Grand Dame ready for another facelift First posted 04:06am (Mla time) Nov 22, 2005
By Jerome Aning
Inquirer News Service
Editor's Note: Published on page A1 of the Nov. 22, 2005 issue of the Philippine Daily Inquirer
(First of two parts)
AFTER almost a decade of neglect and disuse, the Metropolitan Theater -- fondly called the Met -- will be restored to its former glory.
Three government agencies finally got their act together and will be working to restore the “grand dame” of Manila’s theaters, which is located at the Liwasang Bonifacio in Manila.
The National Commission for Culture and the Arts (NCCA), the Government Service Insurance System (GSIS) and the City of Manila had set aside their differences and signed a work and action plan last June.
In response, President Gloria Macapagal-Arroyo ordered the release of P50 million to partially fund the restoration of the Met.
A private consultancy firm was commissioned to conduct a detailed engineering study (DES) of the theater, which began last week. In five months, the firm will submit its report detailing the condition of the Met’s structure and how it could be restored.
It took no less than Ms Arroyo herself to end the feud among the NCCA, GSIS and City Hall. On Jan. 7, 2004, she witnessed the signing of a tripartite agreement among Manila Mayor Lito Atienza, GSIS president Winston Garcia and Tourism Undersecretary Evelyn Pantig, NCCA chair.
The agreement was an offshoot of the President’s speech at the 2002 Cultural and Arts Conference, where she spoke of the need to make culture “folksy,” stressing that one of her administration’s priorities was to provide an accessible culture and arts venue for the masses.
“We must make culture available … [and] attractive to the masses,” Ms Arroyo said.
“I don’t think the Cultural Center of the Philippines will serve this purpose because it is imposing, unapproachable and elitist," she said. "The one that the poor will find approachable physically and psychologically is the Met and I feel we should revive it.”
Curiously, the Arroyo administration’s goal of pro-poor and people-oriented programs for the soon-to-be restored Met were the same as former first lady and Metro Manila governor Imelda Marcos’ when she pushed for the Met’s 1978 renovation.
“This theater is dedicated to a singular goal: To surface the true, the good and the beautiful in the Filipino in Metropolitan Manila,” Marcos said in her message for the 1978 reopening.
NCCA supervision
Under the 2004 tripartite agreement, the NCCA, GSIS and City Hall would put together their resources to spearhead the restoration of the Met to its former grandeur befitting the country’s center of the arts and culture for the masses.
The GSIS, as owner of the 7.6-hectare lot where the Met stands, turned over to City Hall the property, except for the commercial spaces. Under the agreement, the GSIS recognized the fact that as a social security institution, it could not operate, maintain and preserve the Met.
For its part, the City Hall of Manila committed to spearhead the enhancement and improvement not only of the Met’s physical structure, but also its cultural and historical significance. It would also construct or improve the Met’s music halls, actor’s studio, conference and lecture rooms, library, museum, multipurpose hall or ballroom, toilets rooms and parking areas.
However, City Hall was tasked to conduct the restoration of the Met in accordance with the internationally accepted standards of conservation that the NCCA shall provide.
Restoring the theater
How the Met’s restoration should proceed and how long it would take depends on the cooperation of the three agencies.
Rose Beatrix Angeles, NCCA commissioner in charge of national heritage sites, said the commission’s plan was to restore the Met as much a possible to the 1978 version. The lead architect then was Otillo Arellano, nephew of the building’s original architect in 1931, Juan Arellano.
But before the restoration work could begin, the three agencies needed to agree on the work and action plan, or WAP. This was when the delays started.
Angeles said some people in City Hall thought that the NCCA would simply turn over the P50 million to the city government, leaving the bidding and the construction work to City Hall.
The commissioner stressed that the agreement stated that the rehabilitation was to be a collaborative work of the three agencies.
She added that the NCCA had a mandate to make sure that its funds were used properly in the restoration, which should be done in accordance with the internationally accepted standards set by the International Council for Monuments and Sites (Icomos).
The Paris-based Icomos is one of Unesco’s two world heritage-monitoring arms.
Objections and revisions
The Met Conservation Committee, which is chaired by Manila Mayor Atienza, is composed of another representative from the city, two from the GSIS and two from the NCCA.
After the 2004 elections, the NCCA conducted a feasibility study, which included the inspection of the property and the preparation of pertinent documents.
