SUBMITTED BY: SAMSON,KATHLEEN CELINE D. DIAZ, RODOLF D. RODRIGUEZ, LYNELD IVAN M.

BS ARCHITECTURE 4B

SUBMITTED TO: ARCHITECT JESUSA ROBLES ARCHIRECTURAL DESIGN 413

RESTORATION OF ST. JOHN THE BAPTIST CHURCH

: Old photos of St. John the Baptist Church

:Old Photos of St. John the Baptist Church

I: INTRODUCTION

ABSTRACT

The research paper present concepts, methods and details adopted for the restoration of Saint John the Baptist church in Dinalupihan, Bataan. The church has minor structural problems which are able to fix other part of the church such as appropriate specifications for plasters, waterproofing materials, structural solution also use of original materials, as far as possible. The replacing of the other material to a new materials and stitches for specific repairs like about the gutter, canopy, roof and other minor part are some adjustment in some part of the church. Materials and features from the restoration period are identified, and features from the restoration period will be maintained, protected, repaired and replaced, if necessary. The historic buildings appearance may be defined by the form and detailing of its exterior materials, such as masonry, wood, and metal; exterior features, such as roofs, porches, and windows; interior materials, such as plaster and paint; and interior features, such as mouldings and stairways, room configuration and spatial relationships. As opposed to other treatments; missing features from the restoration period may be replaced, based on documentary and physical evidence, using traditional materials or compatible substitute materials. The final guidance emphasizes that only those designs that can be documented as having been built should be re-created in a restoration project. Identify, retain, and preserve materials and features from the restoration period the guidance for the treatment restoration begins with recommendations to identify the form and detailing of those existing architectural materials and features that are significant to the restoration period as established by historical research and documentation.

: Front

Elevation

:Rear Elevation -

:Main Entrance

: Present condition of St. John the Baptist Parish

: Side Elevation

: OLD INTERIOR OF ST. JOHN THE BAPTIST CHURCH

: PRESENT INTERIOR OF ST. JOHN THE BAPTIST CHURCH

II. ARCHITECTURAL DETAILS

Church: ST. JOHN THE BAPTIST CHURCH Location: RIZAL ST., POBLACION, DINALUPIHAN, BATAAN Architectural Style: MODERN ARCHITECTURE

Modern architecture is generally characterized by simplification of form and an absence of applied decoration. It is a term applied to an overarching movement, with its exact definition and scope varying widely.

Architectural Characters:

simplicity and clarity of forms and elimination of "unnecessary detail" visual expression of structure (as opposed to the hiding of structural elements)

Emphasis on function Walls: contrasting materials and textures, or smooth, blank walls Windows: "special" windows, such as ribbon, picture, or awning windows; usually a marked use of large expanses of glass on one section of the structure, most often the rear, with small windows, if any, on other sections of the church

Landscape Integration: sliding glass doors, patios and outdoor living spaces, large expanses of glass, courtyards, horizontal orientation and integration of natural landscape features into design, use of natural materials

Form: horizontal with simple, clean lines, form following function, exposed structure, asymmetry, de-emphasis or lack of articulation at main entrance, and lack of ornamentation.

Modernist architecture emphasizes function. It attempts to provide for specific needs rather than imitate nature.

St. John the Baptist Parish was formerly constructed on November 11, 1913, designed by Architect Luis S. Manansala Jr...

It was reconstructed on June 30, 1985 under the Msgr. Bruno Torpigliani,DJCD,D.D.

Presently, it was restored on the early days of 2013.

III. HISTORICAL BACKGROUND

When the Spaniards arrived, Dinalupihan was a sitio of the community of Llana Hermosa, which was in turn a town of Pampanga. Pampanga then was an encomienda. Dinalupihan became one of the vast properties of the Archdiocese of Manila. As early as 1756, the former priests of Hermosa had urged the people to make voluntary contributions of land to the Archdiocese. Parcels of Dinalupihan became the favorite donation. In time, the Diocese was able to accumulate vast tracks of land which became known as Diocesan Estate which later on was known as Dinalupihan Estate.

The Dinalupihan Estate was a vast land covering the TucopPagalanggang agricultural area. It was the product of labor and perseverance of the original settlers who had cleared and worked on the land. Before they knew it, the archbishop had already obtained a grant from the Spaniards government making the church as the owner of the estate.

Between 1817-1819, the Archbishop of Manila, Juan Antonio Zulaibar, attempted to make money out of the vast area. He ordered the conversion of the Dinalupihan Estate into a hacienda. He solicited funds from affluent Manila based Spaniards and spent P 15,000.00 for the development of the area into both sugar and rice fields. For the first three years, he sent 2,424 cavans of palay for seedlings and food for the farm managers or inquilinos. Naturally, Archbishop Zulaibar expected big profits from the venture which he intended to use to support the San Carlos Seminary, an archdiocesan facility. Unfortunately, the operation of the hacienda was a failure. The fields continued producing stunted plants. The appointed estate managers insisted that it resulted from insect menace and regular flooding. It turned out, however, that the managers were simply not entering into the books all the

rentals that they were collecting from the workers. After three years, the Archbishop closed the hacienda and opened another ranch somewhere else. Sometime in 1820, or immediately after Manila Archbishop Juan Antonio Zulaibar stopped the operation of Dinalupihan Hacienda, Dinalupihan is believed to have been established as an informal pueblo (town).

