PALASYO AC MALAKAAYAAC

MALACAANG PALACE



Malacaang Palace, or oIIicially, Malacaan Palace, is the oIIicial residence oI the President oI the
Philippines. The palace is located along the north bank oI the Pasig River in Manila. It is called in
Filipino, and Malacaan Palace when reIerred to as the oIIicial residence oI the President oI the
Philippines. In popular media and everyday parlance, it is simply reIerred to as Malacaang, and this
shorter name is also used when reIerring to its role as the oIIice oI the president. The term "Malacaang"
can be used as a metonym Ior the Philippine President's administration or the Executive branch as a
whole. Malacaang Palace is depicted on the verso (back) side oI the present-day 20-peso bill.
Today the complex consists oI several buildings in addition to Malacaang Palace itselI. BoniIacio Hall,
Iormerly the Premier Guest House, was used as the main oIIice oI Corazon C. Aquino, the Iirst Iemale
president oI the Philippines and leader oI the People Power Revolution that ousted the previous president
Ferdinand E. Marcos in 1986. Later, President Joseph Ejercito Estrada adopted it as his residence.
Kalayaan Hall is the Iormer executive building built under the American administration. Mabini Hall is
the the current Administration Building. A New Executive Building was also built by President Aquino.
Additionally there are other, smaller buildings. Across the river is Malacaang Park, which contains a
golI course, park, billets Ior the presidential guard, as well as a Commonwealth-era presidential resthouse
(Bahay Pangarap) and recreation hall.
The state and historical rooms oI the Palace aren't oIten seen by the public. The Palace is closed and
heavily guarded during times oI political unrest, although prior to the Marcos administration, access was
Iar more restricted than in the modern era. This lack oI access by the public was particularly notable
during the Ramon Magsaysay) administration in the 1950s. Rallyists oIten congregate along Mendiola
Street nearby to air their protests against the government.

Etymology

The oIIicial etymology Irom the 1930s says that the name comes Irom a Tagalog phrase "may lakan
diyan", which means "there is a nobleman there", as it was the home oI a wealthy Spanish merchant
beIore it hosted the nation's chieI executive. The Spanish themselves, on the other hand, said the name
came Irom "Mamalakaya," or the Iishermen who once laid out their catch in the bend oI the river where
the Palace now stands. A more mundane claim is that the Palace actually got its name Irom the street
where it was located, the Calzada de Malacaang.
Whatever its origin, the word Malacaang is indisputably Tagalog. Because the Spanish language avoids
using "-ng" as the Iinal sound oI a word, the Spanish colonialists hispanized Malacaang to Malacaan.
The Spanish version oI the name was maintained during the American occupation oI the Philippines Irom
1898 until 1946, despite the Iact that "-ng" as a Iinal sound is very Iamiliar in the English language.
"Malacaan" remains to this day an acceptable English version name oI the Palace. However, during the
1950s presidency oI Ramon Magsaysay, the Philippine government restored the dropped "g" to
Malacaang in honor oI its historical roots.

History

The Spanish Captains-General (beIore the independence oI New Spain, Irom which the Philippines was
directly governed) and then the Governors-General oI the Philippines originally resided in the walled city
oI Intramuros, Manila, until an earthquake leveled the Palacio del Gobernador (Governor's Palace) in
1869. At this point, Malacaang Palace, a summer home originally built in 1802 by Spanish aristocrat
Don Luis Rocha, then subsequently purchased by an oIIicial and then purchased by the state, became the
temporary residence oI the Governors-General. Governor General RaIael de Echague y Berminghan,
previously governor oI Puerto Rico, was thereIore the Iirst Spanish governor to occupy Malacaang
Palace.
When the Philippines came under American rule Iollowing the Spanish-American War, Malacaang
Palace became the residence oI the American Governor-General. In 1900, William Howard TaIt became
the Iirst American Civil Governor resident. The palace was expanded, and an Executive building added
by Governors-General Francis Burton Harrison and Dwight Davis. The complex reverted to the President
oI the Philippines upon the establishment oI the Commonwealth oI the Philippines, on November 15,
1935. President Manuel L. Quezon became the Iirst Filipino resident oI Malacaang Palace. It has been
the oIIicial residence oI the President oI the Philippines since. AIter his inauguration on December 30,
1953, President Ramon Magsaysay issued an Executive Order Iormally changing the name Irom
"Malacaang Palace" to "Malacaang: Residence oI the President oI the Philippines." The new
nomenclature rapidly caught on and was maintained until inIormally abandoned during the Marcos
administration. During the administration oI President Corazon Aquino, Ior historical reasons,
government policy has been to make the distinction between "Malacaan Palace", oIIicial residence oI the
president, and "Malacaang", oIIice oI the president.
The palace was made Iamous as the home oI President Ferdinand and Imelda Marcos, who were its
longest residents, Irom 1965 to 1986. As Iirst lady, Mrs. Marcos oversaw the reconstruction oI the palace
to her own extravagant tastes. Including the Iormer San Miguel Brewery Buildings, this was demolished
upon Expansion, paving away to a park near the San Miguel Church. Following a student uprising that
nearly breached the palace gates in the early 1970s, martial law was declared, and the complex was closed
to the public. When President Marcos was deposed in 1986, the palace complex was stormed by the local
populace, and the international media subsequently exposed the excesses oI the Marcos Iamily, including
Mrs. Marcos' inIamous collection oI thousands oI shoes.




