CAVITE STATE UNIVERSITY

COLLEGE OF ENGINEERING AND INFORMATION TECHNOLOGY

DEPARTMENT OF CIVIL ENGINEERING
ARCHITECTURE UNIT

RE: 300
HERITAGE MUSEUM

CUSTODIO, JAMES PHILLIP

201910083 – BS ARCHITECTURE 2-1
AR. BUTCH EDWARD T. FAUSTINO
4 JANUARY 2021
 INTRODUCTION
Museum, institution dedicated to preserving and interpreting the
primary tangible evidence of humankind and the environment. In its preserving of this
primary evidence, the museum differs markedly from the library, with which it has often been
compared, for the items housed in a museum are mainly unique and constitute the raw
material of study and research. In many cases they are removed in time, place, and
circumstance from their original context, and they communicate directly to the viewer in a
way not possible through other media. Museums have been founded for a variety of
purposes: to serve as recreational facilities, scholarly venues, or educational resources; to
contribute to the quality of life of the areas where they are situated; to attract tourism to a
region; to promote civic pride or nationalistic endeavour; or even to transmit overtly
ideological concepts. Given such a variety of purposes, museums reveal
remarkable diversity in form, content, and even function. Yet, despite such diversity, they
are bound by a common goal: the preservation and interpretation of some material aspect
of society’s cultural consciousness.

Museums have long been public institutions, but the nature of their interaction with
the public has changed. Victorian museums often aimed at “edifying” the masses. In the
early twentieth century, many museums saw their role as providing training for citizenship.
Exposure to the best that civilization had to offer, the thought went, would improve
museum visitors, making them better people and better citizens.

The word museum has classical origins. In its Greek form, mouseion, it meant “seat
of the Muses” and designated a philosophical institution or a place of contemplation. Use of
the Latin derivation, museum, appears to have been restricted in Roman times mainly to
places of philosophical discussion. Thus, the great Museum at Alexandria, founded
by Ptolemy I Soter early in the 3rd century BCE, with its college of scholars and its
famous library, was more a prototype university than an institution to preserve and interpret
material aspects of one’s heritage. The word museum was revived in 15th-
century Europe to describe the collection of Lorenzo de’ Medici in Florence, but the term
conveyed the concept of comprehensiveness rather than denoting a building. By the 17th
century, museum was being used in Europe to describe collections of curiosities. Ole
Worm’s collection in Copenhagen was so called, and in England visitors to John
Tradescant’s collection in Lambeth (now a London borough) called the array there a
museum; the catalog of this collection, published in 1656, was titled Musaeum
Tradescantianum. In 1675 the collection, having become the property of Elias Ashmole,
was transferred to the University of Oxford. A building was constructed to receive it, and
this, soon after being opened to the public in 1683, became known as the Ashmolean
Museum. Although there is some ambivalence in the use of museum in the legislation,
drafted in 1753, founding the British Museum, nevertheless the idea of an institution called
a museum and established to preserve and display a collection to the public was well
established in the 18th century. Indeed, Denis Diderot outlined a detailed scheme for a
national museum for France in the ninth volume of his Encyclopédie, published in 1765.

Use of the word museum during the 19th and most of the 20th century denoted a
building housing cultural material to which the public had access. Later, as museums
continued to respond to the societies that created them, the emphasis on the building itself
became less dominant. Open-air museums, comprising a series of buildings preserved as
objects, and ecomuseums, involving the interpretation of all aspects of an outdoor
environment, provide examples of this. In addition, so-called virtual museums exist in
electronic form on the Internet. Although virtual museums provide interesting opportunities
for and bring certain benefits to existing museums, they remain dependent upon the
collection, preservation, and interpretation of material things by the real museum.
 BRIEF HISTORY OF CAVITE

Colonizers arriving in the late 16th century saw an unusual tongue of land thrust into
Manila Bay and saw its value as the main staging ground from where they could launch
their bulky galleons. Formed in the shape of a hook, which in Tagalog is called kawit , it
became the most important port linking the colony to the outside world.