Don Pedro Fermn Bernal, a secular priest from Lubao as the first recorded Filipino missionary assigned in Dinalupihan. He was the pioneer parish priest of Dinalupihan from 1839-1842. Don Pedro was assigned in Dinalupihan to take care of spiritual needs of the early settlers in the area who spent many years working in the sugarcane fields of Tucop and Pagalanggang which were owned by the Archbishop of Manila. Starting from scratch, Don Pedro immediately built the first visita (chapel) of St. John the Baptist in its present site in 1839. It was the time when only town roads were in actual use in Dinalupihan. These were the Burgos and the Zamora Streets where the former Hacienda workers actually settled down while working in the sugarcane fields.

Don Pedro Bernal stayed in Dinalupihan for three years and was replaced by another secular priest, Don Bernardo Marcelo, in 1842. The third secular priest was Don Mariano Miranda. The latter stayed in Dinalupihan from 1847 until 1857, eight years before the former barangay of Hermosa finally became a regular town.

Don Victoriano Chevarria, another secular parish priest, replaced Don Miranda until 1875. The seculars continued to minister the parish until after 1898.

A List of succeeding parish priest of Dinalupihan:

1875 - Don Bonifacio Socco 1885 - Don Bonifacio Icasiano 1890 - Don Bonifacio Socco 1893 - Don Domingo T. Anonuevo 1896 - Don Mariano Sarili 1897 - Don Francisco Ortiz 1898 - Don Mariano Almeyda

During the American and Japanese Occupations, the Church of St. John the Baptist was under the ministration of the Parish Priest of the Church of Llana Hermosa, which is under the Archdiocese of San Fernando, Pampanga.

A List of succeeding parish priest of Dinalupihan: 1942 Fr. Eduardo Cabangis 1943 Msgr. Ricardo Esguerra 1957 Fr. Vicente Alarcon 1957 - Fr. Florentino Guiao 1988 Msgr. Wilfredo Fabros 1994 Msgr. Josue Enero 2002 Msgr. Edilfredo Cruz 2008 Fr. Froilan Miguel 2010 Fr. Maximo Villanueva 2011 Fr. Rene De Leon

IV. RESTORATION
A. Definition of Restoration

Restoration is defined as the act or process of accurately depicting the form, features, and character of a property as it appeared at a particular period of time by means of the removal of features from other periods in its history and reconstruction of missing features from the restoration period. The limited and sensitive upgrading of mechanical, electrical, and plumbing systems and other code-required work to make properties functional is appropriate within a restoration project. Building restoration describes a particular treatment approach and philosophy within the field of architectural conservation.

ARCHITECTURAL CONSERVATION

Architectural conservation describes the process through which the material, historical, and design integrity of humanity's built heritage are prolonged through carefully planned interventions. The individual engaged in this pursuit is known as an architectural conservator. Decisions of when and how to engage in an intervention are critical to the ultimate conservation of the immovable object. Ultimately, the decision is value based: a combination of artistic, contextual, and informational values is normally considered. In some cases, a decision to not intervene may be the most appropriate choice.

Architectural conservation deals with issues of prolonging the life and integrity of architectural character and integrity, such as form and style, and/or its constituent materials, such as stone, brick, glass, metal, and wood. In this sense, the term refers to the "professional use of a combination of science,

art, craft, and technology as a preservation tool" and is allied with - and often equated to - its parent fields, of historic environment conservation and art conservation.

B. TREATMENT APPROACHES TO ARCHITECTURAL CONSERVATION:

Preservation, "places a high premium on the retention of all historic fabric through conservation, maintenance and repair. It reflects a building's continuum over time, through successive occupancies, and the respectful changes and alterations that are made."

Rehabilitation "emphasizes the retention and repair of historic materials, but more latitude is provided for replacement because it is assumed the property is more deteriorated prior to work. (Both Preservation and Rehabilitation standards focus attention on the preservation of those materials, feature, finishes, spaces, and spatial relationships that, together, give a property its historic character."

Restoration "focuses on the retention of materials from the most significant time in a property's history, while permitting the removal of materials from other periods. Restoration is defined as the act or process of accurately depicting the form, features, and character of a property as it appeared at a particular period of time by means of the removal of features from other periods in its history and reconstruction of missing features from the restoration period. The limited and sensitive upgrading of mechanical, electrical, and plumbing systems and other code-required work to make properties functional is appropriate within a restoration project.

