and interior parts of the
church complex that contribute to its heritage significance.
Purlins – a horizontal beam along the length of a roof, resting on a main rafter and
supporting to common rafters or boards.
Restoration - means returning the existing fabric of a place to a known earlier state
by removing accretions or by reassembling existing components without the
introduction of new material.
Retablo – a frame or shelf enclosing decorated panels or revered objects above and behind
an altar.
Veneer – a thin decorative covering of fine wood applied to a coarser wood or other
material.
Rubble – waste or rough fragments of stone, brick, concrete, etc., especially as the debris
from the demolition of buildings.
Sacristy – a room in a church where a priest prepares for a service, and where vestments
and other things used in worship are kept.
Spanish Colonial – denoting a style of architecture characteristic of Spanish America .
Stair Stringer – the housing on either side of a flight of stairs, into which the threads and
risers are kept.
Studs – a large-headed piece of metal that pierces and projects from a surface, especially
for decoration.
Swastika – an ancient symbol in the form of equal-armed cross with each arm continued at
a right angle.
Transept – (in a cross-shaped church) either of the two parts forming the arms of the
crossed shape, projecting at right angles from the nave.
Transom – a strengthening cross bar, in particular one set above a window or door.
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Trust Fund Account – a fund comprises of variety of assets intended to provide benefits to
an individual or organization.
Typanum – a vertical recessed triangular space forming the center of a pediment, typically
decorated.
Wall Planks – a long flat rectangular piece of wood.
Wall Studs – are boards that function as framing elements, supporting the walls.
Timber Cladding – known as timber weather board or timber siding, it is an attractive and
economical way to finish the exterior of both old and new buildings.
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VIII. Review of Related Literature
It is easy to see the conservation of monuments, buildings, and sites as a purely
technical exercise. All you need to do is diagnose the problem and identify the remedy.
Unfortunately, heritage sites are not that simple. What makes something ultimately part of
the heritage is not the fact that itis a building or even a ruin; instead, it is the value we place
on it. We may value it because it is old, because of its association with a famous person or
event, because it is beautiful or familiar, or because it tells a story. If it is value that makes
something part of the heritage, then caring for the heritage involves caring for or at least
respecting what makes it valuable (Clark,2007).
The purpose of our study is to safeguard the historical value of the Immaculate
Conception Parish church as a whole with the help of guidelines given in "Recommendations
for the Analysis, Conservation and Structural Restoration of Architectural Heritage" by
International Scientific Committee for Analysis and Restoration of Structures of Architectural
Heritage (ICOMOS, 1964).
According to Embaby (2013). The documentation projects are considered the
teaching core of conservation processes that promote students’ skills in understanding,
analyzing, and recognizing of the built heritage elements, materials and appreciating values.
The first conservation project of this study was documentation and recording of its
Architectural elements, spaces, and features. The documentation of Nasseif house includes
drawing fully detailed plans, sections, elevations, and details of structural elements, opening
types, ornaments, and decorative elements.
Documentation is related to the systematic collection on archiving of records of
heritage asset in order to preserve them for future reference. Documentation also refers to
the stock of existing information while recording is the active process of creating and
collecting new records. (Letellier et al., 2007)
Line drawings that follow standard drafting conventions to portray in two dimensions
a three-dimensional structure. Measured drawings are similar to as-built architectural
drawings, except that they are generally produced years after a structure is built, not
immediately after construction. Measured drawings portray conditions at the time of
documentation, including the accretions, alterations, and deletions that have occurred on the
original. They are produced as a documentary record of a given structure, although they
often serve as a basis for restoration work, Mata (2013).
The most widely accepted international document on the conservation of built
heritage is Venice Charter, which also stressed on documentation as an integral part of
conservation process. It says in Article 16: “In all works of preservation, restoration or
excavation, there should always be precise documentation in the form of analytical and
critical reports, illustrated with drawings and photographs. Every stage of the work of
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clearing, consolidation, rearrangement and integration, as well as technical and formal
features identified during the course of the work, should be included. This record should be
placed in the archives of a public institution and made available to research workers. It is
recommended that the report should be published (ICOMOS, 1964).
The Heritage Conservation: Applying Scientific Method in Architecture The Lingayen
Capitol Building (1918) by Rene Luis S. Mata research's main topic is the conservation and
restoration of historic Capitol building while retaining its heritage value without compromising
its continued function as the prime administrative center of Pangasinan. It aims to bring back
the capitol building to its original form and beauty without necessarily sacrificing authenticity
by applying the concepts of redistribution and adaptive re-use. The methodology of the
research includes, ocular inspection, documentary research of the existing literature,
architectural documentation of the original plans etc. Along with the methodology and
structural analysis and different materials used in the restoration of the capitol building were
included. The research introduced tactics or strategies that would be really helpful in our
research and would serve as a guide in the research process.
In the study of Ashari et al. (2012). Mixed-methods comprising of face to face semi
structured interviews were used with an aid of photographed-supported interviews and
structured questionnaire. This method is considered to be the best method of collecting the
data required for this research due to gain a random group of public around Kuala Lumpur,
both user and non-user of heritage buildings. A semi-structured questionnaire was used in
surveying the public to gather the primary data. It was divided into 3 different sections to fulfil
the objective of the paper. The first section focuses on measuring the respondent’s attitude
on the importance of valuing the conservation of heritage buildings in Kuala Lumpur. The
second section focuses on the people’s opinion on the current state of the heritage buildings
in Kuala Lumpur after the conservation. The third section deals with the questions on their
visits within the last 12 months. This method of structuring a questionnaire is used by the
researchers since the questionnaire aims to determine the classification of people’s
association with the church, the level of importance of the church, their awareness of ICP as
a national treasure, and their satisfaction on the changes after the restoration. Answers for
each questions were set to determine the different the levels of importance, awareness and
satisfaction. The data for analysis were organized through tables, charts and graphs.
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IX. Conceptual Framework
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X. Methodology
1. ONLINE RESEARCH
Initial research was done to gather available data about the historical
background of Immaculate Conception Parish.
2. SITE VISIT
Site inspection and photo documentation was done to gather initial data about
the interior and exterior and the physical condition of the church.
3. ASKED FOR CONSENT AND ASSISSTANCE FOR DOCUMENTION
The researchers coordinated with the JPRDC engineer, Engr. Bleise Barillo,
to ask for consent to study the ICP and assistance to gather significant documents as
first-hand information about the ICP restoration.
4. GATHER DOCUMENTS
The files about the cash position, detailed cost, feasibility study, laws and
NCCA guidelines, memorandum of agreement, and the phases 1-4 ICP restoration
were available at the JPRDC office.
5. SURVEYS AND INTERVIEWS
Initial questions of the survey were formulated in order to classify the
correspondents according to their association with the church. These classifications
were as follows:
 Well-versed
 Church worker or Volunteer (Gatrabaho or gatabang sa church)
 Roman catholic (Katoliko)
 Interested in Heritage (Interesado sa heritage conservation)
 locals living nearby (Taga-duol)
There are 2 parts of the survey which contains 11 questions in total. The first
part of the questions, from 1-7, are intended to identify the respondents classification
as mentioned above. (see Annex 1 for full details)
1. How many years have you observed the church?

(Pila na nimo ka tuig nasinati ang simbahan?)
2. What are the hearsays you’ve heard about the church?
(Unsa ang mga istorya na imong nadunggan bahin sa simbahan?)
3. Do you work or do some volunteering in the church?
(Gatrabaho/ or gatabang ba ka sa simbahan?)
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4. Do you attend the mass in the said church?
(Gasimba/ gaampo ba ka sa simbahan?)
5. Do you have a business or work near the church?
(Gabaligya/ gapanganabuhi ba ka duol sa simbahan?)
6. Are you interested in heritage conservation?
(Interesado ba ka sa mga heritage conservation?)
7. Do you live near the church?
(gapuyo ba ka duol sa simbahan?)
The second part, questions from 8-10 (see below), are intended to measure
the cultural appreciation according to the factors set by the researchers.
8. Are you aware that ICP is a national treasure?