#4428 41 the Malacaang Palace

Entrance Hall

OIIicial visitors to Malacanang use the Entrance Hall. Its Iloor and walls are oI beige Philippine marble.
II you`d be going straight, ahead are the doors to the Grand Staircase leading to the state reception rooms.
On the leIt is the Palace chapel. The passage on the right leads to Heroes Hall.
The doors leading to the Grand Staircase depict the Philippine legend oI Malakas (Strong) and Maganda
(BeautiIul), the Iirst Filipino man and woman who emerged Irom a large bamboo stalk. The present resin
doors were installed in 1979, replacing wrought iron and painted glass doors Irom the American period
depicting Lapu Lapu and the other Mactan chieItains who Ielled Magellan.
A pair oI lions used to stand guard on each side oI the doors to the Grand Staircase. The lions were
originally at the vestibule oI the Ayuntamiento Building in Intramuros. They were apparently discarded
during the 1978-79 renovations. Wooden benches dating back to the American Regime that were in the
Hall were transIerred to the private entrance that lead directly to the living quarters oI the Palace|4|.

Heroes Hall

From the Entrance Hall, one walks through a mirrored passage hung with about 40 small paintings oI
Iamous Filipinos painted in 1940 by Florentino Macabuhay.
The adjoining large room was originally the Social Hall, intended Ior inIormal gatherings. It was renamed
Heroes Hall by First Lady Eva Macapagal, who commissioned Guillermo Tolentino to sculpt busts oI
national heroes.
In 1998, the National Centennial Commission installed three large paintings specially commissioned Ior
the place. The one in the vestibule is by Carlos Valino, while the two others are by a group oI artists
headed by Karen Flores and Elmer Borlongan.
The painting in the vestibule is chronologically the second oI the three, depicting events oI the
Propaganda Movement (Marcelo H. Del Pilar, Jose Rizal, etc.) and the Philippine Revolution Irom the
Iormation oI the Katipunan by Andres BoniIacio, the sewing oI the Philippine Ilag, the Proclamation oI
Independence at Kawit, and the Malolos Congress. At Heroes Hall itselI are the other two paintings.
As one enters Irom the vestibule, the painting on the leIt shows key events Irom the earliest times (arrival
oI the ancient Filipinos and the Manunggul Jar) through Lapu Lapu and the death oI Magellan, the
Muslim resistance to Spanish rule, the Basi Revolt, and Gabriela Silang, to the 1872 martyrdom oI the
priests Gomez, Burgos and Zamora.
The painting on the right begins with the Battle oI Tirad Pass and Gregorio del Pilar and other events oI
the Filipino-American War, the Independence Movement under Osmena and Quezon, events oI the
Japanese Occupation, and the Presidents oI the Philippines all the way to the Marcoses, President Aquino,
and President Ramos.
The Hall, as large as the Ceremonial Hall directly above, received a mirrored ceiling in 1979 and Ior the
rest oI the Marcos era was used not only Ior meetings and inIormal gatherings but also Ior state dinners in
honor oI visiting Heads oI State.
Among the distinguished visitors entertained in this Hall by the Marcoses were the President oI Mexico,
the Prime Minister oI Thailand and Princess Margaret oI the United Kingdom. Dinner was usually
Iollowed by a cultural presentation, aIter which Iormal toasts were oIIered by the President and the guest
oI honor.