V. GUIDELINES IN RESTORATION OF THE CHURCH

A. Used as Reflection of Propertys Restoration Period St. John the Baptist Parish will be utilized as it was historically use which reflects the property's restoration period as the Mother Parish of the town of Dinalupihan. This is under the Diocese of Balanga, Bataan. It was under the ecclesiastical authority of Most Rev. Ruperto Santos, D.D., Bishop of Balanga. Previously, the whole town of Dinalupihan was ecclesiastically under the Parish Church of St. John the Baptist. The Parish celebrates its Feast Day every June 24; in honour of St. John the Baptist. The Parish also considers the Blessed Virgin Mary as their Patroness. Presently, St. John the Baptist Parish covers the 18 Poblacion Barangays of the town of Dinalupihan.

B. Retention and Preservation of Materials and Features from Restoration Period Materials and features from the restoration period will be retained and preserved. The removal of materials or alteration of features, spaces, and spatial relationships that characterize the period will not be undertaken. The historic character of a property will be retained and preserved. The replacement of intact or repairable historic materials or alteration of features, spaces, and spatial relationships that characterize a property will be avoided. Distinctive materials, features, finishes, and construction techniques or examples of craftsmanship that characterize a property will be preserved.

Materials used in St. John the

Baptist Parish:

a.) Spanish Style Ceramic Roof Tiles The recent roof covering of the church used red galvanized iron roof tile as mirrored from the original ceramic tile of the church. The used G.I. roof tile will be replaced with Spanish Style Ceramic Roof Tiles to preserve the original manifestation of the church.

RESTORE METHODOLOGY: Identifying, retaining, and preserving roofsand their functional and decorative featuresthat are important in defining the overall historic character of the church. This includes the roofs shape, decorative features; and roofing material the clay tile as well as its size, colour, and patterning. Stabilizing the deteriorated or damaged roofs as a preliminary measure, when necessary, prior to undertaking appropriate preservation work. Protecting and maintaining a roof by cleaning the gutters and downspouts and replacing deteriorated flashing. Roof sheathing should also be checked for proper venting to prevent moisture condensation and water penetration; and to insure that materials are free from insect infestation. Providing adequate anchorage for roofing material to guard against wind damage and moisture penetration. Protecting a leaking roof with plywood and building paper until it can be properly repaired. Repairing a roof by reinforcing the historic materials which comprise roof features using recognized preservation methods. The new work should be unobtrusively dated to guide future research and treatment. Replacing in kind extensively deteriorated or missing parts of roof features or roof coverings when there are surviving prototypes the new work should match the old in material, design, colour, and texture; and be unobtrusively dated to guide future research and treatment.

b.) Stained glass window

The stained glass is coloured glass used as a material or to works created from it. Throughout its thousand-year history, the term has been applied almost exclusively to the windows of churches and other significant buildings.

RESTORE METHODOLOGY: Stained glass used in the

: ALTAR WINDOW

window of the church to show the religious images like the station of the cross and religious symbols. These windows provide natural lighting in the church as well as aesthetic material. As the natural light pass through the glass window, the created
: STAINED GLASS WINDOW

figures and images in the stained glass glow and shine that makes the interior more scenic and exquisite to the viewers.

The stained glass will be cleansed and polished to maintain its natural pigmentation. Shuttered and mislaid pieces of glass will be superceding with new glass having the same property and quality of the antiquated glass. The outer face of the window will have maintenance cleaning to

preserve the historical quality of the church.

: ALTAR WINDOWS

: HOLYWATER FONT OR STOUP

c.) Marble finishes wall and flooring The church used a combination of pure white marble in the walls, floors and holy water font or stoup, and red marble in the flooring which results to a magnificent effect in the interior creating a more scenic view.
: SESSION HALL FLOORING

RESTORE METHODOLOGY: The marble floorings and wallings will be cleansed using a power wash with a high pressure compressor to extremely clean the material. Stains will be eradicated using chemical formula that will not alter the physical properties and quality of the marble. Cracked fragments will be repair and replace with comparable features to maintain the antiquity of the church. Stabilizing deteriorated or damaged interior features and finishes as prior a preliminary to measure, when

necessary,

undertaking

appropriate

preservation work. Protecting and maintaining marble that comprise interior features through appropriate surface treatments such as cleaning, stain removal, limited paint removal, and reapplication of protective coating systems.
: COLUMN FACADE

: AISLE FLOORING

d.) Wall cladding Cladding is the application of one material over another to provide a skin or layer intended to control the infiltration of weather elements, or for aesthetic purposes. Cladding does not necessarily have to provide a waterproof condition but is instead a control element. This control element may only serve to safely direct water or wind in order to control run-off and prevent infiltration into the building structure. Cladding applied to windows is often referred to as window capping and is a very specialized field.
: FACADE WALL : ALTAR WALL

Masonry is the type of wall cladding used in St. John the Baptist Church, which involves the application of carved stone or brick to the facade of the church. Stone as a cladding material is typically very durable, though depending on the particular design, it may not be as waterproof as other types of cladding. Certain types of stone cladding may allow water to penetrate to the underlying wood surface, which can allow it to rot if left unattended.
: STUCCO AND BRICK SIDE WALL

: FACADE WALL CLADDING

RESTORE METHODOLOGY: Bricks, stone and adobe wall cladding in the exterior and decorative brick stone and marble wall cladding in the interior are used in the walls of the St. John the Baptist church. Stabilizing deteriorated or damaged masonry as a

preliminary measure, when necessary, prior to undertaking appropriate preservation work.