(kabalo ba ka / aware ba ka na ang icp kay national treasure?)
9. How important is the church for you?
(Unsa ka importante para sa imo ang simbahan?)
10. Are you pleased with the overall design of the church after the
restoration?
(nalipay ba ka sa nawong sa simbahan human ang restoration?)
6. DATA ORGANIZATION AND EVALUATION

A. RESTORATION DOCUMENTATION
Organization of files from different phases of restoration and
construction details of the ICP through the timeline organization and
descriptive analysis.
B. SURVEY RESULTS
The 50 respondents were identified according to the 5 classifications.
Questions 1-7 were used for the identification
Questions 8-10 were used to measure the level of cultural
appreciation of each 5 classifications. This is done by getting the average
of each questions.
Each of the question correspond to the factors of cultural appreciation.

 Question 8 measures their awareness of ICP as national
treasure.
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 Question 9 measures the level of church’s importance to the
locals.
 Questions 10 measures the locals level of satisfaction of the
overall design of the church after the restoration.
The results of the survey were consolidated through tally sheets. The
data tallied were interpreted through pie charts.
7. FINALIZATION
All data from the restoration documents and the survey results were
synthesized. The final manuscript was bound.
Methodological framework
HISTORICAL NARRATIVE
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XI. Data presentation
A. HISTORICAL DOCUMENTATION
Church of La Inmaculada Conception

Location: Misamis Oriental; region X
Owner: property of the Roman Catholic Church (private)
No public acquisition is considered
Protected by the Philippine government under the presidential decree
374
Therefore, entitled to government funding and conservation.
Collaborating agencies:
Catholic Bishop’s Conference of the Philippines
Archdiocese of Cagayan De Oro
Parish of La Inmaculada Conception, Jasaan Misamis Oriental
National Commission for Culture and the Arts
National Historical Institute
National Museum
Provincial Government of Misamis oriental
Local Government of Jasaan
HISTORICAL BACKGROUND:
The La Inmaculada Concepcion Church was built in 1887 by Jesuit brothers
Francisco Rivera and Juan Cuesta in an attempt to replicate the most famous an
Ignacio Church of Intramuros, Manila. It was originally made of bricks and bricks and
has a dimension of 150 ft in length and 60 ft. wide. Due to its artistic design and
cultural values, in 2014 it became an awardee of the Taoid program of the National
Commission of Culture and the Arts (NCCA) and it was declared as one of the 26
National Centennial Treasures and a world heritage site by the National Historical
Commission. The church was renovated in the 1980’s by removing the sacristy walls
at the chancel rear and now making it part of the chancel. The old baptistery (located
at the left side end of the church), was removed, making the room part of the aisle.
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Figure 1. of ICP
(image source: JPRDCI)
Figure 2. old photo of ICP

Figure 3. old photo of the ICP

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RECORDED ALTERATIONS TO THE CHURCH:
Exterior:
1980’s - the sacristy was moved, and they added a wing at the right
side rear end of the church.
1980’s-90’s - the second level wooden pediment of the of the façade was
replaced by a concrete wall.
Interior:
1980’s - colonnades walling/ finish was replaced by plywood.
Ceiling:
1980’s - side aisles were replaced with plywood
Floor:
1950’s - portions of the chancel, central aisle was replaced by
granolithic marble finish and cement tiles.
1980’s - the altar floor was replaced with marble tiles.
Bell tower:
1990’s - the bell tower walls were covered by galvanized iron sheets
and concrete plaster.
CONDITION OF THE CHURCH BEFORE RESTORATION

The Complex
The church of la
Inmaculada Concepcion, is
located at the poblacion of
Jasaan town, Province of
Misamis Oriental. The complex
(together with the poblacion) is
situated in the plateau and it
occupies one block, with an
area of about four hectares.
The church front was oriented Figure 4. facade of the ICP before phase 1 restoration
to the north. To the church’s (image source: JPRDCI)
right, 32 meter away, is the old convent building which is still used as a convent.
Series of structures were built around the complex. To the left is a single
storey concrete school building, a makeshift atelier at the church rear, and a multi-
purpose hall (made of light weight material). At the right side rear end of the church.
The whole rear of the complex is a large open/ planting space.
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The church is used for its regular service three times on Sundays, and occasional
events.
Figure 5. the church complex

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The Church
Builder – Jesuits
Plan – is rectangular in plan, with lateral aisles divided by colonnades. Areas
are distinguished by the colonnade, the floor levels, and the ceiling.
Figure 6. ground floor plan

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Figure 7. second floor plan
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A. Walls – was made entirely of brick veneer and rubble fill. Wall thickness
varies on location. The average wall thickness is about 0.70 meters. The
ground floor walls are exposed bricks, the second level front is now reinforced
concrete, and the bell tower walls a made of wood.
Figure 8. interior walls of the church

(photo taken by the researcher)
Figure 9. exterior walls of the church

(photo taken by the researcher)
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A.1 exterior
A.1.1 front – the lower half of the façade is made out of bricks, the
upper half; its pediment is now reinforced concrete, and the bell tower
walls are made of wood planks covered with galvanized iron sheets
A.1.2 left side - made of plain bricks, with partial cement blocks at
the bottom half of the front end wall. The transept pediment is made of
wood panels, covered by galvanized iron sheets.
A.1.3 rear – entirely bricks and not plastered. The pediment/
tympanum is made of wood panels, covered with galvanized iron
sheets.
A.1.4 right side – made of plain bricks, with partial cement blocks at
the bottom half of the front end wall. The transept pediment is made of
wood panels, covered by galvanized iron sheets.
A.2 interior
the walls are made of unplastered bricks for the outermost wall, wood
studs with wood planks and or plywood panels for the partitions.
B. Flooring – Nave and aisles is treated with 200 by 200 mm black and white
cement tiles. The Chancel area is treated with 300 by 300 mm granolithic
marble tiles, while the altar platform is treated with 200 by 400 mm marble tiles.
The church floor level is about the same floor level as the road. The transept,
front and aisles, the old sacristy area and former baptistery still uses the old
clay tile floor. Some portions were repaired using red cement and simulating the
patterns of tiles.
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Figure 10. floor finish layout
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C. Ceiling – central aisle and transepts are made of wood panels. Probably this
was the same period as the church. There are ceiling designs in this areas.
The side aisles are painted plywood.
Figure 11. reflected ceiling plan

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D. Roof – painted corrugated galvanized iron sheets
Figure 12. roof plan

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E. Doors – the main door is a pair of hard wood panel doors, with postigos. It
has a height of 4.3 meters, with a width of 1.5 meters each. The postigo are
1.8 meters high and 1.00 meter wide. There are heavy steel grill doors on
both sides of the naves, a bay before the transepts. Each doorway has a pair
of grill door with width of 1.22 meters and height of 2.5 meters each. The door
opening is 3.00 meters wide. Atop these side doors are transoms with the
Jesuit insignia. These transoms are as wide as the door opening, and it is
protected by a heavy steel grill door. At the side rear end, another steel grill
door can be seen. This was the access to the old sacristy. The door is 1.30
meters wide and 2.40 meters high. It is topped by a transom, similar to those
at the side entrances. This door as an opening of 1.44 meters wide. One of
the windows at the right side, immediately after the transept, was converted to
a door opening. It is protected by a grill door.
Figure 13. door 1 and 2

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F. Windows:
Façade – there are two windows at the ground floor, tree at the second level,
and two at the third and fourth levels. That at the ground floor, is similar to the
rest of the windows around the church. This window is 2.69 meters high and
1.28 meters wide. All windows at the ground floor level are covered by a grill
work, there are no window panels.
The second level has a fixed casement decorative window at the
tympanum/ pediment. This window is 2.40 meters high and 4.00 meters wide.
This is 1.20 meters above the floor line. At the bell tower’s second level, are
fixed decorative windows at the centers of the wall, which are 1.20 meters
above the floor line. Each window has a width of 0.875 meters and height of
2.40 meters.
At third level are fixed decorative windows at the centers of the wall.
Each window has a width of 0.64 meters and height of 3.17 meters.
The fourth level only has an opening of 0.85 meters wide and 1.23
meters high. These openings are 1.80 meters above the floor line.
Nave – there are four sets of window opening. Each opening is 1.20 meters
wide and 2.45 meters high, and is 1.63 meters above the nave floor level.
There are no window panes, only steel grills.
Transept – there are two sets of windows per side, at the floor level is similar
to the nave, the second level is a fixed glass pane window with 18 glass
panels. This window is 3 vertical divisions, and 6 horizontal divisions. There is
a cross design at the center of the window, composed of green glass panels.
Chancel – there are three windows at the left side of the church, and two at
the right side. The other window at the ride side is now converted to an
access to the new location of the sacristy. These windows are the same as
those at the nave, except for the height from the floor line. At the near / apse
were three windows, now blinded and used as niches.
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Figure 16. window 1 and 2
Figure 17. window 3,4 and 5