Grand Staircase

Past the Malakas and Maganda doors oI the Entrance Hall is the Grand Staircase, made oI the Iinest
Philippine hardwood and carpeted in red. Its walls are made oI tiny pieces oI wood, assembled to simulate
sawali panels. These were put up in 1979 replacing stucco and hardwood panels. At the top oI the stairs is
the landing that serves as vestibule to the Reception Hall.
The Spanish and American Governors General and Philippine Presidents and their visitors used this
staircase. (Or, to be precise, the staircase that used to be there beIore the Marcos reconstruction.) There is
a story that Jose Rizal's mother, Dona Teodora Alonzo Mercado, went up these stairs on her knees to beg
then Governor General Camilo Polavieja Ior her son's liIe. The staircase is narrower than it used to be.
A legacy oI the Spanish regime are unsigned portraits oI Spanish conquistadors Hernando Cortes,
Sebastian del Cano, Fernando Magallanes, and Cristobal Colon, hung at the balcony around the stairs. At
the end oI the balcony a magniIicent harvest scene by Fernando Amorsolo hangs.
A large painting oI the Nereids (sea nymphs) by noted Spanish artist Joaquin Sorolla, donated by Alma de
Bretteville Spreckels, noted San Francisco social and civic leader, oI the Hawaii and CaliIornia sugar
Spreckels, used to hang in place oI the Luna. A case oI Marcos war medals, subsequently alleged to be
Iake, took its place towards the end oI the Marcos Regime. The case continued to be on display, empty,
Ior some years thereaIter.
A on the leIt as one reaches the top oI the stairs, is the Iamous 'The Blood Compact,' still in its original
carved Irame. It was painted by Juan Luna in 1886 and given to the government in return Ior the artist's
scholarship in Spain. The painting shows the Spaniard Miguel Lopez de Legaspi and the Bohol Raja
Sikatuna drinking wine with drops oI their blood. The model Ior Sikatuna (the helmeted man shown Irom
behind at leIt) was Jose Rizal and the model Ior Legaspi (the Spaniard seated Iacing the viewer) was
Trinidad H. Pardo de Tavera, Luna's uncle in law. Turning right, one sees the grand vista that is the length
oI the Reception Hall and the width oI the Ceremonial Hall beyond.
The door on the leIt leads to the private quarters oI the Presidential Iamilies. This wing contained the
private dining and living rooms and two guest suites, used Ior meetings and waiting rooms in 1986-2001
when Presidents Aquino and Ramos lived in the Arlegui Guest House and President Estrada lived in the
Premier Guest House. President Arroyo and her Iamily live in this wing. The door straight ahead leads to
a corridor that surrounds the inner court within the private quarters.

Reception Hall

Visitors assemble in this impressive room prior to a program or state Iunction at the Ceremonial Hall
beyond, or while waiting to be received by the President or the First Lady at the Study Room or the Music
Room on the leIt, or beIore entering the State Dining Room on the right.
This room was the largest oI the Palace beIore the 1979 renovation. Old photographs show President and
Mrs. Manuel L. Quezon receiving guests close to the top oI the Grand Staircase at New Year's Day 'at
home' and other aIIairs. A Rigodon de Honor, a Iormal dance oI Spanish Regime origin, would begin
Balls, giving the most important couples present the opportunity to show oII clothes and jewelry. Some
ladies in that bygone era wore ternos only once.
Easily the most outstanding Ieature oI the Reception Hall are the three large Czechoslovakian chandeliers
bought in 1937. These have always been treasured and during the Second World War, were careIully
disassembled prism by prism and hidden Ior saIekeeping. They were taken out and reassembled aIter the
war.
OIIicial portraits oI all Philippine Presidents are on the walls, Irom Emilio Aguinaldo, President oI the
Malolos Republic, to Gloria Macapagal Arroyo, painted by Fernando Amorsolo, Garcia Llamas and other
noted artists. The portrait oI President Arroyo Iirst hung in this hall was photograph taken by Rupert
Jacinto. That oI President Ramos is unique on three counts - it is on a narra plank rather than on canvas,
the likeness as well as the decorations along the sides are painstaikingly singed on the wood and it was a
giIt oI the artist, Gaycer Masilang, a prisoner serving a liIe sentence.
An elaborate ceiling was installed in the 1930s, carved by noted sculptor Isabelo Tampingco who
depicted vases oI Ilowers against a lattice background. Large mirrors, gilt soIas and armchairs, and
Chinese bronze pedestals holding plant and Ilower arrangements decorate the Hall. The Tampingco
woodwork was curved and in some eyes gave the room a coIIin shape. This is supposedly why in the
1979 renovation, the Tampingcos were replaced with two Iacing balconies.