What is now Cavite City was once a mooring place for Chinese junks trading that came
to trade with the settlements around Manila Bay. In 1571, Spanish colonizers founded the
port and city of Cavite and fortified the settlement as a first line of defense for the city of
Manila. Galleons were built and fitted at the port and many Chinese merchants settled in
the communities of Bacoor and Kawit, opposite the Spanish city to trade silks, porcelain
and other Oriental goods. The vibrant mix of traders, Spanish seamen and local residents
gave rise to the use of pidgin Spanish called chabacano.

In 1614, the politico-military jurisdiction of Cavite was established covering all the
present territory except for the town of Maragondon, which used to belong to the
corregimiento of Mariveles. Maragondon was ceded to Cavite in 1754. Within Maragondon
was a settlement established in 1663 for Christian exiles from Ternate, Mollucas.

Owing to its military importance, Cavite was attacked by foreigners in their quest to
conquer Manila and the Philippines. The Dutch made a surprise attack on the city in 1647,
founding the port incessantly, but were repulsed. In 1672, the British occupied the port
during their two-year interregnum in the Philippines. American forces attacked the Spanish
squadron in Cavite. The Spanish defeat marked the end of Spanish rule in the country.

Missionary orders acquired and enlarged vast haciendas in Cavite during the 18th and
19th century. These haciendas became the source of bitter agrarian conflicts between the
friar orders and Filipino farmers and pushed a number of Cavitenos to live as outlaws. This
opposition to the friar orders was an important factor that drove many Cavite residents to
support reform, and later, independence.
 In 1872, a mutiny by disgruntled navy men in Cavite led to a large-scale crackdown on
reformers and liberals. Three Filipino priests – Jose Burgos, Mariano Gomez and Jacinto
Zamora- were executed and dozens others sent into exile. In 1896, after the outbreak of
the Philippine Revolution, Cavite took center stage as thousands of Katipuneros liberated
most of the province’s towns.

On August 26, 1896, when the Philippine revolution against Spain broke out, Cavite
became a bloody theatre war. Led by Emilio Aguinaldo, Cavitenos made surprise attacks
on the Spanish headquarters and soon liberated the whole province.

Emilio Aguinaldo, the first Philippine president came from the town of Kawit and
directed the conduct of the Revolution from his base in the province. He agreed to go into
exile in December 1897, but returned to the Philippines in May 1898. On June 12, he
declared Philippine independence from the balcony of his home in Kawit.

The Americans established civil government in the province in 1901. The naval station
in Sangley Point became the chief American naval base in the country.

The Japanese targeted the naval base during the first wave of attacks on military
installations in the Philippines.

Cavite and its people, what they are today, and what will be tomorrow will remain their
infinity, as a place with a glorious history, and a people fortified with strength to live and die
for a worthy cause.
 HERITAGE MUSEUM

A heritage centre, center, or museum is a public facility – typically

a museum, monument, visitor centre, or park – that is primarily dedicated to the
presentation of historical and cultural information about a place and its people, and often
also including, to some degree, the area's natural history. Heritage centres typically differ
from most traditional museums in featuring a high proportion of "hands-on" exhibits and live
or lifelike specimens and practical artifacts.[1]

Some are open-air museums – heritage parks – devoted to depiction of daily life or
occupational activity at a particular time and place, and may feature re-creations of typical
buildings of an era. Such sites are often used for experimental archaeology, and as shooting
locations for documentaries and historical-fiction films and television. A few are
rebuilt archaeological sites, using the excavated foundations of original buildings, some
restore historic structures that were not yet lost, while others are mock-ups built near actual
sites of historic value (which may still be subject to ongoing excavation, study, and
preservation). Many also have living museum features, such as costumed staff,
demonstrations of and short courses in historical craft-working, dramatic presentations (live-
action mock combat, etc.), and other living history activities. Others may be more narrowly
focused on a particular occupation or industry, such as rail transport or the early factories
or mines around which a community developed.