Protecting and maintaining masonry by providing proper drainage so that water does not stand on
: GATE ADOBE COLUMN

flat, horizontal surfaces or accumulate in curved decorative features. Cleaning masonry only when necessary to halt deterioration or remove heavy soiling. The upgrade will involve a general cleaning of the faade and every wall in the interior and exterior using a power wash with a high pressure compressor in

: REAR STONE WALL CLADDING

all the brick work and wall cladding in

these areas. The exterior of the wall especially the rear elevation which is a session hall for prayers before will be cleaned and concealed in order to be used again. The finished application will be invisible, the original appearance and breathability of the cladding will be maintained. Repairing masonry walls and other masonry features by repointing the mortar joints where there is evidence of deterioration such as disintegrating mortar, cracks in mortar joints, loose bricks, damp walls, or damaged plasterwork. Repairing masonry features by patching, piecing-in, or otherwise reinforcing the masonry using recognized preservation methods. The new work should be unobtrusively dated to guide future research and treatment. Applying new or non-historic surface treatments such as waterrepellent coatings to masonry only after repointing and only if masonry repairs have failed to arrest water penetration problems.

e.) Wood ceilings, altar and detailed works The church used plank wood panels in the altar ceiling, mahogany solid wood in the altar,wall panels,and confession area, and large ply wood for the church ceiling. Some of these areas have deteriorated wood part. The ceiling near the bell tower have water leakage that made the ceiling ruined due to the rain water that passes through the roof. Other wood works needs maintenance in cleaning to preserve the natural appearance of the wood.
: ALTAR DECORATED WOODEN COLUMN

RESTORE METHODOLOGY: Identifying, retaining, and preserving wood features that are important in defining the overall historic character of the building such as
: ALTAR WOODEN CEILING

siding,

ceilings,

cornices,

brackets,

window architraves, and doorway pediments; and their paints, finishes, and colors. Stabilizing deteriorated or damaged wood as a preliminary measure, when necessary, prior to undertaking appropriate preservation work. Protecting and maintaining wood features by providing proper

: ALTAR WOOD ORNAMENTS

drainage so that water is not allowed to stand on flat, horizontal surfaces or accumulate in decorative features. Applying chemical preservatives to wood

features such as beam ends or outriggers that are exposed to decay hazards and are traditionally unpainted. Retaining coatings such as paint that help protect the wood from moisture and ultraviolet light. Paint removal should be considered only where there is paint surface deterioration and as part of an overall maintenance program which involves repainting or applying other appropriate protective coatings. Inspecting whether painted wood

surfaces to

determine

repainting is

necessary or if cleaning is all that is required. Removing damaged or deteriorated paint to the
: DECORATIVE ALTAR DECORATION

next sound layer using the gentlest method possible (handscraping and handsanding), then repainting. Applying compatible paint coating systems following proper surface preparation. Repainting with colors that are appropriate to the historic building and district. Evaluating the existing condition of the wood to determine whether more than protection and maintenance are required, Repairing, stabilizing, is, if repairs to wood features will be necessary. conserving fragile wood using well-tested

and

consolidants, when appropriate. Repairs should be physically and visually compatible and identifiable upon close inspection for future research. Repairing wood features by patching, piecing-in, or otherwise reinforcing the wood using recognized preservation methods. The new work should be unobtrusively dated to guide future research and treatment.

: CONFESSION ROOM : DETERIORATED CEILING

: WOODEN WALL SCULPTURE

: ALTAR DECORATIVE WOOD WORKS

: PRAYER ROOM SCULPTURED WOOD WALL PANEL

: WOODEN SLIDING DOOR PANEL

: SCULPTURED WOOD CHAIR

f.) Architectural Metals (Cast iron, steel, pressed tin, copper,

aluminium, and zinc) St. John the Baptist church used architectural metals in the church details. In the main entrance gate and main entrance porch of the church, architectural details as the metal gates and decorations can be seen in the entry way. The old church bell is located in the western front of the church. Other architectural metals are the historical plate of the church, gate

decorations, chandelier, wall lightings, and stairs to the bell tower, prayer templates, door swings and windows. Some of these features are old and deteriorated which needs to be repair and restore the quality of the materials, especially the stairs to the bell tower, which needs a wide renovation in order to be operating again.