28 | P a g e
Figure 18. window 6 and 7
29 | P a g e
G. Retablos –A single retablo made of wood with modifications are found at the
rear most wall of the church. It has five niches, and it is Gothic like design.
Figure 19. apse and altar retablo

30 | P a g e
H. Façade
1.1 Front – The lower half of the façade is made of bricks, the upper half; its
pediment is now reinforced concrete, and the bell tower walls are made of
wood planks covered with galvanized iron sheets.
a. Main Door – The main door, is a pair of hard wood panel doors, with
postigos. It has a height of 4.3 meters, with a width of 1.5 meters each.
The postigoS are 1.80 meters high and 1.00 meters wide.
b. Windows – there are two windows at the ground floor, three at the second
level, and two at the third levels. That at the ground floor, is similar to the
rest of the windows around the church. this window is 2.69 meters high
and 1.28 meters wide. All windows at the ground floor level are covered
by a grill work, there are no window panels.
The second level has a fixed casement decorative window at the
tympanum / pediment. This window is 2.40 meters high and 4.00 meters
wide. This is 1.20 meters above the floor line. At the bell tower’s second
level, are fixed decorative windows at the centers of the wall, which are
1.20 meters above the floor line. Each window has a width of 0.875
meters and height of 2.40 meters.
At third level are fixed decorative windows at the centers of the wall. Each
window has a width of 0.64 meters and height of 3.17 meters.
The fourth level only has an opening of 0.85 meters wide and 1.23 meters
high. These openings are 1.80 meters above the floor line.
c. Ornamentation – (figure)
The walls are made of exposed brick veneer wall with touches of cement
used for repair concealing of cracks / gaps are eroded at the mid part of
the walls.
1.1.1 Interior
Made entirely of plain brick veneer. Shows no immediate sign of
damage.
31 | P a g e
Figure 20. front elevation of the church
32 | P a g e
Figure 21. section showing the interior of the façade
33 | P a g e
1.2 Left (Gospel) side
a. Door – Each doorway has a pair of grill door with width of 1.22 meters and
height of 2.50 meters each. The opening is 3.00 meters wide. Atop these
side doors are transoms with the Jesuit insignia. These transoms are as
wide as the door opening, and it is protected by a heavy steel grill,
materials similar to the grill door.
b. Windows
Nave – there are four sets of window opening. Each opening is 1.20
meters wide and 2.45 meters high, and is 1.63 meters above the nave
floor level. There are no window panes, only steel grills.
Transept – there are two sets of windows per side, at the floor level is
similar to the nave, the second level is a fixed glass pane window with 18
glass panels. This window is 3 vertical divisions, and 6 horizontal
divisions. There is a cross design at the center of the window, composed
of green glass panels.
Chancel – there are three windows at the left side of the church. These
windows are the same as those at the nave, except for the height from the
floor line.
c. Ornamentation – the walls are plain brick veneer.
1.2.1 Exterior walls – The walls are made of exposed brick veneer wall
with touches of cement used for repair / concealing of cracks / gaps.
Bricks are eroded at the mid part of the walls. Front end, bottom half
of the wall seems to have been replaced with cement bricks.
1.2.2 Interior walls
Exposed brick veneer wall.
34 | P a g e
Figure 22. left (gospel) side elevation

35 | P a g e
Figure 23. section showing the interior of the left side (gospel side) of the church
36 | P a g e
1.3 Rear side
a. Windows – there are three windows, now blinded and used as niches for
the chancel.
b. Ornamentation – Atop the pediment is a banga jar like pinnacle, and
chimney like pinnacle at the edges.
1.3.1 Exterior walls

Walls are made of exposed brick veneer wall with touches of
cement used for repair concealing of cracks / gaps. At the base of
the pilasters are coral stone blocks. Hollow blocks were used to
conceal the windows.
1.3.2 Interior walls
Exposed brick veneer wall.
37 | P a g e
Figure 24. rear side elevation
38 | P a g e
Figure 25. section showing the interior of the rear side of the church (altar)
39 | P a g e
1.4 Right (Epistle) side
a. Door – These are heavy steel grill doors, a bay before the
transepts. Each doorway has a pair of grill door with width of 1.22
meters and height of 2.50 meters each. The opening is 3.00 meters
wide. Atop these side doors are transoms with the Jesuit insignia.
These transoms are as wide as the door opening, and it is protected
by a heavy steel grill, materials similar to the grill door. At the rear end,
another steel grill door can be seen. This was the access to the old
sacristy. The door is 1.30 meters wide and 2.40 meters high. It is
topped by a transom, similar to those at the side entrances. This door
has an opening of 1.44 meters wide. One of the windows at the right
side. immediately after the transept, was converted to a door opening.
It is protected by a grill door.
b. Windows
Nave – there are four sets of window opening. Each opening is 1.20
meters wide and 2.45 meters high, and is 1.63 meters above the nave
floor level. There are no window panes, only steel grills.
Transept – there are two sets of windows per side, at the floor level
dissimilar to the nave, the second level is a fixed glass pane window
with 18 glass panels. This window is 3 vertical divisions, and 6
horizontal divisions. There is a cross design at the center of the
window, composed of green glass panels.
Chancel – There were two, the other window is now converted to an

access to the new location of the sacristy. These windows are the
same as those at the nave, except for the height from the floor line. At
the rear / apse were three windows, now blinded and used as niches.
40 | P a g e
Figure 26. right side (epistle side) elevation
41 | P a g e
Figure 27. section showing the interior of the right side (epistle side) of the church
42 | P a g e
Diagnosis
The walls and complex of Jasaan church needs structural and geological
assessment. There are damages that are both visible and invisible. An in depth /
thorough structural assessment / analysis must be made in order to know its
condition. The added reinforced concrete parts must be checked on how it was
imbedded for this causes harm to the brick and lime mortar wall.
Termite and wood treatment must be done with all the wood works.
Retrofitting of the wooden frames must also be done.
New utility plans (electrical, sanitary, mechanical, and acoustics) must be
prepared and implemented.
HISTORY OF PRESERVATION / CONSERVATION AND OTHER INTERVENTIONS /

MODIFICATIONS
There are numerous unrecorded repair works done in the premises.
Exterior
1980’s – Walls were stripped of its plaster.
Ceiling
Lateral aisle ceilings were replaced with plywood
Floor
1950’s – granolithic marble tiles were installed
1980’s – marble tiles were installed at the chancel
Bell tower
1980’s – 1990’s – Exterior walls were plastered with cement and or covered
with galvanized iron sheets.
MEANS FOR CONSERVATION / PRESERVATION

Republic Act No. 4846 as amended by Presidential Decree 347. The Church
of Mattias is declared as Historical Landmark by the National Historical Institute in
1989, and a National Cultural Treasure by the National Museum in 31st July 2001.
Therefore, preservation projects can be initiated and funded by the National and
Local Government and International Agencies. (see Annex 2 for full details)
43 | P a g e
MULTIPLE PARTY AGREEMENT
A contract was made between the National Commission on Culture and the
Arts (NCCA), National Historical Commission of the Philippines (NHCP), Jasaan
Parish Restoration and Development Committee, Inc. (JDRDC), and Archdiocese of
Cagayan de Oro City. The project entitled “Preservation and Restoration of the
Parish Church of La Inmaculada Concepcion in Jasaan, Misamis Oriental” covers the
purchase of materials and supplies needed for the preservation and restoration of the
church. The Parish Church of La Inmaculada Conception in Jasaan was declared a
National Cultural Treasure pursuant to Presidential Decree no. 347. (see Annex 4 for
full details)
44 | P a g e
B. RESTORATION DOCUMENTATION
1. Phase 1: The restoration of the bell tower

1.1 Project description
Around 1980’s-1990’s there were unrecorded repairs done in the
premises. One of which is the modification done on bell tower. Exterior walls
were plastered with cement and or covered with galvanized iron sheets.
The phase 1 restoration process covers the preservation and
restoration of the bell towers of the church. Due to the passing of time, the
external side of the posts which is made up of Molave, a brick covering from
the base of the wooden post up to its cornice, are showing several
deteriorations. Four base columns while still intact, are showing some traces
of termite infestations, the beams and girders that support the second and
third levels are also made up of wood showing same deteriorations, decay
and termite infections. Fungal infections are also present in most of the
structural columns, beams and girders.
The scope of work for the bell tower restoration includes: replacement
of G.I sheet walling and treatment of wooden post and framing.
The project proponent for the phase 1 restoration is the Jasaan Parish
Restoration and Development committee. The proponent has requested
financial assistance in the amount of P 2,380, 500.00. The sub commission
on cultural heritage has endorsed funding in the project in the amount of
P 1,060,000.00. On February 12, 2011, the National Commission on Culture
and the arts the approved the grant to the Jasaan Parish Restoration and
Development committee for the implementation of the project, “Preservation
and Restoration of the Parish Church of La Inmaculada Concepcion in
Jasaan, Misamis Oriental” in the amount of P 850,000.00. Together with the
assistance of LGU and the donations collected from the church members, the
Phase 1 was finally completed in December 2013.
(see Annex 4 for full document)
45 | P a g e
1.2 Scope of works
1.2.a. Right bell tower
2.A.1 - first to second floor
1. removal of damage existing plywood covering stair stringer
@ elevation 0-1650 mm
BEFORE AFTER
Figure 28. plywood covering stair stringer (before) Figure29. plywood covering stair stringer (after)
(image source: JPRDCI) (image source: JPRDCI)
2. concrete breaking/disposal of landing @ elevation1650mm

and replacement to wooden floor (wooden planks)
BEFORE AFTER
Figure 28.concrete landing (before) Figure 29. wooden floor landing (after)
46 | P a g e
3. removal of existing damage baluster
BEFORE AFTER
Figure 30. baluster (before) Figure 31. baluster (after)

4. removal of damage existing plywood covering stair stringer
@ elev.1650 mm – second floor
5. removal and replacement of damage existing stair stringer
6. removal and replacement of existing damage stair steps
elevation 1650mm to 3390mm
7. installation of missing king post
2.A.2 – second to third floor

8. replacement of damaged baluster and handrail
BEFORE AFTER
Figure 34. baluster and handrail (before) Figure 35. baluster and handrail (after)
(image source: JPRDCI) (photo taken by the researcher)
47 | P a g e
9. removal of damaged existing floor cover @ elev 3390mm
10. replacement of floor cover @ elev 3390mm
BEFORE AFTER
Figure 36. floor covering (before) Figure 37. floor covering (after)
11. removal and replacement of damage existing girder @ elev

3390mm
BEFORE AFTER
Figure 38. girder @ elev.3390mm (before) Figure 39. girder @ elev. 3390mm (after)
12. removal and replacement of damage existing floor joist @

elevation1230mm
48 | P a g e
13. removal and replacement of damage existing girder @
elevation 1230 mm
BEFORE AFTER
FIGURE 40. GIRDER @ ELEV. 1230MM (BEFORE) Figure 41. girder @elev. 1230mm (after)
14. installation of missing king post

15. removal of existing damage stair stringer
16. replacement of stair stringer
17. installation of missing floor cover @ elev. 1230mm
18. removal of existing damage stair stringer
19. replacement of stair stringer
20. removal of existing damage stair steps
21. replacement of stair steps
22. removal of existing galvanum sheet walling @ elev.
4260mm
23. removal of existing damage wall studs @ elev. 4260mm
24. concrete breaking of wall plaster @ column & wall @ elev
4260mm
25. replacements of wall studs (vert & horiz) @ elev. 4260mm
26. installation of wall planks
27. installation of moulding
49 | P a g e
28. dismantling and replacement of windows (capiz w/ tugas
frame)
BEFORE AFTER
Figure 42. windows (before) Figure 43. capiz w/ tugas frame (after)
2.A.3 – third to fourth floor

29. removal of existing damage girders @ elev. 3840mm
30. removal and replacement of damage existing floor joist
31. removal and replacement of handrail
BEFORE AFTER
Figure 44. handrail (before) Figure 45. handrail (after)
50 | P a g e
32. removal and replacement of floor cover @ elevation
3840mm
BEFORE AFTER
Figure 46. floor cover @ elev. 3840mm (before) Figure 47. floor cover @elev. 3840 (after)

3840mm
BEFORE AFTER
Figure 32. galvanum sheet walling (before) Figure 49. wooden planks walling (after)
34. concrete breaking of wall plaster @ column & wall @

elevation 3840mm
51 | P a g e
2.A.4 – fourth floor
37. removal of existing galvanum sheet walling @ elevation
3250mm and replacement with wood planks
elevation 3250mm
39. bracing of center post
BEFORE AFTER
Figure 50. center post (before) Figure 51. center post (after)
2.A.5 – windows
41. dismantling of existing windows
42. installation of windows (capiz w/ tugas frame)
2.A.6 – wood preservation

43. wood preservation before wood works installation
44. fumigation works after wood works installation
52 | P a g e
2.B. Left bell tower
2.B.1 second to third floor
BEFORE AFTER
46. removal and replacement of damage existing flr joist

47. installation of king post
4260mm
elevation 4260mm
53 | P a g e
2.B.2 third to fourth floor
52. removal and replacement of damage girders
BEFORE AFTER
Figure 54. girder (before) Figure 55. girder (after)

BEFORE AFTER
54 | P a g e
3840mm
BEFORE AFTER
Figure 58. galvanum sheet walling (before) Figure 59. wooden planks walling (after)

56. removal of existing damage floor planks
57. replacement of wooden floor planks
58. removal of damage post
59. replacement of wooden post
elevation 3840mm
2.B.3 fourth floor
62. removal of existing damage girders @ elevation 3250mm
63. replacement of girders
3250mm
65. removal and replacement of damage existing floor joist
66. removal of existing damage kingpost
67. replacement of king post
55 | P a g e
Phase 2: The Restoration of the Façade, Choir Loft, Dormers, and Roof
Painting
1. Project Description
As to continue the project, Preservation and Restoration of the Parish
Church of the Immaculate Conception in Jasaan, Misamis Oriental, another
Multiple Party Agreement was made during the 3rd day of May 2013. The
implementer of the Phase 2 was the Municipal Government of Jasaan (LGU)
under the agency of the National Historical Commission of the Philippines.
The NCCA again provided a one million two hundred thousand
(P1,200,000) fund grant which was downloaded to the Jasaan LGU Trust
Fund Account to implement the Phase 2 of the restoration project which is the
reinstatement of the church’s center façade, right and left dormers, the rear
hard wood cladding, and the restoration and repainting of the roofing. This
project was already completed as of June 30,1015 in cooperation with
JPRDCI. (see Annex 5 for full document)
2. Scope of Works
2.A Façade
2.A.1 The concrete wall of the façade was replaced with wood.
2.A.2 The Arched stained glass window was replaced. The design of
the original windows was restored.
BEFORE AFTER
Figure 33. concrete wall facade w/ arched stained glass Figure 34. wooden facade
56 | P a g e
2.A.3 The pediment was restored.
BEFORE AFTER
Figure 36. pediment before restoration Figure 35. pediment after restoration
BEFORE AFTER
Figure 37. pediment Figure 38. pediment
57 | P a g e
2.B CHOIR LOFT
2.B.1 The flooring of the choir loft was restored, including the girders
and floor joists.
BEFORE
Figure 66. choir loft flooring (before) Figure 67. choir loft flooring (before)
AFTER
Figure 68. choir loft flooring (after) Figure 69. choir loft flooring (after)
58 | P a g e
2.B.2 The balustrade of the choir loft was restored
BEFORE AFTER
Figure
Figure
39. choir
70. choir
loft balustrade
loft balustrade
(before)
(before) Figure 71. choir balustrade (after)
2.C Dormers
2.C1 Left Side Dormer
1. The wall of the left side dormer was replaced with Molave wood.
2. The decorative glass window pattern was half replaced with louvre.
Another louvre was added on the top center side of the
dormer.
BEFORE
Figure 72. dormer (before) Figure 73. dormer (before)

