CAVITE STATE UNIVERSITY

COLLEGE OF ENGINEERING AND INFORMATION TECHNOLOGY

DEPARTMENT OF CIVIL ENGINEERING

ARCHITECTURE UNIT

RE: 300
HERITAGE MUSEUM

MERANO, LYCA H.

201910388/ BS ARCHITECTURE 2-1

AR. BUTCH EDWARD T. FAUSTINO

04 JANUARY 2021
 INTRODUCTION

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.

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.

The distinction between a heritage centre or park, and a history-based theme

park can become blurred, as at Nikko Edomura, focused on Feudal Japan, and Wild
West City, a self-described "heritage theme park" about the American Old West. To
sum up it all, heritage museums are all historical and it is very valuable because it is the
reflection of the hardships, talents of our ancient. Displays of ancient things are all
nostalgic to be seen, it will make bring us back to the old days and made un appreciate
the efforts of our ancient to make those things and give us what we have now. Enjoying
what we have now are all thanks to our ancient, partly thanks to our ancient.
Architecture plays an important role to heritage museums. Some of it has a very evident
aesthetic façade and also the interior. It will be a good practice to design museums and
and also a challenge.
 HERITAGE MUSEUM

Many public museums make these items available for public viewing
through exhibits that may be permanent or temporary. The largest museums are located
in major cities throughout the world, while thousands of local museums exist in smaller
cities, towns, and rural areas. Museums have varying aims, ranging from serving
researchers and specialists to serving the general public. The goal of serving
researchers is increasingly shifting to serving the general public.

The archaeological and historical records do not provide evidence that the
museum as it is known today developed in such early times, nor does the
word museum support this, despite its classical origin. Nevertheless, the collection of
things that might have religious, magical, economic, aesthetic, or historical value or that
simply might be curiosities was undertaken worldwide by groups as well as by
individuals.

In the Greek and Roman empires the votive offerings housed in temples,
sometimes in specially built treasuries, are but one example: they included works of art
and natural curiosities, as well as exotic items brought from far-flung parts of the
empires, and they were normally open to the public, often upon payment of a small fee.
Closer to the concept of a museum was the Greek pinakotheke, such as that
established in the 5th century BCE on the Acropolis at Athens, which housed paintings
honouring the gods. Nor was there a lack of public interest in art at Rome.

Indeed, art abounded in the public places of Rome, but there was no museum.
The inaccessibility of the collection of more than one Roman emperor was the subject of
public comment, and Agrippa, a deputy of Augustus, commented in the 1st
century BCE to the effect that paintings and statues should be available to the people.
In Asia veneration of the past and of its personalities also led to the collection of
objects.

Collecting commenced at least as early as the Shang dynasty, which ruled China
from approximately the mid-16th to the mid-11th century BCE, and it was well
developed by the Qin dynasty (3rd century BCE)—as attested by the tomb of the Qin
emperor Shihuangdi, near Xi’an (Sian), which was guarded by an army of terra-cotta
warriors and horses. Together with other grave goods, these objects are preserved on-
site in the Museum of Qin Figures. The palace of Shihuangdi is recorded as having
many rare and valuable objects.
 Successive Chinese emperors continued to promote the arts, manifest in fine
works of painting, calligraphy, metalwork, jade, glass, and pottery. For example,
the Han emperor Wudi (reigned 141/140–87/86 BCE) established an academy that
contained paintings and calligraphies from each of the Chinese provinces, and the last
Han emperor, Xiandi (abdicated 220 CE), established a gallery containing portraits of
his ministers. In Japan the Tōdai Temple, housing a colossal seated bronze statue of
the Great Buddha (Daibutsu), was built in the 8th century at Nara. The temple’s
treasures still can be seen in the Shōsō-in repository there.

At about the same time, Islamic communities were making collections of relics at
the tombs of early Muslim martyrs. The idea of waqf, formalized by Muhammad himself,
whereby property was given for the public good and for religious purposes, also resulted
in the formation of collections. In tropical Africa the collection of objects also has a
long history, as instanced in wayside shrines and certain religious ceremonies. Similar
collections were made in many other parts of the world.

In medieval Europe collections were mainly the prerogative of princely houses

and the church. Indeed, there was often a close link between the two, as in the case of
the fine treasures of the emperor Charlemagne, which were divided among a number of
religious houses early in the 9th century. Such treasures had economic importance and
were used to finance wars and other state expenses. Other collections took the form
of alleged relics of Christendom, in which there was a considerable trade.

