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‘Bagong Pilipinas’ logo produced at zero cost
The Presidential Communications Office produced the new governance brand "Bagong Pilipinas (New Philippines)" without incurring any costs to the government, Malacañang said on Sunday. The Palace made an explanation amid recent controversies over the country's tourism campaign and the new logo of the Philippine Amusement Gaming Corp. "The logo was produced internally by the Presidential Communications Office and underwent complete staff work to ensure adherence to the heraldic code," PCO said in a statement sent to reporters in a Viber message. "The Bagong Pilipinas logo embodies the Marcos Administration’s vision for the country, emphasizing unity, involvement, and the bayanihan culture as the main fibers and components for its full realization," PCO added. The communications arm of Malacañang explained that the newly-unveiled Bagong Pilipinas logo is a visual representation of the Philippines' journey to the future. The logo features three red stripes, symbolizing significant historical development periods: the post-war agricultural and rural development, the post-colonial period, and the current metropolitan development. According to the PCO, blue stripes represent the goals for the future — a progressive Philippines that leverages technological advancement in pursuing sustainable industrial development. The rising sun signifies the dawn of a new Philippines, symbolizing the country's desire to take center stage in the global market and community of nations. The weave pattern illustrates the interconnectedness and unity of the Filipino people, as the vision of a Bagong Pilipinas can only be achieved through collective effort, collaboration, and a shared commitment to progress. "Just as individual strands come together to form a strong and intricate weave, the Filipino people, with their diverse backgrounds and talents, as well as rich cultural heritage, contribute to the strength of the nation," PCO said. In a separate Memorandum Circular, Marcos told all national government programs and projects to use his administration's "Bagong Pilipinas" name. Memorandum Circular 24 — dated 3 July but wasn't immediately made public until over the weekend — told all government agencies, companies, state universities, and colleges to follow the administration's rules, strategies, and goals. "Bagong Pilipinas is the overarching theme of the administration’s brand of governance and leadership, which calls for deep and fundamental transformations in all sectors of society and government, and fosters the State’s commitment towards the attainment of comprehensive policy reforms and full economic recovery,” the memorandum read. MC 24 added that the new campaign is "characterized by a principled, accountable, and dependable government." The memorandum mentioned that all national government agencies should use the "Bagong Pilipinas" logo on their letterheads, websites, official social media accounts, and other documents connected to the government's flagship programs. The post ‘Bagong Pilipinas’ logo produced at zero cost appeared first on Daily Tribune......»»
Post office
The good news is gutted heritage edifice Manila Central Post Office won’t be a soot-laden monumental ruin for long. Already, the Government Service Insurance System announced the iconic edifice has P604 million in insurance, more than enough to cover the estimated initial fire damage of P300 million. Protected too by the Heritage Law and by an “important national landmark” declaration we should soon see the building’s imposing neoclassical grandeur rise from the ashes. But, as restoration experts go over the building’s original plans, it is also conceivable the restored edifice reestablishes unheralded Architect Juan Marcos Arellano’s original architectural vision. Built in 1926 from the collaborative efforts of Arellano, Tomas Mapua, and the American Ralph Doane, the edifice suffered substantial damage during the 1945 liberation of Manila but was immediately rebuilt in 1946. But when he retired at 68, architectural historian Paulo Alcazaren wrote in 2005, Arellano expressed misgivings that the rebuilding of the Manila Central Post Office and his other iconic war-damaged structures like the old Congress (now the National Museum) and the Jones Bridge “were poor replications of the grand edifices they once were.” Despite Arellano’s protests about botched restorations, the monumental Manila Post Office nonetheless remains an enduring legacy of the ubiquitous Beaux Arts Movement of the American colonial period. For that stark reminder alone of colonialism, the Manila Post Office deserves to be rebuilt. Now, Beaux-Arts in particular aesthetic terms privileged neoclassical civic buildings “to evoke the majesty of imperial Rome or Athens,” says historian Rebecca Tinio McKenna. But “while the neoclassic may have evoked Greek democracy and the Roman republic, it also referenced empires far and near in time,” McKenna says, referring to the burgeoning American empire. Ironic then is the historic fact that while Filipinos were laboring for self-government they were doing it inside halls which quietly evoked the American imperial project. At any rate, the neoclassical vocabulary is evident in the post office’s bold façade of 16 Grecian Ionic columns. Similarly, the old Congress building also “bears the hallmarks of the neo-classical style: Corinthian pillars lining a vast colonnade, pilasters supporting every wall of the edifice,” notes the National Historical Commission of the Philippines. These massive civic structures were largely built under the powerful influence of early 20th-century American city planner and Beaux Arts advocate Daniel Hudson Burnham. In crafting a style and physical presence of an imperial republic in a far-flung colonial capital city, Burnham essentially laid out “monumentalism, a grandeur achieved through the massing of buildings, the axial design of streets, and the inclusion of parks and recreational spaces.” Burnham died in 1912, but there’s little doubt Arellano and his fellow Filipino architects of the era were well-acquainted with the Beaux Arts Movement. Tondo-born Arellano, in fact, was one of the first “pensionados” in architecture, attending American schools steeped in the Beaux Arts system; though he later moved on from the Beaux Arts straitjacket to consequently create the Art Deco-inspired Metropolitan Theater. Neoclassical style, of course, is a non-indigenous Filipino architectural form. Arellano, in fact, confessed in his twilight years that many artists and architects of his generation were blind to the presence of native art forms, designs, and colors. Interestingly, however, Arellano somehow hinted he chaffed under the colonial stiff collar even in his Manila Post Office work. Historian McKenna says Burnham, who counted himself in league with his era’s American progressives, said the post office was “a business machine affecting public interests. Its character, consonant, with its practical necessities, is commercial.” Ideologically, American progressives of the colonial era countered commercial interests, particularly the skyscrapers which symbolized them, by erecting monumental civic structures. But the Manila Post Office’s imposing dramatic presence — surprisingly with intimate warm interiors — audaciously dwarfs Manila’s other Beaux-Arts civic structures, including the Legislature and the Courts. Is the post office then Arellano’s posthumous guilty admission he knelt before overlords of unfettered Capitalism? The post Post office appeared first on Daily Tribune......»»
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