59 | P a g e
Figure 74. left side dormer restoration (during and after construction)
60 | P a g e
AFTER
Figure 40. dormer (after) Figure 76. dormer (after)

2.C.2 Right Side Dormer

1. The wall of the right side dormer was replaced with Molave wood.
2. The decorative glass window pattern was half-replaced with louvre.
Another wind breaker was added on the top center side of the
dormer.
BEFORE
Figure 77. decorative glass dormer window (before) Figure 78. decorative glass dormer window (before)
61 | P a g e
AFTER
Figure 41. wooden louvre (after) Figure 80. wooden louvre (after)
62 | P a g e
Figure 81 right side dormer restoration (during and after construction)
63 | P a g e
2.C.3 Rear Dormer
1. The corrugated G.I sheets were replaced with Molave wood sidings.
2. A wooden louvre was made at the center-top of the rear dormer for
ventilation.
BEFORE
Figure 82. corrugated G.I sheet dormer (before) Figure 83. corrugated G.I sheet dormer (before)
AFTER
Figure 84. wooden dormer (after) Figure 85. wooden dormer (after)
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Figure 86. rear side dormer restoration (during and after construction)
65 | P a g e
2.D. Roofing
2.D.1 Roof Framing
1. The wooden roof framings were redesigned.
2. To minimize maintenance, only rotten parts of the trusses were
removed and were replaced.
BEFORE
Figure 42. roof framing (before)

66 | P a g e
AFTER
Figure 88. roof framing (before)

2.D.2 King Post

1. Kingposts were installed to support the trusses.
BEFORE
67 | P a g e
Figure 89. trusses w/out king post (before)
2. All kingposts were made with Molave wood.
AFTER
68 | P a g e
Figure 90. trusses with king post (after)
2.D.3 Flashing
1. Plain G.I. sheets were used as flashing, installed at the ends of the
roofing and the wooden sidings of the dormers.
BEFORE AFTER
Figure 91. roofing (before)

69 | P a g e
BEFORE AFTER
Figure 92. roofing w/ flashing (after)

2.D.4 Roof Changing and Painting
1. The destroyed corrugated G.I. sheets were replaced with new

ones.
2. All roof area was painted with red paint.
BEFORE
70 | P a g e
Figure 93. roof (before)
AFTER
71 | P a g e
Figure 94. roof (after)
72 | P a g e
Phase 3 : The Restoration of the Church Ceiling
1. Project Description:
Implemented by the JPRDCI in the phase 3 of the project- The
Restoration of the Church Ceiling, the NCCA again granted Php 1 million fund
in the form of materials to the JPRDCI which is included in the 1.4 million
fund initially being sourced out to finance the project. However, this would not
be enough to cover the whole restoration of the ceiling as the total budgetary
requirement to complete phase 3 amounted to Php 3, 179, 009. Only the first
level ceilings can be restored and the second level ceiling restoration needs
additional funding. The original detailed budgetary cost for phase 3 is broken
down into 2 party to show which components of the project are already
funded by the NCCA and JPRDCI and which are for additional funding under
phase 4. The project as proposed by the JPRDC was approved on 16
December 2013 and confirmed on 27 January 2014 by the Board of
Commissioners under resolution number 2014-156 supported by way of
financial assistance on the amount of One million pesos only chargeable to
the Program for Conservation of Cultural Heritage. (See Full MOA in Annex 6)
2. Scope of work:
2.A Restoration @ area 1 (First level Entrance Ceiling)
2.B Restoration @ area 2a (First level left wing aisle ceiling)
2.C Restoration @ area 2b (First level right wing aisle ceiling)
2.D Restoration @ area 3a (First level left wing chancel ceiling)
2.E Restoration @ area 3b (First level right wing chancel ceiling)
2.F Restoration @ Upper altar wall
2.G Restoration @ Right Side Interior Dormer wall
2. H Restoration @ Left Side Interior Dormer wall
73 | P a g e
2.A Restoration @ area 1 (First level Entrance Ceiling)
Figure 95. first level entrance ceiling
74 | P a g e
Before:
1. The ceiling is exposed showing Molave girders and joists from the
restoration of the choir loft in phase 2.
Figure 96. exposed ceiling (before) Figure 97. exposed ceiling (before)
After:
2. Ceiling is covered wih Molave wood panels with decorative wood
work floral design a reminiscent of a basket weave and a Swastika
symbol in which a form of a Greek cross with the ends of the arms
extended at the right angles all in the same rotary direction.
2.B Restoration @ area 2a (First level left wing aisle ceiling)
Figure 98. ceiling w/ decorative wood work floral design Figure 99. ceiling w/ decorative wood work floral
(after) design (after)
75 | P a g e
Figure100. first level left wing aisle ceiling
76 | P a g e
Before:
1. Sky blue Painted Plywood on the left side aisle ceiling.
Figure 101. painted left side aisle ceiling (before) Figure 102. painted left side aisle ceiling (before)
After:
2. Ceiling is Molave wood panels with decorative wood work floral
design ( see Annex 8 for full detail of the floral design)
Figure 103. left side aisle ceiling w/ decorative floral Figure 104. left side aisle ceiling w/ decorative floral
design (after) design (after)
77 | P a g e
2.D Restoration @ area 3a (First level left wing aisle ceiling)
Figure 105. first level left wing aisle ceiling
78 | P a g e
Before :
1. Sky blue Painted Plywood on the right side aisle ceiling.
Figure 106. right side aisle ceiling (before) Figure 107. right side aisle ceiling (before)
After :
2. Ceiling is Molave wood panels with decorative wood work floral
design
Figure 108. right side aisle ceiling w/ decorative floral Figure 109. right side aisle ceiling w/ decorative floral
design (after) design (after)
79 | P a g e
2.E Restoration @ area 3b (First level left wing chancel ceiling)
Figure 110. first level left wing chancel ceiling
80 | P a g e
Before :
1. White Painted Plywood on the left wing chancel ceiling.
Figure 111. painted left wing chancel ceiling Figure 112. painted left wing chancel ceiling
After:
2. Ceiling is wood panels with decorative wood work floral design
(see Annex 8 for full detail of the floral design).
) (image source: JPRDCI)
Figure 113. left wing chancel ceiling with decorative wood Figure 114. left wing side chancel ceiling with decorative
work floral design wood work floral design
81 | P a g e
2.E Restoration @ area 3b (First level right wing chancel ceiling)
Figure 115. first level right wing chancel ceiling
82 | P a g e
Before:
1. White painted plywood ceiling on the right wing chancel ceiling.
Figure 116. painted right wing chancel ceiling (before) Figure 117. painted right wing chancel ceiling (before)
After:
2. Ceiling is Molave wood panels with decorative wood work
floral design (see Annex 8 for full detail of the floral design)
Figure 118. right wing chancel ceiling w/ decorative wood Figure 119. right wing chancel ceiling w/ decorative
work floral design (after) wood work floral design (after)
83 | P a g e
2.F Restoration @ Upper Altar Wall
Before:
1. Sky Blue painted concrete wall on plain cement on the upper altar
wall.
Figure 120. painted upper altar wall (before) Figure 121. painted upper altar wall (before)
After:
Painted concrete wall is replaced with Molave wood panels.
Figure 122. wooden upper altar wall (after) Figure 43. wooden upper altar wall (after)
84 | P a g e
2.G Restoration @ Right Side Interior Dormer wall
Figure 124. right side interior dormer wall
85 | P a g e
Before:
1. Upper part of the wall is made of plywood and the lower part is
made of plane bricks with partial cement blocks at the bottom used for
repairs and concealing of cracks.
Figure 125. right side interior dormer wall (before) Figure