RESTORE METHODOLOGY:

Identifying, retaining, and preserving architectural metal features such as, window hoods, or stairways that are important in defining the overall historic character of the building; and their finishes and colours. Identification is also critical to differentiate between metals prior to work. Each metal has unique properties and thus requires different treatments. Stabilizing

deteriorated or damaged architectural metals as a preliminary measure, when necessary, prior to undertaking appropriate preservation work.

Protecting and maintaining architectural metals from corrosion by providing proper drainage so that water does not stand on flat, horizontal surfaces or accumulate in curved, decorative features. Cleaning architectural metals, when appropriate, to remove corrosion prior to

repainting or applying other appropriate protective coatings. Identifying the particular type of metal prior to any cleaning procedure and then testing to assure that the gentlest cleaning method possible is selected or determining that cleaning is inappropriate for the

particular metal. Repairing, stabilizing, and conserving fragile architectural metals using well-tested consolidants, when appropriate. Repairs should be physically and visually compatible and identifiable upon close inspection for future research. Repairing architectural metal features by patching, piecing-in, or otherwise reinforcing the metal using recognized preservation methods. The new work should be unobtrusively dated to guide future research and treatment.

: ENTRANCE GATE

: SIDE GATE

: DOOR GRILLED GATES

: BELL TOWER STAIRCASE

C. Preservation of distinctive materials, features, finishes, and construction techniques or examples of craftsmanship that characterize the restoration period Windows, doors, materials and other architectural features make a considerable contribution to the overall quality of buildings and these must be respected when contemplating any alteration or extension. Traditional details found on the original building should be carefully restored rather than replaced, and such details should be incorporated into any extension Architectural Characters and Features of St. John the Baptist Church:

a.) Architectural Mouldings

Moulding is decorative strip either a strip of wood or another material used to decorate or finish a surface of a wall or a piece of furniture which is something made or produced in mould. Moulding is a member of construction or decoration so treated as to introduced varieties of outline or contour in edges, or surfaces, whether on projections or cavities, as on cornices, capitals, bases door and window jambs and heads. Decorative mouldings are used in door jamb and altar of St. John Church. The door jamb was decorated with egg and dart moulding which is also called as Egg-and-tongue is an ornamental device often carved in wood, stone, or plaster quarter-round ovolo mouldings, consisting of an egg-shaped object alternating with an element shaped like an arrow, anchor or dart. Different kinds of

architectural mouldings are used in the altar and in the faade of the church.

: JESUS SHRINE MOULDINGS

: CANOPY MOULDING AND CORNICE

: PARAPET CORNICES

b.) Architectural cornices Cornice is any moulded projection which crowns or finishes the part to which it is fixed. It is an ornamental moulding usually wood or plaster, running round the walls of a room just below the ceiling. These cornices are used in the ceiling and below the ceiling of the church. Cornices were also used in the decorations of the altar which is made up of wood, varnished with mahogany red colour pigment and golden paint.

: CEILING CORNICES

c.) Doors and Windows

: SLIDING PANEL DOOR

Windows and doors are some of the most important features of the church. Even small alterations can have a huge impact on the buildings overall appearance. Where the original windows exist, they should be repaired rather than replaced. It is often cheaper to employ a specialist craftsman to overhaul the existing rather than insert new ones. Where replacement is unavoidable, accurate reproductions of the original are essential. New windows should be fixed in the same position as the original, recessed from the face of the building. The windows used stained glass creating images which contribute to the religious value of the church. The door used door grill to provide natural ventilation in the church. The main door used sliding door solid wood curved with the Ten Commandments of God which is hidden inside the wall of the church. The window in the bell tower used clay window to provide natural lighting and ventilation inside the tower.

: ALTAR CLERESTORY WINDOW

: GRILLED ENTRANCE DOOR

Protecting

and

maintaining

the

architectural metals which comprise the window frame, sash, muntins, and surrounds through appropriate surface
: BELL TOWER SCREEN BLOCK WINDOW

treatments such as cleaning, rust removal, limited paint removal, and reapplication of protective coating systems.

d.) Exterior Floor Pavement St. John Church used brick pavement which patterned the flooring with keystone red colour brick stone. These pavements were rough to provide non-skid property to avoid slippery during wet season.

: ENTRANCE FLOOR PAVEMENT

: SIDE FLOOR PAVEMENT

e.) Stucco Wall Stucco or render is a material made of an aggregate, a binder, and water. Stucco is applied wet and hardens to a very dense solid. It is used as decorative coating for exterior walls of the church as an artistic material in architecture. Stucco may be used to cover other construction materials such as concrete, cinder block, clay brick, adobe, or wood.

f.)

Coffered

and

Suspended ceiling A coffer (or

coffering) in architecture, is a sunken panel in the shape of a square,

rectangle, or octagon in a ceiling, soffit or vault. A series of these sunken panels were used as

decoration for a ceiling or a vault, also called caissons ('boxes"), or lacunaria ("spaces, openings"),so that a coffered ceiling can be called a lacunar ceiling: the strength of the structure is in the framework of the coffers. Square coffered ceiling was used in the ceiling of St. John Church.