Ceremonial Hall

This room, the largest in the Palace today, is also known as the Ballroom, used Ior state dinners and large
assemblies, notably the mass oath takings oI public oIIicials begun by President Ramos. The upholstered
benches are lined up Ior guests on such occasions. When the room is used Ior state dinners, the benches
are removed and round tables set in place. Orchestras sometimes play Irom the minstrels' galleries at two
ends oI the hall.
Three large wood and glass chandeliers illuminate the Hall. Carved and installed in 1979 by the Iamous
Juan Flores oI Betis, Pampanga, the chandeliers are masterpieces oI Philippine artistry in wood.
The Hall used to be much smaller and was in eIIect merely an extension oI the Reception Hall. It had a
coved ceiling similar to those oI old Philippine homes, and glass doors opening to verandahs on three
sides overlooking the Pasig and Malacanang Park. Many an al Iresco party was held here, with round
tables set on the azoteas and verandah Ior dinner and the Ceremonial Hall, doors thrown open, cleared Ior
dancing. Fireworks lit the skies promptly at midnight Irom the Park across the river at New Year's Eve
parties. The azoteas, verandas and the intimate pavilion in the middle were combined in 1979 into the
present enormous Ceremonial Hall.
A recurring Palace ritual is the presentation oI credentials when a new Ambassador arrives. During the
Marcos Administration and prior to the 1979 renovation, new Ambassadors presented their credentials in
an impressive ceremony. A Ilourish oI trumpets accompanied the arriving Ambassador as he mounted the
Grand Staircase and marched the Iull length oI the Reception Hall. The yellow-gold curtains to the old
Ceremonial Hall were parted to reveal the President standing alone at the Iar end, with members oI the
Cabinet lined up on the leIt. The Ambassador presented his documents oI credence to the President, who
handed them to the Foreign Secretary. The President then delivered his welcome speech and oIIered a
champagne toast to the head oI state oI Ambassador's home country. The Ambassador then delivered his
response, oIIered a toast to the President, and aIter small talk, leIt in another burst oI trumpets.
Presidents Aquino and Ramos were less Iormal, receiving new Ambassadors in the Music Room without
ceremony. The old rituals were revived by President Estrada, when an arriving diplomat disembarked
Irom his car at General Solano Street and boards what is called a chariot, a luxurious open jeep where the
occupant stands on a red carpet holding onto a stout bar while progressing up J.P. Laurel Street to the
Palace grounds. He received military honors in the garden outside the main entrance and to IanIare, is
escorted up to the Reception Hall. He marched through two columns oI guards in gala uniIorm to present
his credentials to the waiting President.