At this time Europe’s maritime links with the rest of the world were largely
through the northern Mediterranean ports of Lombardy and Tuscany, which, together
with the ecclesiastical significance of Rome, brought considerable contact between the
Italian peninsula and the Continent. There is evidence of the movement of antiquities,
and of a developing trade in them, from the 12th century. Henry of Blois, bishop of
Winchester, is reported to have bought ancient statues during a visit to Rome in 1151
and to have dispatched them to England, a journey of about one month’s duration.

The movement of antiquities was not confined to those of Italy. Exotic material
from other areas entering Italian ports soon found its way into royal collections, while
the Venetian involvement in the Fourth Crusade early in the 13th century resulted in the
transfer of the famous bronze horses from Constantinople (now Istanbul) to the San
Marco Basilica in Venice.
 The influences that led to the Renaissance were already at work in Italy, and, as
a result, the first great collections began to form. A reawakening of interest in Italy’s
classical heritage and the rise of new merchant and banking families at this northern
Mediterranean gateway to the Continent produced impressive collections of antiquities,
as well as considerable patronage of the arts.

Outstanding among the collections was that formed by Cosimo de’

Medici in Florence in the 15th century. The collection was developed by his
descendants until it was bequeathed to the state in 1743, to be accessible “to the
people of Tuscany and to all nations.” In order to display some of the Medici paintings,
the upper floor of the Uffizi Palace (designed to hold offices, or uffizi) was converted and
opened to the public in 1582. Indeed, many of the palaces holding such collections were
open to visitors and were listed in the tourist guides of the period.
 Elsewhere in Europe, royal collections were developed. King Matthias I of
Hungary maintained his paintings at Buda and kept Roman antiquities at Szombathely
Castle during the 15th century. Maximilian I of Austria acquired a collection for his castle
in Vienna. Samples of both scientific material and art were featured in the “green vaults”
of the Dresden palace of Augustus of Saxony, while the archduke Ferdinand of Tirol
housed a varied collection that included Benin ivories and Chinese paintings at Ambras
Castle near Innsbruck. Other notable central European collections included those of the
Holy Roman emperor Rudolf II at Prague and of Albert V, duke of Bavaria, who from
1563 to 1571 had buildings designed and erected to house his collections in Munich.
The collection of the Polish king Sigismund II Augustus was housed at Wawel
Castle, Kraków.

Royal patronage was crucial to the encouragement of the arts at this time. Rudolf
II sponsored astrologers and alchemists as well as artists. Francis I of France invited
famed French and Italian craftsmen and artists, including Leonardo da Vinci, to rebuild
and embellish his château at Fontainebleau, and there he kept his outstanding
collection of art. In England Henry VIII gave his attention to music and thus did not form
a collection of significance. He was responsible, however, for the appointment in 1533
of a King’s Antiquary, whose task was to list and describe the antiquities of the country.

(Similar appointments were made subsequently by the Habsburg monarchs and

by King Gustav II Adolf of Sweden.) It was not until the 17th century that the first
important royal collection was formed in England by Charles I, only to be much
dispersed after his execution in 1649. Following the Restoration, Charles II also
maintained a collection, but this was lost in a fire at Whitehall Palace in 1698. Early in
the reign of Charles II, displays of arms and armour were being prepared at the Tower
of London; clearly intended for the public benefit, these displays marked an important
step in the development of a museum of the Royal Armouries.
 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.

HERITAGE MUSEUM IN THE PROVINCE OF CAVITE

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.

AGUINALDO SHRINE AND MUSEUM ( KAWIT, CAVITE)

MUSEO DE LA SALLE ( DASMARIÑAS CITY, CAVITE )
 REFERENCES:

https://en.wikipedia.org/wiki/Museum

https://en.wikipedia.org/wiki/Heritage_centre#cite_note-1

https://www.britannica.com/topic/museum-cultural-institution/Renaissance-Italy

https://ncca.gov.ph/about-ncca-3/subcommissions/subcommission-on-cultural-
heritagesch/museums/guidelines-for-
museums/?fbclid=IwAR2HBmBDrKsfywwuJq2Y9qufNiMBXhNZB0_gx_o4sbpRbGp30x
qEjNH0oFU

http://cavite.gov.ph/home/province/general-information/history/brief-history-of-
cavite/?fbclid=IwAR0U9DaOLpYo72FIlsRfl3PRvWIOth1f-
8m8hBaDRy_sxEklAAkVuOKGdSc#

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cCegQIABAA&oq=HERITAGE+MUSEUMS+IN+CAVITE&gs_lcp=CgNpbWcQAzoECC
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