Museums have different characteristics and objectives. They are professionally

managed to provide the ideal environment for the conservation and display of collections.
Large-scale thematic exhibitions are held every year to add variety to the permanent
exhibitions with the ultimate goal to attract more people to visit museums. Extension
activities such as lectures, classes, film shows, guided tours, demonstrations, workshops
and travelling exhibitions are organized to stimulate interest and popularize museum
services. Some of the facilities in museums are open for public hiring.
 GUIDELINES FOR MUSEUMS

Character of a Museum

The collection of most small museums is an admixture of many things. While there is
nothing wrong in collecting many classes of items, this practice has to be given some
thought if there is a choice. There have been many instances where after some time, a
collection is needed to be rid of items which had become incongruous in terms of class or
quality. It might be practical to define at the outset the objectives of the museum so that
the collections can be made to support these objectives. In effect, one has to define the
character of the museum. This character will help the curator determine, for instance,
what type of structures and facilities are to be made available in terms of study,
storage, conservation, and exhibition. There are general category museums like the
National Museum, and specialized museums as the Metropolitan Museum of Manila,
the Museo ng Bahay Pilipino, and the Central Bank Money Museum. The need of the
community is at times one of the factors determining the character of a museum.

In most cases, the museum curator is confronted with a conglomeration of objects the
choice for which he had no control whatsoever. Optimistically, the items collected are
originally from and reflect the community where the museum is located.

Collections

A collection may be built and augmented in a number of ways:

1. field collection
2. donation
3. purchase
4. exchange

When an object in the collection is acquired, the most important consideration is that
information accompanies the object. The information should include data on the object
itself and socio-cultural milieu. Although the collection item itself is a primary data
source, and accompanying data merely secondary source, there is nothing more
frustrating for a curator than to have an object with nothing but the fact of its existence in
his hands. One cannot be too detailed in obtaining data on the collection item like the
following:
– name of the object
– the ethnic group of origin
– place of origin
– description
– material (s) used
– functions
– name of parts
– function of parts
– manner of use
– definition of user (s)
– who / how produced
– accompanying ritual (s)
– ownership
– distribution

Documentation

It is imperative for a museum to documents its collections, which at the very least
is composed of a list of the various items. The list names the objects and states how many
of each there are. There are various forms of museum records:

1.Accession Record/ registry

2. Catalogue
3. Photographic record
4. Database

1. Accession Record/Registry

A very important consideration is that each object must bear a number which
corresponds to the list. The number must be marked on the subject itself. This is called
the accession number, which is usually coded. The code is usually devised to suit the
purpose of the museum. This should contain the most basic information about the
object e.g. the year of acquisition, the provenance, a succession number:
The example represents 1992 as the year of acquisition; Ifugao as the ethnic group
from which the object came; and the object is the 25th item acquired that year from
Ifugao. The following must be remembered about accession numbers:

1. It should not attempt to code all the information.

2. It must be short.
3. It must be written permanently on the object.
4. The number should be written small, but legibly.
5. It must be written on the discreet part of the object where it is not likely to be rubbed

off; and where it is not too obvious, specially when displayed.

6. It must not be repeated on another object.
7. It should be structured to follow the classificatory system of the collection.

Sometimes, fieldmen use a field number which they use to identify these objects until
these are brought to the museum where the permanent accession numbers are
assigned.

The Accession Record of a museum contains the basic information about the items in
the collection among which are:

1.1 Accession number

1.2 Date of acquisition
1.3 Name of object
1.4 Provenance
1.5 Brief description
1.6 Recorder
1.7 Notes

2. Catalogue

Each of the accessions should have an individual catalogue cards. The card
should contain all the information about the object:
2.1 Accession number
2.2 Date of acquisition
2.3 Recorder
2.4 Name (s) of object (common, local, foreigner, etc.)
2.5 Provenance
2.6 Collector
2.7 Manner of collection (purchased, donated, etc)
2.8 Description
2.8.1 Dimensions
2.8.2 Material (s)
2.8.3 Physical description
2.8.4 Function (s)
2.9 Acquisition value
2.10 Condition
2.11 History
2.12 Publication (s)
2.13 Location in storage/exhibition
2.14 Photographic/negative number
2.15 Sketch or photo of the object
2.16 Notes

3. Photographic Record

Where expedient each object of the collection should be photographed, preferably upon
acquisition. Photographs should include a scale to indicate the size of the object, and the
accession number. At least, contact prints of the negative strips should be made. The
contact prints should be filled with the negatives. The contact print and negative of each
object should be identified with the accession number of the object. When the
condition of the object is not normal, damaged portions should be clear on the
photographs.