State Dining Room

The State Dining Room is used mainly Ior Cabinet Meetings. In the past, this was where Presidents dined
with state guests and oIIicial visitors. A long adjustable table could accommodate up to about IiIty guests.
The President would sit at the center oI the table and the First Lady across Irom him. The best glass (Irish
WaterIord and French St. Gobain) and china (Limoges and Meissen) were brought out on special
occasions. The chandeliers are Spanish, Irom the Ayuntamiento de Manila as are the gilded mirrors that
seem have been here since the Spanish Regime.
BeIore the 1935-37 renovations, this room was the ballroom oI the Palace. It was also where General
Emilio Aguinaldo was kept prisoner aIter his capture by the Americans.
One oI the most dramatic scenes in Palace history occurred here. In The Good Fight, President Quezon
wrote that in April 1901, I had walked down the slopes oI Mariveles Mountain, a deIeated soldier,
emaciated Irom hunger and lingering illness, to place myselI at the mercy oI the American Army.
SuIIering Irom malaria, he was also instructed to veriIy that Aguinaldo had in Iact been captured. In
Quezon's words,
... I was ushered into the oIIice oI General Arthur MacArthur, the Iather oI the hero oI the Battle oI the
Philippines. ... |The interpreter|... told General MacArthur in English what I had said in Spanish, namely,
that I was instructed by General Mascardo to Iind out iI General Aguinaldo had been captured. The
American General, who stood erect and towered over my head, raised his hand without saying a word and
pointing to the room across the hall, made a motion Ior me to go in there. Trembling with emotion, I
slowly walked through the hall toward the room hoping against hope that I would Iind no one inside. At
the door two American soldiers in uniIorm, with gloves and bayonets, stood on guard. As I entered the
room, I saw General Aguinaldo the man whom I had considered as the personiIication oI my own beloved
country, the man whom I had seen at the height oI his glory surrounded by generals and soldiers,
statesmen and politicians, the rich and the poor, respected and honored by all. I now saw that same man
alone in a room, a prisoner oI war! It is impossible Ior me to describe what I Ielt, but as I write these lines,
Iorty-two years later, my heart throbs as Iast as it did then. I Ielt that the whole world had crumbled; that
all my hopes and dreams Ior my country were gone Iorever! It took me some time beIore I could collect
myselI, but Iinally, I was able to say in Tagalog, almost in a whisper, to my General: Good evening, Mr.
President.
Two paintings dominate the room. The larger is a Iiesta scene by National Artist Carlos Botong Francisco
- a pair oI tinikling dancers, a serenade, churchgoers, boatmen, and other vignettes oI rural liIe..
Commissioned Ior the Manila Hotel, it originally hung in one oI the Hotel lobbies but was transIerred to
Malacanang in 1975. The other painting is an early Amorsolo rural scene.
The room was widened and a mirrored ceiling installed in 1979. Previously, there was a long dining table
at center and the decorations consisted oI heavy crimson velvet curtains, large gilded mirrors and
elaborate chandeliers.
Beyond is a smaller room, just as long but narrower than the dining room. Intended Ior Cabinet meetings
and Iilm showings, the room proved rather small and was rarely used as such. The room, called the
Viewing Room, was more Irequently used to hold buIIets Ior people meeting in the State Dining Room.
Another 1979 innovation, this occupies what was a verandah overlooking the Palace driveway and
garden.

Rizal Room

Formerly known as Study Room, this was where Presidents Irom Quezon to Marcos and then Ramos
received their daily stream oI callers. There is a large chandelier Irom the 1935-1937 renovations.
President Arroyo made it into a conIerence room with the Council oI State table oI the Commonwealth as
centerpiece, until she Iinally restored the room to its original Iunction. The room today has been restored
to its traditional Iunction as the President's oIIice. OI interest is the presidential desk used by all the
Presidents Irom Quezon to Marcos (Marcos had an ornately carved top added to the desk in 1969).
President Arroyo restored the use oI the desk since most oI her predecessors, including her Iather, used it.

The Music Room

Room usage changed over the years. A bedroom during the American period, it was turned into a library
and reception room during the Commonwealth; aIter the War, it eventually became the Music Room.
First Ladies customarily received callers in this room. A Luna masterpiece, 'Una Bulaquena' hangs above
the grand piano. 'A Cellist,' painted by Miguel Zaragoza, hangs as its pendant across the room above the
soIa. The wall niches now hold Chinese trees and Ilowers made oI semi precious stones, where there used
to be Guillermo Tolentino sculptures representing the diIIerent Iine arts and later, large Ming and Ching
porcelain vases. A supposed Michelangelo, a stone head, was once here.
Mrs. Marcos decorated the room in mint green. She would sit on the antique French soIa and the visitors
on the armchairs. On rare occasions, small concerts were held here, Ieaturing Iamous Filipino and Ioreign
musicians.
The room immediately behind the Music Room was Iixed up by Mrs. Marcos as her oIIice. It later
became President Fidel Valdes Ramos' private oIIice. The room beyond it was originally a small sitting
room and was converted by President Joseph Ejercito Estrada into his own oIIice. President Arroyo
decided also to use the room as her oIIice at Iirst. Today the room is used by the President to receive
visitors.