A dropped or suspended ceiling is often a secondary ceiling, hung below the main (structural) ceiling. It may also be referred to as a drop ceiling, Tbar ceiling, false ceiling, or suspended ceiling, and is a staple of modern construction architecture. area above and The the

dropped ceiling is called the plenum space, as birds and bats are staying

during the mass in the church.

g.) Painted Altar Ceiling One of the most magnificent features of St. John the Baptist Church was the ceiling painting above the altar. The painting was the Holy family when Jesus Christ was still a baby with angels flying in the background. The Holy Family consists of the Child Jesus, the Virgin Mary, and Saint Joseph. The Feast of the Holy Family is a liturgical celebration in the Roman Catholic Church in honour of Jesus of Nazareth, his mother, the Blessed Virgin Mary, and his foster father, Saint Joseph, as a family.

h.) The Altar Altar is an elevated table, slab or structure often of stone, rectangular or oval, for religious rites or offerings. St. Johns altar was made up of magnificent solid mahogany

wood polished and varnished, and painted with golden pigment in some decorative details of the altar. The details of the altar were classical style which uses capitals, architectural columns, mouldings and and

cornices making it as the central attraction of the church.

i.) Bell Tower A bell tower is a tower which contains one or more bells, or which is designed to hold bells. The Italian term campanile (/kmpnili/; Italian pronunciation: [kampanile]), deriving from the word 'campana' meaning bell, is synonymous with 'bell tower'. A bell tower may also be called a belfry, though this term may also refer to the substructure which houses the bells rather than the tower as a whole.

Old bell towers may be kept for their historic or iconic value, though in countries with a strong campanological tradition they often continue to serve their original purposes as well.

j.) Canopy

A canopy is an overhead roof or else a structure over which a fabric or metal covering is attached, able to provide shade or shelter. A canopy can also be a tent, generally without a floor. Architectural canopies include projections giving protection from the weather, or merely decoration. Such canopies are supported by the building to which they are attached and often also by a ground mounting provided by not less than two stanchions, or upright support posts.

k.) Parapet

A parapet is a barrier which is an extension of the wall at the edge of a roof, terrace, balcony, or other structure. Where extending above a roof, it may simply be the portion of an exterior wall that continues above the line of the roof surface, or may be a continuation of a vertical feature beneath the roof such as a fire wall or party wall. Parapets were originally used to defend buildings from military attack, but today they are primarily used as guard rails and to prevent the spread of fires.

l.) Bas Relief

Relief, or relievo rilievo, is a sculptural technique. The term relief is from the Latin verb relevo, to raise. To create a sculpture in relief is to give the impression that the sculpted material has been raised above the background plane. What is actually performed when a relief is cut in from a flat surface of stone or wood is a lowering of the field, leaving the unsculpted parts seemingly raised. The technique involves considerable chiselling away of the background, which is a time-consuming exercise with little artistic effect if the lowered background is left plain, as is often the case. On the other hand, a relief saves forming the rear of a subject, and is less fragile and more securely fixed than a sculpture in the round, especially one of a standing figure where the ankles are a potential weak point, especially in stone. In other materials such as metal, clay, plaster stucco, ceramics or papier-mch the form can be just added to or raised up from the background, and monumental bronze reliefs are made by casting. The bass relief was located in the rear wall in the church showing the station of the cross. This area was hidden garden of arts where visitors are prohibited to enter due to the development undertaken in the church.

m.) Classical Chandelier

A chandelier is a decorative ceilingmounted light fixture. Chandeliers are often ornate, and normally use lamps. Crystal Chandeliers has more or less complex arrays of crystal prisms to illuminate a room with refracted light.

n.) Awning Window Awning windows are hinged at the top and open outward. Usually wider than they are tall, their entire sash opens to provide full side-to-side ventilation. An awning window is a casement window that is hung horizontally, hinged on top, so that it swings outward like an awning.

o.) Screen Wall Blocks A unique product separates and defines space and creates openness like no other. This decorative, yet functional block provides excellent protection against the sun's heat and action from glare, at the same time allowing welcoming breezes to pass through. This wall block was used as window in the bell tower of the church which provide natural and ventilation inside.

RESTORE METHODOLOGY:

Materials, features, spaces, and finishes that characterize other historical periods of St. John Church will be documented prior to their alteration or removal. Deteriorated features from the restoration period will be repaired rather than replaced. Where the severity of deterioration requires replacement of a distinctive feature, the new feature will match the old in design, colour, texture, and, where possible, materials.

Replacement of missing features from the restoration period will be substantiated by documentary and physical evidence. A false sense of history will not be created by adding conjectural features, features from other properties, or by combining features that never existed together historically.

Chemical or physical treatments, if appropriate, will be undertaken using the gentlest means possible. Treatments that cause damage to historic materials will not be used. Designs that were never executed historically will not be constructed.