4. Computer database

With microcomputers and database software now readily available with minimal capital
outlay the setting up of inventories becomes relatively easy. Making backups and hard
copies or printouts of all files is absolutely a must. One must not rely solely on computer
database files.
Storage disks like hard disks are notoriously unstable and short-lived. It should be noted
that computer database files only supplement the ordinary manual system of
documentation, which is the primary system. While computers are nice to have around,
these also require people who know how to make them work. Training and keeping
personnel in this field are constant problems. Unless the museum is handling a
tremendous amount of data, which, among others need to be analyzed, then a manual
system might be more practical. The application programs locally available to create
databases are DBase IV and FoxPro. Another, Superbase, is rather slow but had
graphics capabilities, i.e. the image of the collection item can be stored or displayed
with the data.

Physical Facilities

The facilities a museum requires correspond basically to the various steps in the
processing of specimens or collection items. The ideal certainly is to have adequate
space in the museum premises to carry out all the functions. Where the ideal does not
exist, provisions should be made for vital functions to be carried out.

1. Fumigation/ Cleaning

A collection item that has just come in and is newly registered ordinarily undergoes
treatment. The final phase of treatment is cleaning of the item or object just before it is
placed with the rest of the collection. The reason is that it might be infected with fungus,
wood borers, etc., which may contaminate other items in the collection. Fumigation is
imperative. In the absence of fumigation chambers, other means can be resorted to, as
illustrated on page 30, depending on the type and size of objects. (discussed more fully
under the Conservation Section)

2. Storage

Most small museums do not have provisions for storage. Storage space is imperative not
only as the usual little closets and rooms reserved for office equipage and facilities but
also and more so for collection items. A museum continually collects even though
exhibition space is usually limited. Rotation of exhibitions require space for keeping
items not on display.
The storage area should be near enough to the curator and the exhibition area that it
services. The following are among guidelines to be strictly observed:

– No one should hold office in the storage.

– No food or drink should be taken inside the storage area.
– Only fumigated/cleaned specimens should enter the storage.
– Everything that goes in and out of the storage should be recorded.
– Items should be stored systematically easy retrieval.
– No smoking inside the storage room.
– Only authorized personnel should be allowed inside the storage room.

Storage System

Collection items should be classified while in storage. The items may be grouped
according to type of items, e.g. baskets, clothing, agricultural tools; or by ethnicity, e.g.
Tagalog, Ilocano, etc.; or by material e.g. wood, metal, etc. For conservation purposes,
storing by material is recommendable since it is easier to treat, for instance, textiles as a
group instead of individual pieces scattered all over the collection.

The key, of course, for retrieval is through a cross-indexed file combined with a
systematized storage. An item when taken out should be returned to the same place.

If available, acid-free paper should be used to line shelvings. The shelving

section should be identified so that each item has its own particular slot.

Exhibition

Curators should take a keen interest in visitor profiles in order to make the
museum effective in a community. The population of museum visitors shares
general characteristics. Among these are:

– The art audience is from a narrow segment of the population, generally white collar
and well-educated.
– The sexes are just about evenly represented.
– Museum visitors at least have some college education.
– People tend to go to museums with others.
– Many are repeat visitors
– Museum attendance vary seasonally with the least during the summer months.
– The museum visitor spends an average of five minutes in an exhibition, and less in an
art display.
– The average visitor’s attention span is about thirty seconds per exhibit in a science
museum.
“The majority of the public appears to be gaining little or nothing other than trivial
impression of the exhibits”
(Zyskowksi, 1968).
– Only a small percentage of visitors make use of printed guides.
– Education and place of residence are important determinants of museum attendance.
– Museums actualize the experiences of the visitors.
– While adding to knowledge, museum exhibits tend to amplify feelings.
– Some form of visitor participation is advantageous in maximizing the effects of a
museum visit.
There are beliefs, however, that visitors expect to remain passive, preferring to be left
on their own.
– Education is the best predictor of museum attendance.
– The museum visitor has a wide variety of interests and backgrounds.
– The museum visitor has limited time.
– The museum visitor is physically exhausted after a visit and often overwhelmed by too
much sensory inputs.
– The average museum visitor is not anxious for more information or educational
materials on museum
collections. Most people do not read display labels. Keep children in mind with respect
to labels.