In September the same year, the NCCA came up with the WAP. Angeles said that while the GSIS agreed with the WAP the following month, the City of Manila kept returning the draft to the NCCA with various objections and asking for revisions.
It was only in April 2005, “after much persuasion” that the NCCA was able to get City Hall to agree to the WAP, Angeles said.
Personally, however, the commissioner said she thought the contracts with City Hall were “strange” because by law, it’s the NCCA -- or more particularly, one of its member agencies, the National Historical Institute (NHI) -- that should conduct the restoration of landmarks.
Atienza’s track record
“The restoration is being turned over to a non-expert … so we have to ensure that City Hall complies with the highest standards of conservation,” she said, recalling that the Manila city government “does not exactly rank high” among conservationists and heritage-savers.
Angeles was referring to Atienza’s disagreements with the NCCA, the NHI, the National Museum and other government agencies and private groups on the preservation of “culturally significant” sites, such as the Jai-Alai Building, Mehan Garden, Arroceros Forest Park, the Paco and Tutuban train stations, and the San Lazaro racetrack.
The commissioner also said that people should not be suspicious or impatient if they don’t see any actual construction work at the Met just yet.
“Everything has to be in order … we want to be as close to the original as possible. We’ll make sure that much of the original remains there for the next generations to appreciate,” Angeles said.
Research work
The commissioner recounted that in the ongoing restoration work for the Montpelier estate of US President James Madison in Orange, Virginia, the research alone took two years, during which the building was not touched. The estate, which changed hands twice, would be restored to its 1820s version.
The seven-year restoration employed not just researchers but also assorted craftsmen, architects and even archaeologists.
“We do move slowly, yes, but the rewards will last longer. We want to restore the Met and make it usable. We want to make it sturdy so it will remain a symbol for a long, long time,” Angeles explained.
She said the P50 million that would be given to City Hall was also subject to government regulations on spending and auditing. The amount was not nearly enough for the Met’s complete restoration, which was estimated to be P200 million.
The NCCA released an initial P15 million, of which P1 million was earmarked for the full documentation of the Met.
Another P4 million was set for the detailed engineering study (DES), the contract for which was awarded to Schema Konsult Inc., a Pasig City-based engineering, planning and project management consultancy firm.
Old meets new
The remaining P10 million would be released to City Hall for the restoration of the theater roof, which is a primary concern. Also in the priority list are: raising the floor from floodwaters and checking the electrical system.
Angeles said the NCCA also wanted to conduct “a deeper investigation of the structure, to find out exactly what changes were made between the 1930s and the 1978 structure.”
“If you go in without a plan, you could lose architectural details and designs, and technological innovations that we might not have seen,” she explained.
Architecture scholar Edson Cabalfin said the culture expressed in the architectural style of a building constructed in a particular era is often the product of “intermingling and hybridization of cultures.”
Nationalists may point out that the Art Deco style of the Met was something foreign and forced upon by American colonizers. Not so, according to Cabalfin, author of a critical historiography of the Philippine Art Deco from 1927 to 1941.
He said the Met and the other Art Deco buildings served as expressions of the Filipino struggle for identity -- one that would blend Filipino, Asian, Spanish and American influences.
Met as symbol
“[A]s much as Art Deco is seen as the seeming ‘infiltration’ of a foreign agent in another culture, the style can also be read as the means an ‘infiltrated’ culture adapts and responds to an outside power,” Cabalfin explained.
Philippine Art Deco then, he added, can be understood as “the dynamics of the imposition of power by the colonizer and the demonstration of resistance and empowerment of the colonized.”
Angeles said the NCCA realized that its reputation was at stake with the Met restoration project.
“The Met is more than a theater. It is a symbol. If we screw up this one, we’ll never live it down. We’ll become known as the agency that ruined the Met. The people may forget the City of Manila or GSIS, but they will not forget the NCCA because this [restoration] is our mandate,” she said.
http://news.inq7.net/nation/index.php?index=1&story_id=57353=============================================
Manila City's facelift, spearheaded by Mayor Atienza himself will not be complete without touching this historical landmark. :specool:
This is somewhat the culmination of Mayor Atienza's dream of giving the city a new sign of vibrance in theater arts.
Good job, PGMA and Mayor Atienza. :thumb: