Mesopotamia is a historical region in West Asia situated within the TigrisEuphrates river system, in

modern days roughly corresponding to most of Iraq plus Kuwait, the eastern parts of Syria, Southeastern
Turkey, and regions along the TurkishSyrian and IranIraq borders.

Mesopotamia is the site of the earliest developments of the Neolithic Revolution from around 10,000
BC. It has been identified as having "inspired some of the most important developments in human
history including the invention of the wheel, the planting of the first cereal crops and the development
of cursive script, mathematics, astronomy and agriculture."

Mesopotamia is a historical region in West Asia situated within the TigrisEuphrates river system, in
modern days roughly corresponding to most of Iraq plus Kuwait, the eastern parts of Syria, Southeastern
Turkey, and regions along the TurkishSyrian and IranIraq borders.

Who is this Swiss-born architect who designed the San Francisco Museum of Modern Art?

a. Le Corbusier b. Frank Lloyd Wright c. Santiago Calatrava d. Mario Botta

The San Francisco Museum of Modern Art (SFMOMA) is a modern art museum located in San Francisco,
California. SFMOMA was founded in 1935 under director Grace L. McCann Morley as the San Francisco
Museum of Art.

Which among the following describes ancient planning of towns in the Tigris-Euphrates River?

I - At the center of these towns are Agoras

II - Towns are enclosed by walls

III - Structures are usually built with mud bricks

IV - The streets have no definite patterns

V - They usually have temples

a. I, III, V

b. II, III, IV, V

c. I, II, III, IV, V

d. I, II, III
In the planning of ancient towns found along the Tigris and Euphrates River, which among the following
characteristics are evident?

I - Structures are usually built with mud bricks

II - Streets are laid out with no definite patterns

III - Towns are enclosed by walls

IV - They usually contain temples

V - Agoras are located centrally

a. I, II, III

b. II, IV, V

c. III, IV, V

d. I, II, III, IV

The following are examples of baroque churches in the Philippines established under Spanish rule,
except:

Baroque Churches of the Philippines

These four churches, the first of which was built by the Spanish in the late 16th century, are located in
Manila, Santa Maria, Paoay and Miag-ao. Their unique architectural style is a reinterpretation of
European Baroque by Chinese and Philippine craftsmen.

The Baroque Churches of the Philippines is a serial inscription consisting of four Roman Catholic
churches constructed between the 16thand the18th centuries in the Spanish period of the Philippines.
They are located in separate areas of the Philippine archipelago, two at the northern island of Luzon,
one at the heart of Intramuros, Manila, and the other in the central Visayas island of Iloilo.

This group of churches established a style of building and design that was adapted to the physical
conditions in the Philippines and had an important influence on later church architecture in the region.
The four churches are outstanding examples of the Philippine interpretation of the Baroque style, and
represent the fusion of European church design and construction with local materials and decorative
motifs to form a new church-building tradition.

The common and specific attributes of the churches are their squat, monumental and massive
appearance, which illustrates a fortress/protective-like character in response to pirates, marauders and
to the geologic conditions of a country that is prone to seismic activities. The churches are made either
of stone (tuff or coralline limestone), or brick, and consolidated with lime. They display specific features
such as retablos (altars) of high Baroque style (particularly seen in San Agustin Church, Intramuros), in
the volutes of contrafuertes (buttresses) and in the pyramidal finials of wall facades (particularly seen
in Paoay Church), in wall buttresses separating criptocollateral chapels (particularly seen in San Agustin
Church, Intramuros) and in the iconography of the ornately decorated naf/folk pediment expressing the
local understanding of the life of Christ and demonstrated by the use of local elements (papaya, coconut
and palm tree reliefs), and the depiction of Catholic Patron Saints (St. Christopher) dressed in local and
traditional clothing (particularly seen in the Miagao Church). The fusion of styles is also seen in the
construction of bell towers that are either attached to the main church structure (particularly seen in
San Agustin, Intramuros and in Miagao churches) or detached from the main church (particularly seen in
Paoay and Sta Maria churches) and lastly, in ceiling paintings in the tromp loeil style (particularly seen in
San Agustin Church, Intramuros). The Baroque churches reflect excellent site planning principles
following the Ley de las Indias (Laws of the Indies) enacted by Philip II in 1563 for all newly-discovered
settlements within Spanish colonial territories.

Criterion (ii): The group of churches established a style of building and design that was adapted to the
physical conditions in the Philippines which had an important influence on later church architecture in
the region.

Criterion (iv): The Baroque Churches of the Philippines represent the fusion of European church design
and construction using local materials and decorative motifs to form a new church-building tradition.

Integrity

The churches important attributes comprising its architectural ensemble and manifesting the
uniqueness of their style, are all within the boundaries of the property. All elements of significance
identified at the time of inscription are still very much present and none are eroded, with their dynamic
functions associated with religious significance intact and well-maintained.

The churches fabric, to a considerable degree is well preserved, although some parts may have
deteriorated due to environmental conditions and the passage of time.

Although areas covered by the churches and their surrounding complex have been recognized during
inscription, buffer zones in some of them were undefined. The recent delineation of buffer areas
provides an added layer of protection to the core initially identified.

Authenticity

The Baroque Churches of the Philippines of the Peripheral Baroque Style have maintained its authentic
features and admirable building technology that is reflective of church architecture of 16th-18th
centuries Spanish colonial period Philippines A potential threat to the property is the possible
reconstruction of portions of some of the churches original ensemble which were not present during
inscription, in the effort to ensure that the churches continue to function to best serve their
congregations.
The efforts by the government geared towards responsible restoration and conservation have resulted
in the retention of the original materials and substantial features of the baroque churches.

The use of the Baroque churches as permanent sacred places devoted to acts of divine worship of the
Catholic faith continues.

Protection and management requirements

Three churches and their land properties are legally owned, administered, and managed by their
respective corporations sole while one church (San Agustin, Intramuros) is owned and managed by the
Agustinian Order. The churches have been traditionally administered by church authorities and
parishioners. Specific church Management Plans were not prepared at the time of inscription but the
San Agustin Church in Intramuros is covered by the Management Plan of the Intramuros Administration.
There is an overall management system where the National Commission for Culture and the Arts (NCCA)
is the overall site manager. The NCCA works with its culturally affiliated agencies the National Museum
(NM) and the National Historical Commission of the Philippines (NHCP) who are the implementers of
conservation and restoration projects. Altogether the three agencies collaborate closely with the church
authorities-owner of the property and with the stakeholders as well who are made aware of projects on
the churches. The day to day management of the church is undertaken by the church authorities. There
is a tri-partite agreement for the conservation and management of the World Heritage property as well
as other nationally designated heritage sites. The main actors of the tri-partite agreement are the NCCA,
the NM, the NHCP and the church authorities.

At the time of inscription, the properties had already been strongly protected by national legislation
declaring them as National Cultural Treasures and as National Historical Landmarks through Presidential
Decrees 260 and 375. The National Commission of Culture and the Arts provides for resources (funds)
for its conservation, protection and regular maintenance.

The churches are presently covered and protected through RA 10066 (National Heritage Law) and RA
10086 (National Historical Commission of the Philippines Law). These legislations ensure their proper
safeguarding, protection, conservation, management and use as religious structures, as declared
National Cultural Treasures, National Historical Landmarks, and as World Heritage properties. A strong
administrative protection system is in place through a Tripartite Agreement between the different
national cultural government agencies while agreements between Church authorities and the
Government have been entered into, especially the Accordo between the Holy See and the Republic of
the Philippines on the Cultural Heritage of the Catholic Church in the Philippines, which was ratified on
29 May 2008. The Implementing Rules and regulations (IRR) of the 2009 Cultural Heritage Act of the
Philippines, which is still in the process of being approved, states that the highest standards of
conservation shall be applied to World Heritage properties and that its authenticity, integrity and OUV
shall not be allowed to be compromised.

Conservation and restoration are undertaken through offices under implementing national cultural
agencies which ensure the regular monitoring of its state of conservation including its many concerns,
threats and problems. The Canon Law on the pastoral care of the cultural heritage resources of the
Church is likewise being applied by the Catholic authorities. The site manager of the Baroque Churches
(NCCA) works with the NM and NHCP in ensuring that work is done according to World Heritage
standards and in order to improve the conservation management processes so that the Outstanding
Universal Value of the properties are maintained and properly managed. If in case repairs are done that
involve the replacement of deteriorated parts, these are undertaken with care so that the replaced
areas are differentiated from the original.

Both affiliated cultural agencies sit at the National Commission for Monuments and Sites (NCMS) as ex-
officio members. A Technical Working Committee (TWC) has also been established within the NCCA
composed of experts on conservation and its members ensure that the highest standards of
conservation are afforded to World Heritage properties. Both the NM and the NHCP are the
implementers of projects in the Baroque Churches and they too sit as members of the NCCA, NCMS and
TWC.

Involvement of local communities is strongly encouraged and they are considered important
stakeholders where their views are listened to in consultative processes. Church authorities
involvement in all aspects is vital and they also form an essential part of agreements to ensure that
conservation is undertaken at their level, being owners of the properties.

Which among the following laws, established in 1935, has not be amended and is still used today?

a. RA 7482

b. RA 6969

c. Commonwealth Act No. 141 ***

d. RA 4726

Republic Act No. 10587 "An Act Regulating the Practice of Environmental Planning, Repealing for the
Purpose Presidential Decree 1308, titled Law Regulating the Environmental Planning Profession in the
Philippines, and for Other Purposes.

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