(image 126. JPRDCI)
source: right side interior dormer wall (before)
After:
2. The upper part of the wall is replaced with molave wood panels
Figure 127. right side interior dormer wall (after) Figure128. right side interior dormer wall (after)
86 | P a g e
2. H Restoration @ Left Side Interior Dormer wall
Figure 44. left side interior dormer wall
87 | P a g e
Before:
1. Upper part of the wall is made of plywood and the lower part is
made of plane bricks with partial cement blocks at the bottom used for
repairs and concealing of cracks.
Figure 130. left side interior dormer wall (before) Figure 131. left side interior dormer wall (before)
After:
2. The upper part of the wall is replaced with Molave wood panels
Figure 132. left side interior dormer wall (after) Figure 133. left side interior dormer wall (after)
88 | P a g e
C. CULTURAL APPRECIATION
CLASSIFICATION OF PEOPLE’S ASSOCIATION WITH THE CHURCH:
WV = well-versed
GG = Church worker or Volunteer (gatrabaho/ gatabang)
K= Roman catholic (Katoliko)
IN = Interested in Heritage conservation (Interesado sa heritage conservation)
TD = Locals living nearby (Taga-duol)
No of respondents: 50
FACTORS OF CULTURAL APPRECIATION

1. AWARENESS OF ICP AS A NATIONAL TREASURE
Question:
Are you aware that ICP is a national treasure?
(Kabalo ba ka na ang ICP kay national treasure?)
A. RESULTS FOR THE 50 RESPONDENTS
Table 1. TABULATION OF RESULTS FROM 50 RESPONDENTS
WV GG K IN TD total %
Yes 7 10 9 6 0 37 74
No 1 5 6 0 1 13 26
total 8 20 15 6 1 50 100
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Are You Aware that the ICP is a National
Treasure?
26%
74%
74 % of the 50 respondents who said YES 726% of the 50 respondents who said NO
Figure 134. RESULTS OF 50 RESPONDENTS
B. RESULTS FOR EACH CLASSIFICATION
Table 2 TABULATION OF RESULTS OF EACH CLASSIFICATION
CLASS MARKS
PERCENTAGE
WELL- VERSED
Oo 7 88
Dili 1 12
total 8 100
CHURCH WORKER OR VOLUNTEER
Oo 10 75
Dili 5 15
total 15 100
CATHOLIC
Oo 9 60
Dili 6 40
90 | P a g e
total 15 100
INTERESTED IN HERITAGE CONSERVATION
Oo 16 10
Dili 0 0
total 16 100
LOCALS LIVING NEARBY
Oo 0 0
Dili 1 100
total 1 100
Table 3. RANKING OF PEOPLE WHO ANSWERED YES (OO)
RANKING PERCENTAGE
1. GG 41
2. K 24
3. WV 19
4. IN 16
5. TD 0
total 100
Figure 135. RESULTS OF PEOPLE WHO ANSWERED ‘YES’ (OO)
91 | P a g e
2. IMPORTANCE OF THE CHURCH TO THE LOCALS
Question:
How important is the church for you?
(Unsa ka importante para sa imo ang simbahan?)

Table 4. TABULATION OF RESULTS FOR 50 RESPONDENTS
Very 8 19 8 5 5 40 80
important
Important 0 1 3 1 1 6 12
Neutral 0 0 1 0 0 1 2
Not 0 0 0 0 0 0 0
important
I don’t care 0 0 3 0 0 3 6
TOTAL 8 20 15 6 1 50 100
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Table 5. TABULATION OF RESULTS FOR EACH CLASSIFICATION
WELL- VERSED
Class marks Percentage %
Very important 8 100
Important 0 0
Neutral 0 0
Not important 0 0
I don’t care 0 0
total 8 100
Very important 19 95
Important 1 5
Neutral 0 0
Not important 0 0
I don’t care 0 0
total 20 100
CATHOLIC
Very important 8 53
Important 3 20
Neutral 1 7
Not important 0 0
I don’t care 3 40
total 15 100
Very important 5 83
Important 1 17
Neutral 0 0
Not important 0 0
93 | P a g e
I don’t care 0 0
total 6 100
Very important 0 0
Important 1 100
Neutral 0 0
Not important 0 0
I don’t care 0 0
total 1 100
Table 6. RANKING OF THE PEOPLE WHO ANSWERED VERY IMPORTANT (IMPORTANTE KAAYO)
RANKING PERCENTAGE
1. GG 48
2. WV 20
K 20
3. IN 13
4. TD 0
total 100
Interested in [VERY IMPORTANT]

Historical Locals Living
Conservatio NearbyLocals
n Living Nearby CHURCH
12% 0% WORKER
48%
Roman
Catholic
20%
Well-versed
20%
Figure 137. RESULTS OF PEOPLE WHO ANSWERED ‘VERY

IMPORTANT’ (IMPORTANTE KAAYO)
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Table 7. RANKING OF PEOPLE WHO ANSWERED ‘IMPORTANT’ (IMPORTANTE)
RANKING PERCENTAGE
1. K 50
2. GG 17
IN 17
TD 17
WV 17
total 100
Locals Living [IMPORTANT]

Interested in Nearby Church Worker or
Historical 16% Church Volunteer…
Conservation Well-versed
17% 0%
Roman
Catholic
50%
Figure 138. RESULTS OF PEOPLE WHO ANSWERED

‘IMPORTANT’ (IMPORTANTE)
Table 8. RANKING OF PEOPLE WHO ANSWERED ‘NEUTRAL’ (SAKTO LANG)
RANKING PERCENTAGE
1. K 100
2. GG 0
IN 0
TD 0
WV 0
total 100
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[NEUTRAL]
Church Worker
Roman or Church
Catholic Volunteer
50% 0%
Well-versed
0%
Locals Living
Nearby
0%
Interested in Historical
Figure 46. RESULTS OF PEOPLE WHO ANSWERED NEUTRAL
Conservation
(SAKTO LANG) 0%
Figure 139. RESULTS OF PEOPLE WHO ANSWERED ‘NEUTRAL’
Table 9. RANKING OF PEOPLE WHO ANSWERED ‘NO’ (DILI)
RANKING PERCENTAGE
K 0
GG 0
IN 0
TD 0
WV 0
total 0
[NO]
Church Worker or Church Volunteer

Well-Versed
Roman Catholic
Interested in Historical Conservation
Locals Living Nearby
Figure 140. RESULTS OF PEOPLE WHO ANSWERED ‘NO’ (DILI)
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Table 10. RANKING OF PEOPLE WHO ANSWERED ‘I DON'T CARE’ (WALA KOY LABOT)
RANKING PERCENTAGE
1. K 100
2. GG 0
IN 0
TD 0
WV 0
total 100
[I DON'T CARE]
Church Worker or
Church Volunteer 0%
Intersted in
Historical
Conservation
0%
Well-versed
Roman 0%
Catholic
100% Locals Living
Nearby 0%
Figure 141. RESULTS OF PEOPLE WHO ANSWERED ‘I DON'T

CARE’ ( WALA KOY LABOT)
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3. SATISFACTION OF THE LOCALS TO THE OVERALL DESIGN OF THE
CHURCH AFTER RESTORATION
Question:
Are you pleased with how the church looked after restoration?
( Nalipay ba ka sa nawong sa simbahan human ang restorasyon ?)

Table 11. TABULATION OF RESULTS FOR 50 RESPONDENTS
Very pleased 5 3 6 0 0 14 28
Pleased 2 14 4 5 0 25 50
Neutral 1 2 1 1 0 5 10
No 0 0 2 0 0 2 4
I don’t care 0 1 2 0 1 4 8
TOTAL 8 20 15 6 1 50 100
Are You Pleased with How the Church Look

After the Restoration?
4% 8% 28%
10%
50%
28% of the Population said "Very Pleased" 50% of the Population said "Pleased"
10% of the Population said "Neutral" 4% of the Population said "Not Pleased"
8% of the Populaltion said "I Don't Care"
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Table 12. TABULATION OF RESULTS FOR EACH CLASSIFICATION
WELL- VERSED
Class marks Percentage %
Very pleased 5 63
Pleased 2 25
Neutral 1 12
No 0 0
I don’t care 0 0
total 8 100
Very pleased 2 10
Pleased 14 70
Neutral 3 15
No 0 0
I don’t care 1 5
total 20 100
CATHOLIC
Very pleased 6 40
Pleased 4 27
Neutral 1 7
No 2 13
I don’t care 2 13
total 15 100
Very pleased 0 0
Pleased 5 83
Neutral 1 17
No 0 0
I don’t care 0 0
total 6 100
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Very pleased 0 0
Pleased 0 0
Neutral 0 0
No 0 0
I don’t care 1 100

total 1 100
Table 13. RANKING OF PEOPLE WHO SAID ‘VERY PLEASED’ ( NALIPAY KAAYO)
RANKING PERCENTAGE
1. K 43
2. WV 36
3. GG 21
5. IN 0
6. TD 0
Total 100
[VERY PLEASED]
Roman
Catholic
Church
43%
Worker or
Church
Volunteer
21%
Well-
Versed 36%
Intersted in Historical
Conservation 0% Locals Living Nearby
0% 0%
Figure 143. RESULTS OF PEOPLE WHO ANSWERED ‘VERY

PLEASED’ ( NALIPAY KAAYO)
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Table 14. RANKING OF PEOPLE WHO SAID ‘PLEASED’ (NALIPAY)
RANKING PERCENTAGE
1. GG 56
2. IN 20
3. K 16
4. WV 8
5. TD 0
Total 100
[PLEASED] Church Worker

or Church
Volunteer
Conservation
56%
20%
Roman
Catholic
Church
16%
Well-
versed Locals Living Nearby
8% 0%

‘PLEASED’ (NALIPAY)
Table 15. RANKING OF PEOPLE WHO SAID ‘NEUTRAL’ (SAKTO LANG)
RANKING PERCENTAGE
1. GG 40
2. K 20
IN 20
WV 20
3. TD 0
Total 100
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[NEUTRAL]
Interested in the Church Worker or
Historical Conservation Church Volunteer
20% 40%
Roman
Catholic
20%
Well-versed Locals Living Nearby

20% 0%
‘NEUTRAL’ (SAKTO LANG)
Table 16. RANKING OF PEOPLE WHO SAID NO (DILI)
RANKING PERCENTAGE
1. K 100
2. GG 0
IN 0
TD 0
WV 0
Total 100
[NOT PLEASED]
Church Worker or
Roman Catholic
Church Volunteer
100%
0% Well-
versed
0%
Interested in
Historical
Locals Living Nearby 0% Conservation…

‘NO’ (DILI)
102 | P a g e
Table 17. RANKING OF PEOPLE WHO SAID ‘I DON'T CARE’ (WALA KOY LABOT)
RANKING PERCENTAGE
1. K 50
2. GG 25
3. TD 25
4. IN 0
WV 0
Total 100
[I DON'T CARE]
Locals Church Worker or
Living Church Volunteer
Nearby 25%
25%
Well-
versed
0%
Roman Catholic Conservation
50% 0%
Figure 147. RESULTS OF PEOPLE WHO ANSWERED ‘I

DON'T CARE’ (WALA KOY LABOT)
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XII. Analysis, Conclusion and Recommendation
ANALYSIS
A. PHASES OF RESTORATION
I. PHASE 1: BELL TOWER (LEFT AND RIGHT)
The phase 1 restoration process covers the preservation and
restoration of the bell towers of the church. The project proponent for the
phase 1 restoration is the Jasaan Parish Restoration and Development
Committee Incorporated. The proponent has requested financial assistance in
the amount of P 2,380, 500.00. On February 12, 2011, the National
Commission on Culture and the arts the approved the grant to the the Jasaan
Parish Restoration and Development committee for the implementation of the
project, “Preservation and Restoration of the Parish Church of La Inmaculada
Concepcion in Jasaan, Misamis Oriental” in the amount of P 850,000.00. The
restoration covers replacement of deteriorated parts of the right bell tower,
from ground floor to fourth floor, and left bell tower, from second floor to fourth
floor, which includes damaged baluster, stair stringer, stair steps, handrail,
floor cover, floor joist, girder, wall planks, wall studs and king post. The
decorative frosted glass windows had also been replaced with capiz with
tugas frame and the galvanum sheet walling had been replaced with wooden
planks.
II. PHASE 2: THE RESTORATION OF THE FAÇADE, DORMERS, AND

ROOF
The phase 2 restoration is the continuation of the phase 1
construction, but the proponent this time is the Jasaan Local Government Unit
(LGU). The project has been funded by the National Commission of Culture
and the Arts at the amount of P1.2 million. The coverage for this second
restoration includes the façade; left, right, and rear dormers, and; roofing
(trusses, kingposts, repairing and painting of the total roof area). The project
has been completed as of June 30,2015 in cooperation with JPRDCI.
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III. PHASE 3 : THE RESTORATION OF THE CHURCH CEILING
Phase 3 of the restoration of the ICP’s first level ceiling includes the
restoration of the front ceiling, the left and right aisle ceiling, left and right chancel
ceiling, upper altar wall, and the left and right dormer interior walls. The ceiling was
exposed showing the girders and joists of the choir loft of the front ceiling. It was then
covered with molave wood panels with decorative wood floral carving. The left and
right aisle ceiling was sky blue painted plywood with no decorative carving then it
was replaced with floral carving. The same restoration was applied in the left and
right chancel ceiling. The upper altar wall was originally sky blue painted plain
concrete but replaced with the Molave wood panels. The plywood wall in the upper
left and right interior dormer wall was replaced with the Molave wood panels.
The budget granted by the NCCA to the JPRDCI was not enough to cover the
whole restoration of the ceiling. only the first level ceilings can be restored and the
second level ceiling restoration needs additional funding which will be under phase 4.
The project as proposed by the JPRDC was approved on 16 December 2013 and
confirmed on 27 January 2014 by the Board of Commissioners under resolution
number 2014-156 supported by way of financial assistance on the amount of One
million pesos only chargeable to the Program for Conservation of Cultural Heritage
B. CULTURAL APPRECIATION
From the 50 respondents 16 % are well-versed, 40 % are church

workers or volunteers, 30 % are Roman Catholics, 12% are Interested in
heritage conservation and 2 % are locals living nearby.
1. Level of awareness of the locals that the ICP is a National Treasure
The first factor measures the level of awareness of the locals that the
ICP is a National Treasure in which among the 50 respondents, 74 % of the
population said 'Yes' and 26 % said 'No'.
Among the 5 classifications, the well-versed locals got the highest
percentage, 88% of its total number answered ' Yes ', Workers or Volunteers
got 75% , Catholics got 60%, Interested in heritage conservation got 10 %
and 0 % for the locals living nearby.
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Therefore, we can conclude that the Well -versed locals have the
highest level of awareness and locals living nearby are least aware.
2. Level of the Church's importance to the locals
The second factor measures the level of the Church's importance to

the locals in which among 50 respondents 80 % answered 'Very important',
12 % answered ' Important' , 2% are Neutral and no one answered ' Not
Important and 6% answered 'I don’t care'.
Among the 5 classifications, 100% of the well versed answered ' Very
Important’, church worker got 95%, interested in heritage conservation got
83%, Catholic got 53% and 0% of the locals nearby. Therefore, we can
conclude that well versed locals have the highest level of importance and
locals living nearby give least importance to the church.
3. Level of satisfaction of the overall design of the church after the restoration
The third factor measures the level of satisfaction of the locals of the
overall design of the church after the restoration. Fifty percent (50%) of the
population are ‘Pleased', twenty-eight percent (28%) are 'Very pleased' , ten
percent (10%) percent are " Neutral" , eight percent (8%) answered ' I don't
care' and four percent (4%) answered "No".
Amongst the 5 classification, well - versed locals got the highest

percentage with 63 % of its total number answered ' Very Pleased'. Catholic
got 40 % of its total number. Church workers/volunteers got 10 % of its total
number and the rest is 0%.
Therefore, we can conclude that Well-versed locals have the highest