Each property will be recognized as a physical record of its time, place, and use. Work needed to stabilize, consolidate and conserve materials and features from the restoration period will be physically and visually compatible, identifiable upon close inspection, and properly documented for future research.

D. Archaeological resources affected by a project will be protected and preserved in place. If such resources must be disturbed, mitigation measures will be undertaken.

The demolition, extension or insensitive alteration of these buildings could result in the loss of areas special character and this should be remembered when considering any works.

Reliefs

Statues

and

Bass

One

of

the

distinct

features of St. John the Baptist Church was the bass reliefs in the rear area of the church, statues and shrines. This area was a garden with bass reliefs

comprising of the station of Jesus in the Cross. This magnificent creation was hidden due to the alteration done in the church. The session hall in the rear of the
: ANGEL STATUE

church became storage because

of the orientation of the area which was no longer able to use. The cave like appearance of the session hall was a distinct feature like a hidden paradise in the back of the church. Restoration of the area will be a satisfactory for everyone who will visit the church. Sculptures inside and outside the church enhance the religious factor of the church.

: SAVE THE UNBORN SHRINE

: JESUS SHRINE

: LAST SUPPER BASS RELIEF

: RELIGIOUS STATUES

: VIRGIN MARY SHRINE

: BASS RELIEF

: JESUS STATUE

: STONE TABLE

: JESUS AT THE GETHSEMANE

: HIDDEN PARADISE

RESTORE METHODOLOGY:

Protect and maintain materials and features from the restoration period after identifying those existing materials and features from the restoration period that must be retained in the process of Restoration work, then protecting and maintaining them is addressed. Protection generally involves the least degree of intervention and is preparatory to other work. Protection includes the maintenance of historic material through treatments such as rust removal, caulking, limited paint removal, and re-application of protective coatings; the cyclical cleaning of roof gutter systems; and other temporary protective measures in St. John Church.

Restoration guidance focuses upon the preservation of those materials and features that are significant to the period. Consequently, guidance for repairing a historic material, such as masonry, again begins with the least degree of intervention possible, such as strengthening fragile materials through consolidation, when appropriate, and repointing with mortar of an appropriate strength. Repairing masonry as well as wood and architectural metals includes patching, splicing, or otherwise reinforcing them is using recognized preservation methods. Similarly, portions of a historic structural system could be reinforced using contemporary material such as steel rods.

In Restoration, repair may also include the limited replacement in kindor with compatible substitute materialof extensively deteriorated or missing parts of existing features when there are surviving prototypes to use as a model. Examples could include stucco wall , wood works, or bass relief massing.

VI. MINOR PROBLEMS AND THEIR RESTORE METHODOLOGY:

a.) Bell Tower The stairway case condition was ruined, worsen, and functionless due to the steel deterioration and have unstable condition. Some of its treads and runs are dangerous to escalate, and almost the whole steel stair was ruined by the rust. The covering at the top of the bell tower has a ravage area causing the water to leak inside the bell tower. The maintenance of the tower was not retaining due to thick dungs and waste of birds and bats on the flooring and steps of the stair. The painted Walls in the bell tower faded. RESTORE METHODOLOGY: Retaining and preserving architectural metal features particularly stairways are important in defining the overall historic character of the church and their finishes and colours. Stabilizing the deteriorated or damaged architectural metals as a preliminary measure, when necessary, prior to undertaking appropriate preservation work. Protecting and maintaining architectural metals from corrosion by providing proper drainage so that water does not stand on flat, horizontal surfaces or accumulate in curved, decorative features. Cleaning architectural metals, when appropriate, to remove corrosion prior to repainting or applying other appropriate protective coatings. Replacement of new staircase can be a possible solution to make the bell tower functionable.

b.) Drainage

System

(Gutter,

downspouts,

flashing and canopy) Some of the old gutters and downspouts of the church were wrecked and removed by time, which causes rain water to flow inside and outside the church. The fascia board around the roof and the exterior ceiling were being shattered due to the water

leakage and has to be repair due to the deterioration of the materials.

Canopy The gutters and downspouts of the canopy were also dislocated that causes water-leaks at the main entrance of the church.

RESTORE METHODOLOGY: Replacement of new gutters and downspouts below the roof and the canopy will be a better solution to prevent the continuous damage in the ceiling and board in the exterior of the church. A proposal of storm drainage system will be insinuate to preclude the rain water to flow inside the church during rainy day seasons. The flushing and gutters between the roof and the wall of the bell tower shall be repair and replace with new gutter to obstruct the water leakage inside the church which caused the fragmenting of the ceiling inside the church.

c.) Ceiling Some portions of the ceiling were removed and decayed due to the water leakage from the flashing and gutter above the ceiling. Some painted parts of the ceiling have been faded having a stained from rotting wood and rust from the roof. RESTORE METHODOLOGY: Protecting and maintaining wood features from the ceiling of the church by providing proper drainage so that water is not allowed to stand on flat, horizontal surfaces or accumulate in decorative features. Retaining coatings such as paint that help protect the wood from moisture and ultraviolet light. Paint removal should be considered only where there is paint surface deterioration and as part

of an overall maintenance program which involves repainting or applying other appropriate protective coating. Evaluating the existing condition of the wood to determine whether more than protection and maintenance are required, that is, if repairs to wood features from the restoration period will be necessary.

d.) Stained Glass Window Some of the window frames were ruined by the rust causing the steel frames deterioration. Stained glasses were not unsubstantiated which caused the decreasing brightness of the magnificent colour of the stained glass religious scene in the interior of the church when the sunlight passes through the coloured glass.