Private Quarters

The Palace has always been impressive, particularly the grand reception rooms. Presidents' Iamilies have
not always been happy, however, over the domestic concerns oI bedroom size, privacy, closet space,
ventilation, color scheme, and so on.
Each new presidential couple took their pick oI the available bedrooms, each President Irequently
avoiding the bedroom oI his predecessor (which may be jinxed, Ior instance). A President with many
children or grandchildren usually had problems, particularly when a Ioreign head oI state arrived,
expecting to be invited to stay in the Palace such as when Indonesian President Sukarno visited President
Quirino shortly aIter the war.
The Pasig River, pristine and clear in its 19th century prime, had by the 1970s become not only smelly
but also home to squadrons oI mosquitoes. The unending series oI renovations and repairs oI a century
resulted in shaky Iloors and leaky rooIs. Ghostly happenings were also reported including some identiIied
with a IaithIul valet, long dead, oI President Quezon, who occasionally ministered to Iavored guests.
With three grown children, leaking rooIs, noisy air conditioners, and cramped space the Marcoses decided
in 1978 to expand the Palace. As in most renovation projects, one thing led to another until the entire
Palace Iacade Iacing J.P. Laurel was pushed Iorward, as were the other sides oI the Palace. The bedrooms
oI President and Mrs. Marcos were enlarged and suites were built Ior Mr. Ferdinand, Jr. and Misses Imee
and Irene and their niece Aimee. The private living room was expanded and the entire private quarters
generally added to or enlarged into the present structure.
The rooms are large and impressive, Iurnished expensively and equipped with central air conditioning and
air Iilters, but are not quite the stupendous rooms that 'in comparison make Versailles Palace look like a
hovel,' as a Ioreign observer declared. The Spanish Period Malacanang probably centered on the small
skylit inner court that leads to all areas oI the private quarters.
Many notables have stayed at Malacanang over the years. It is recounted that the British Prince oI Wales,
later King Edward VIII, dropped by in the 1920s to play polo. Certainly a reluctant guest in April 1901
was Gen. Emilio Aguinaldo taken to Malacanang Ior a Iew weeks aIter his capture at Palanan. American
and Asian Presidents have stayed at Malacanang on visits to Manila.
The rooms opening to the Grand Staircase were the Dining and Living Rooms and Guest Suites oI the
Marcos period. These became meeting rooms during the Ramos and Estrada administrations and reverted
back to being the private quarters oI the Presidential Family under President Arroyo.
Reception Room. This was the Family Dining Room oI Presidential Iamilies until the 1979 renovation. It
used to have a magniIicently carved ceiling, coIIered in the Filipino-Spanish style. The Iamous painting
oI Fabian de la Rosa, 'Planting Rice,' used to hang on one wall. Other paintings, notably those by
Fernando Amorsolo, were here and in the adjoining room.
The room beyond was used by the Marcoses variously as Private Living Room and as chapel and became
Meeting Room No. 1 in the Aquino, Ramos and Estrada presidencies. A large Botong Francisco painting
oI Muslim dancers is on one wall. Brought Irom the Manila Hotel, this artwork is pair to the one in the
State Dining Room.
Suites. Bedroom suites (one baptized by Mrs. Marcos as the King's Room and another the Queen's Room)
open Irom the Iormer private dining room, between which is a small skylit room that used to be a
courtyard. These are Iurnished with large canopied beds, gilded wardrobes and the like. The King's Room
leads to the balcony over the main entrance, Irom which Pope John Paul II blessed a waiting crowd
during his 1981 Philippine visit and which President Arroyo conIides was her bedroom as the young
daughter oI President Diosdado Macapagal.
Discotheque. A third Iloor, added in 1979, has a rooI garden and discotheque. Reached by elevator, the
disco is immediately above President Marcos' bedroom. It was complete with strobe and inIinity lights,
Iog equipment, and the latest in music equipment. A wide waterIall-Iountain plays on the terrace outside
the disco and steps lead up to a rooItop helipad. It has apparently been disused since 1986.

The Presidential Study

It is the oIIicial oIIice oI the President, equivalent to the United States' Oval OIIice oI the White House. It
is on the second Iloor oI the Palace itselI, while the old Executive OIIice in Kalayaan Hall has been
renamed the Quezon Room. The desk is the presidential desk in use since the Commonwealth oI the
Philippines, when the oIIicial desk oI the American governor-generals was brought to the United States; it
was used by all presidents Irom Quezon to Marcos (oIIicially until 1978, then in his private study),
restored by President Ramos, used by President Joseph Estrada, and restored once more by President
Arroyo.