In sum, museums provide different services for different people. Visitors have different
personal interests, thus a museum visit cannot be structured. A museum should
therefore aim to provide a wide range of opportunities for their visitors to choose from,
making the museum experience unique for each individual.

The primary concern of many museums is display of the collection items. Limitations of
space call for well organized exhibits and periodic rotation. Most museums tend to
display everything at once
The exhibition gallery should be well-ventilated, dust-free with some means to control
light, temperature, and humidity. This would mean that the gallery be an enclosed hall
with no windows through which direct sunlight could enter. Windows, too, can get in the
way of the placement of exhibition facilities and visitors traffic flow.

No general lighting for the hall is needed but a large number of outlets should be well
and conveniently distributed throughout the room; on the base of the wall, the flooring,
or the ceiling, would be recommendable. This would allow tapping of power as needed.

It is advisable for small museums to opt for display structures that are generalized, that
is, designed to accommodate different kinds of objects with varying sizes. There are
three types of display structural facilities needed:

1. Shadow boxes
2. Pedestals (glassed or unglassed)
3. Display panels

Display facilities should be highly adaptive to various needs. In case of shadow boxes,
the glassed portion should be deep and high, which could accommodate a number of
related objects rather than just one. Some means of providing adequate ventilation for
the displayed object must be made, specially if high-intensity lighting is to be used which
will increase temperature inside the showcase. Of course, specially valuable objects
warrant a special case.

Where storage space is a problem, the bottom part of display cases can be utilized for
storage if constructed as such and provided with access.

Pedestals, to save on space, can be made into sizes that can nest inside one another.
There must be some means to lock the glass tops to the bases. It is better to have a
large pedestal holding a small object than vice versa, so large sizes are better. Large
ones also are more stable.

Sufficient number of assorted sizes of small boxes to be used as individual pedestals of

smaller objects inside a display case should be available
Display panels should be dismountable so that these can be stored in as small a space
as possible. To last longer, perforated panels are recommended because things can be
laid out on them without the continual use of nails. It is preferable that the panels are
double-faced.

Conservation

All materials change through time. Conservation merely retards the rate of changes to
perpetuate the condition of an object. In general, rapid and frequent changes in
the physical environment of an object will lead to its earlier deterioration. A relatively stable
environment without the extremes is therefore ideal for conservation of museum
objects. the Philippines is fortunate in being in the tropics where the fluctuation of
climate is not to the extremes. The difference in annual temperature is not that
pronounced. In fact, the difference in temperature between day and night is greater. The
problem is more with respect humidity for our environment has plenty of this. Countries in
temperate regions have greater museological problems due to the fluctuation of
environmental conditions to the extremes.

Attacks of insect and fungi, are constant threats. The most common insects that are the
bane of museologists are wood borers, silverfish, cockroach, termites, moths, and
bookworms. The museum should be fumigated periodically. Non-residual fumigants are
preferable.

To avoid the growth of fungi, extreme temperature changes and dampness should be
avoided. Thymol crystals can be used to inhibit the growth of moulds. This must
be used with care. It should not be used near oil paintings, painted woodwork,
etc. because it can soften many paints and lacquers.

Pollutants

Even clean air contributes to the decay of specimens due to its oxygen content.
Atmospheric pollution aggravates the situation for museums particularly with respect to
carbon monoxide, sulphur dioxide, hydrogen sulfide, and the soot from insufficiently
burned fuel from motor vehicles.
Temperature

If the temperature range can be managed then this should be kept within the range of
20ºC ± 2ºC as most collection items will not deteriorate as quickly at these
temperatures. A simple room thermometer will do to measure the temperature. In the
absence of air conditioners, electric fans or other forms of ventilation will suffice.

Humidity

A relative humidity of 50-55% is recommended. If the relative humidity goes above 65%
and the temperature is also high, moulds will develop and destroy many objects such as
textiles, pigments and paper. Hygrometers are used to measure relative humidity. In the
absence of these, one can more or less feel increased humidity by a feeling of heat,
oppressiveness and stickiness of the skin.

Electric fans which can circulate air continually during hot and humid weather can help
arrest the development of such fungi since these prefer dark, damp and warm places to
be able to grow. Dessicants in small dishes inside display cases can help. Charcoal and
silica gel substitute in small storages to keep stable temperatures and relative humidity.

Light

Light has a deleterious effect on certain materials like pigments, inks, dyes, paper,
textile and the like. It should therefore be controlled. Natural light has both ultra-violet and
infra-red rays. Ultra violet rays can cause chemical changes on some objects while infra-
red light or heat can effect physical changes.

Ultra-violet filtering plexiglass can be used in frames and cases instead of glass.
Fluorescent lights can also be covered by these filters. There are lighting facilities like
Philips TL-37 which have ultra-violet filtering components.

Security

All museum collections should be protected from:

1. Mishandling by personnel
2. Theft
3. Fire
4. Water
5. Vandalism

Staff members should be taught how to hold or carry an object of different kinds, e.g.
painting, sculpture, ceramics, baskets, etc. Training is needed in opening a book,
stacking paintings, taking materials out of a frame, carrying an object from one place to
another; the use of tapes, the acidity of bare hands and so on. In fact, in-service training
is indispensable in the handling of all types of museum objects in all possible situations
or processing steps in the museum. It is fatal to assume that people automatically know
how to handle objects. Mishandling is one of the greatest factors that contribute to the
deterioration of an object, and this is an area where museums tend to be most guilty.
 EXAMPLES OF MUSEUMS IN CAVITE

Gen. Emilio Aguinaldo Shrine

It was in this Aguinaldo ancestral home where Gen. Emilio Aguinaldo proclaimed
Philippine Independence from Spain on June 12,1898. It was also here where the
Philippine Flag made by Marcella Agoncillo in Hongkong was officially hoisted for the first
time, and the Philippine National Anthem composed by Julian Felipe was played by
Banda Malabon. Measuring 1,324 sq. m. with a five-storey tower, this building is actually
a mansion renaissance architecture, combining Baroque, Romanesque, and Malayan
influences. It stands on a sprawling ground of 4,864 sq.m. Gen. Emilio Aguinaldo himself
donated the mansion and the lot to the Philippine Government on June 12,1963, “to
perpetuate the spirit of the Philippine Revolution of 1896 that put an end to Spanish
colonization of the country”. And by virtue of Republic Act No. 4039 dated June 18,1964
issued by then President Diosdado Macapagal, the Aguinaldo Mansion was declared
national shrine.
Museo De La Salle

The lifestyle museum is dedicated to the preservation of 19th century Philippine

ilustrado culture. The collection includes antique family heirlooms such as furniture,
decorative objects, and examples of fine and applied arts displayed in faithfully recreated
rooms
Puzzle Mansion

The PUZZLE MANSION is home to the museum where you can find the record-
breaking puzzle collection of Gina Gil Lacuna. It is located in the Lacuna family’s one
hectare summer house in Tagaytay. She beat the reigning Brazilian Luiza Figueiredo in
the Guinness World Records for having the Largest Collection of Jigsaw Puzzles in the
World.

The best time to visit is when Gina herself is in the museum to personally give the tour.
She loves having kids as her audience because she wants to inspire them to believe that
more and more Filipinos can be Guinness World Record Holders.
Museo Orlina

Museo Orlina is the showcase of the artistry of internationally acclaimed Ramon

Orlina, pioneer and foremost practitioner of glass sculpture in the country. Before Orlina,
glass was largely appreciated only for its utilitarian function: as drinking vessels, window
glass panes or automotive windshields. A visionary, Orlina saw beyond the humble origin
of this industrial glass residue. The result is an exultant body of works that, through the
decades, have dazzled the art scene and prized by numerous collectors. Triumphantly,
Orlina has transformed the medium by elevating it to the dignity and respectability of art.
The Museo Orlina opens its door to the public, where they can view superb examples of
Ramon Orlina’s scintillating artistry to their delight and enchantment.
Orlina’s contribution to society both to its spirit and the economy, is witnessed by the
major commissions he has received. The first, ARCANUM XIX, Paradise Gained, greeted
me in the foyer of the Silahis Hotel on the first day of my first visit to the Philippines in
1976. In the 1970s, few large-scale contemporary glass works existed anywhere in the
world. This work gave the lie to the popular notion that contemporary glass was a creature
of Europe and North America (the work is now on loan to the National Museum).