level of satisfaction of the overall design of the church after the restoration.
CONCLUSION
A. RESTORATION DOCUMENTATION
The researchers found out that the entire procedure of the restoration is
divided into phases. Each phases have different scope of works from the bell tower in
Phase 1, roof framing works and dormers, choir loft and facade in Phase 2 and first
106 | P a g e
level ceiling, altar upper wall, and interior dormers in Phase 3. Currently the phase 4,
which is the completion of the ceiling restoration or the 2nd level ceiling is still on
going. All the restoration procedure aimed to bring back ICP to its original form built
by the Jesuits. The attempts of the restoration in the late 20th century and early
2000s which was the existing design of the church before the start of proper
restoration implemented in 2011 is used to compare the changes of each of the
phases of restoration approved by NCCA.
B. CULTURAL APPRECIATION
Based on the 3 factors set by the researchers; awareness that ICP as a
National Treasure, Importance of the church to the locals, and satisfaction of the of
the overall design of the church after the restoration, the well versed got the highest
score with an average of 38.2 %. Followed by workers or volunteers of the church
with an average of 27.4 %, Catholic with 20.2 % average, interested in heritage
conservation with 14.2 % and locals living nearby with 0%. These results are based
on the survey done on 50 randomly selected respondents in which 16% are Well-
versed, 40 % are workers or volunteers of the church, 30% are Catholics, 12 % are
Interested in Heritage conservations and 2 % are locals living nearby.
RECOMMENDATIONS
A. HISTORICAL DOCUMENTATION
Other sources of information aside from The Feasibility study conducted by
the NCCA is recommended. With scarce data about the original construction, a more
detailed information and research is needed for a complete historical record if the
Immaculate Conception Parish.
B. RESTORATION DOCUMENTATION
Aside from the architectural elements, structural, plumbing, electrical and
other designs relating to the whole construction restoration are needed to be
documented.
C. CULTURAL APPRECIATION
The Researchers recommend that the total number of each classifications

should be equal for a more controlled and non-biased result. Furthermore, the
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researchers recommend for an oral interview with the locals for a more detailed
personal point of view of their cultural appreciation.
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XIII. Bibliography
http://ncca.gov.ph/about-culture-and-arts/articles-on-c-n-a/article.php?subcat=13&i=17
Galende P. (2007), Philippine Church Facade
Eppich R. ( 2007)Recording, Documentation,and Information Management for
the Conservation of Heritage Places
Embaby(2013). Heritage Conservation and Architectural Education:
“An educational methodology for
Design Studios”. Date retrieved: January 5, 2018.
Hassani (2015). Doocumentation of Cultural Heritage Techniques, Potentials and
Constraints.
Date retrieved: January 8, 2018.
Eppich et al.( 2007). Recording, Documentation and Information
Management for the Conservation of Heritage Places.
Date retrieved: January 8, 2018.
Muhammad (2013). Documentation and Monitoring of Built Heritage in Abu Dhabi, UAE.
Date Retrieved: January 5, 2018.
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ANNEX 1
SURVEY QUESTIONS
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PANGALAN (OPTIONAL): _____________
EDAD: ___________
GENDER: ________
PILA NA KA TUIG NAGPUYO SA LUGAR:__________
1. PILA NA NIMO KA TUIG NASINATI ANG SIMBAHAN?

o 1-2
o 3-5
o 6-10
o 11-20
o 21 PATAAS
2. UNSA ANG MGA ISTORYA NA IMONG NADUNGGAN BAHIN SA

SIMBAHAN?
o NASAYOD KO SA MGA ISTORYA MAHITUNGOD SA PAGTUKOD
SA SIMBAHAN
o NASAYOD KO SA DAANG HITSURA SA SIMBAHAN
o NASAYOD KO SA MGA KABAG-UHAN SA SIMBAHAN
o WALA KOY NADUNGGAN
3. GATRABAHO/ OR GATABANG BA KA SA SIMBAHAN?

o OO
o DILI
4. GASIMBA/ GAAMPO BA KA SA SIMBAHAN?

o OO
o DILI
5. GABALIGYA/ GAPANGANABUHI BA KA DUOL SA SIMBAHAN?

o OO
o DILI
6. INTERESADO BA KA SA MGA HERITAGE CONSERVATION?

o OO
o DILI
7. GAPUYO BA KA DUOL SA SIMBAHAN?

o OO
o DILI
8. KABALO BA SILA / AWARE BA SILA NA ANG ICP KAY NATIONAL

TREASURE?
o OO
o DILI
9. UNSA KA IMPORTANTE PARA SA ILA ANG SIMBAHAN?

o IMPORTANTE KAAYO
o IMPORTANTE
o SAKTO LANG
111 | P a g e
o DILI
o WALA KOY LABOT
10. NALIPAY BA KA SA NAWONG SA SIMBAHAN HUMAN ANG

RESTORATION?
o NALIPAY KAAYO
o NALIPAY
o SAKTO LANG
o DILI
o WALA KOY LABOT
11. NAGUSTUHAN BA NIMO ANG PAGBAG.O SA NAWONG SA

SIMBAHAN?
o OO KAAYO
o OO
o SAKTO LANG
o DILI
o WALA KOY LABOT
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ANNEX 2
FEASIBILITY STUDY
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ANNEX 3
LAWS
 Agreement Between the Republic of the
Philippines and the Holy See and Cultural
Heritage of the Catholic Church
 The Burra Charter
 The NCCA Guidelines for the Conservation of
the Philippine Colonial Churches
 Venice Charter
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ANNEX 4
PHASE 1 DOCUMENTS
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ANNEX 5
PHASE 2 DOCUMENTS
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ANNEX 6
PHASE 3 DOCUMENTS
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ANNEX 7
PHASE 4 - MOA
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ANNEX 8
PHASE 3 RESTORATION
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IMMACULATE CONCEPTION PARISH CONSERVATION:

An Investigative Research Through Documentation and Recording

II. Background and Rationale

III. Statement of research problem

IV. Objectives of the study

V. Limitations of the study

VI. Significance of the study

Aisle - a passage between rows of seats in a building such as church or theater, an

1. How many years have you observed the church?

8. Are you aware that ICP is a national treasure?

6. DATA ORGANIZATION AND EVALUATION

Each of the question correspond to the factors of cultural appreciation.

Church of La Inmaculada Conception

Figure 2. old photo of ICP

Figure 3. old photo of the ICP

CONDITION OF THE CHURCH BEFORE RESTORATION

to the north. To the church’s (image source: JPRDCI)

Figure 5. the church complex

(image source: JPRDCI)

Figure 6. ground floor plan

Figure 8. interior walls of the church

Figure 9. exterior walls of the church

Figure 11. reflected ceiling plan

(image source: JPRDCI)

Figure 12. roof plan

Figure 13. door 1 and 2

Figure 15. door 5 and 6

Figure 17. window 3,4 and 5

Figure 19. apse and altar retablo

c. Ornamentation – the walls are plain brick veneer.

Figure 22. left (gospel) side elevation

1.3.1 Exterior walls

Chancel – There were two, the other window is now converted to an

HISTORY OF PRESERVATION / CONSERVATION AND OTHER INTERVENTIONS /

MEANS FOR CONSERVATION / PRESERVATION

1. Phase 1: The restoration of the bell tower

2. concrete breaking/disposal of landing @ elevation1650mm

(image source: JPRDCI) (image source: JPRDCI)

Figure 30. baluster (before) Figure 31. baluster (after)

(image source: JPRDCI) (image source: JPRDCI)

2.A.2 – second to third floor

(image source: JPRDCI) (image source: JPRDCI)

11. removal and replacement of damage existing girder @ elev

(image source: JPRDCI) (photo taken by the researcher)

12. removal and replacement of damage existing floor joist @

(image source: JPRDCI) (image source: JPRDCI)

14. installation of missing king post

(image source: JPRDCI) (photo taken by the researcher)

2.A.3 – third to fourth floor

Figure 44. handrail (before) Figure 45. handrail (after)

(image source: JPRDCI) (image source: JPRDCI)

(image source: JPRDCI) (image source: JPRDCI)

33. removal of existing galvanum sheet walling @ elev.

(image source: JPRDCI) (image source: JPRDCI)

34. concrete breaking of wall plaster @ column & wall @

(image source: JPRDCI) (image source: JPRDCI)

40. installation of moulding

2.A.6 – wood preservation

Figure 52. handrail (before) Figure 53. handrail (after)

(image source: JPRDCI) (image source: JPRDCI)

46. removal and replacement of damage existing flr joist

Figure 54. girder (before) Figure 55. girder (after)

(image source: JPRDCI) (image source: JPRDCI)

53. removal and replacement of handrail