RESTORE METHODOLOGY: Cleaning window frames to eradicate the grime and rust and when appropriate, to remove corrosion prior to repainting or applying other appropriate protective coatings. Surrogate the shambled window frames to maintain the function of the openings. The exterior frontage of stained glass from exterior area must be scour to sustain the magnificent quality of the glass.

e.) Derelict and Unexploited rooms The confession room and the session hall that was used for private gatherings of parish staff was not retained, and the other rooms were transformed into storage rooms..

RESTORE METHODOLOGY: The derelict rooms like the prayer, confession and gathering room must be cleaned and restore the details to retain their use in the church. Recreating the missing parts and features of the church that existed during the period retains the historical quality of the structure.

f.) Rear garden (hidden paradise of the church) The old garden at the back of the church was left unmaintained and abandoned. The bas relief, showing the Stations of the Cross up to the Mt. Calvary were left faded and broken. This magnificent feature of the church was been neglected due to the development that exist in the church. The new parish office and convent block the way in the garden at back of the church. Reopening the side of the church can relief the community to apprehend the historical value of the church.

RESTORE METHODOLOGY: Using compatible substitute material is an acceptable alternative in Restoration because, as emphasized, the goal of this treatment is to replicate the appearance of the historic building at a particular time, not to retain and preserve all historic materials as they have evolved over time. The materials used in the bass relief must be identified to repair the broken parts of the sculptures. Reopening of the garden to the public must be utilized to be apprehended by the community.

VII.CONCLUSION FOR RESTORATION PROCESS:

a.) Identify, Retain, and Preserve Materials and Features from the Restoration Period - The churchs appearance may be defined by the form and detailing of its exterior materials, such as masonry, wood, and metal; exterior features, such as roofs, porches, and windows; interior materials, such as plaster and paint; and interior features, such as mouldings and stairways, room configuration and spatial relationships, as well as structural and mechanical systems; and the buildings site and setting.

b.) Protect and Maintain Materials and Features from the Restoration Period - Protection generally involves the least degree of intervention and is preparatory to other work. For example, protection includes the maintenance of historic material through treatments such as rust removal, caulking, limited paint removal, and re-application of protective coatings; the cyclical cleaning of roof gutter systems; or installation of fencing, alarm systems and other temporary protective measures.

c.) Repair (Stabilize, Consolidate, and Conserve) Materials and Features from the Restoration Period - Restoration guidance focuses upon the preservation of those materials and features that are significant to the period. Consequently, guidance for repairing a historic material, such as masonry, again begins with the least degree of intervention possible, such as strengthening fragile materials through

consolidation, when appropriate, and repointing with mortar of an appropriate strength. Repairing masonry as well as wood and architectural metals includes patching, splicing, or otherwise reinforcing them uses recognized preservation methods. Similarly, portions of a historic structural system could be reinforced using contemporary material such as steel rods. In Restoration, repair may also include the limited replacement in kindor with compatible substitute material

of extensively deteriorated or missing parts existing features when there are surviving prototypes to use as a model.

d.) Replace Extensively Deteriorated Features from the Restoration Period - In Restoration, replacing an entire feature from the restoration period (i.e., a cornice, balustrade, column, or stairway) that is too deteriorated to repair may be appropriate. Together with documentary evidence, the form and detailing of the historic feature should be used as a model for the replacement. Using the same kind of material is preferred; however, compatible substitute material may be considered.

e.) Remove Existing Features from Other Historic Periods - Most buildings represent continuing occupancies and change over time, but in Restoration, the goal is to depict the building as it appeared at the most significant time in its history. Thus, work is included to remove or alter existing historic features that do not represent the restoration period. This could include features such as windows, entrances and doors, roof dormers, or landscape features of the church.

f.) Re-Create Missing Features from the Restoration Period - Restoration of the church involve re-creating features that were significant to the building at a particular time, but are now missing. Each missing feature should be substantiated by documentary and physical evidence. Without sufficient documentation for these re-creations, an accurate depiction cannot be achieved. Combining features that never existed together historically can also create a false sense of history. Using traditional materials to depict lost features is always the preferred approach; however, using compatible substitute material is an acceptable alternative in Restoration because, as emphasized, the goal of this treatment is to replicate the appearance of the church at a particular time, not to retain and preserve all historic materials as they have evolved over time.