A palace reborn: inside the resplendently restored Coconut Palace, a tribute to Filipino heritage

Mañosa’s visionary blueprint leaves an indelible mark from the moment of entry. The recurring hexagonal motif—a direct homage to the trimmed coconut trunk—instantly captivates. Rooted in tradition, this six-sided form echoes the practical technique of maximising coconut lumber, yet here it is transformed into an elegant geometric leitmotif woven through floors, balusters, paving and ceilings. The spatial arrangement pays tribute to the bahay na bato, the stately ancestral home with a solid ground floor of concrete, stone and marble, and a masterfully crafted wooden upper level.

Restoring such a storied edifice required exacting dedication. “The structure was thoroughly checked before the work commenced,” notes the Heritage Team. “Fortunately, as a two-storey property, the upper floor and roof do not exert such a heavy load.” Creating a completely dry environment was paramount to safeguard the palace’s venerable wooden elements. “Our top priority was to protect the ageing wooden components. What was important was to create a leak-free interior environment,” they explain. “This goes beyond the roof and into other areas of water filtration: exterior walls, balcony floors, defective gutters and downspouts, even water and drain lines.” The roof itself underwent careful historical assessment by the current restoration crew. “Before the work began, the survey found that the roofing material installed was asphalt shingles, something that is still commercially available to this day,” the team points out.

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Within the soaring foyer, one encounters a magnificent wooden staircase that spirals gracefully upward, drawing the eye to a legendary chandelier composed of 101 meticulously arranged coconut shells adorned with gleaming brass trimmings. The Heritage Team explains, “The suite of chandeliers is definitely a highlight of the Coconut Palace. Along with some of the wall sconces that also feature the shell [bao] of the coconut, these were meticulously restored, rewired and fitted with more modern bulbs.” Every shell was polished to a radiant sheen and the shades were refreshed with new fabric.

Moving into the living room, the ceiling showcases yet another geometric hexagonal pattern that cleverly resembles a fresh buco juice served straight in its shell. Suspended in the centre is a two-tier capiz chandelier designed to mimic graceful coconut leaves; when you stand directly beneath it and look up, it remarkably resembles a blooming flower. The room is framed by contemporary art, featuring recent additions by artist Jun Impas, including the popular painting Mano Po Lola alongside a piece titled Maria Clara.

Deeper within, the music room reveals a versatile haven, its collapsible walls adapting to any gathering. At the centre stands a Yamaha grand piano, encircled by Mariposa couches that feature solihiya, the 19th-century weaving style of rattan strips into a hexagonal grid and silhouettes evoking butterfly wings. The space dazzles as a gallery of Filipino artistry, with treasures from the GSIS collection such as Orley Ypon’s award-winning Ahon, an untitled communal piece by Nemesio Miranda Jr (Nemiranda) and Perdigon Vocalan’s Sa Kareta showing a spirited tableau of rural life.

Adjacent is the library, a space that famously served as the official office of former Vice President Jejomar Binay when he rented the entire property as his office from 2011 to 2016. The quiet, dignified room houses a curated collection of Philippine history and arts books, alongside prominent historical maps of the Manila and Subic bays. Traditional objects line the wooden shelves, notably a wine goblet and decanter crafted entirely from coconut shells, while an ancient kulintang instrument and an eagle chair believed to have been used by the late President Ferdinand Marcos Sr complete the setting.

For diplomatic occasions, the state dining room astounds. Its centrepiece is a remarkable 37-foot dining table, seating 24 and adorned with some 40,000 pieces of coconut shell inlay. Restoring this delicate masterpiece demanded state-of-the-art methods. “Pulse laser technology was used to carefully strip off the old varnish before refinishing with coats of protective wax,” reveals the Heritage Team. The room is further distinguished by ambassador chairs encircling a balimbing centre table and fully carved anahaw and coconut furnishings. To accommodate grand events, the kitchen and basement have been modernised to cater for gatherings of up to 700 guests.

Ascending the grand wooden staircase brings you to the private quarters, which feel akin to a highly curated regional museum. The palace consists of 11 rooms in total—four on the lower level and seven on the upper floor—with the upper suites acting as vivid showcases of different places and regions in the Philippines.

The Ilocos room is the main bedroom and the largest suite in the house, named after the home region of the late President Ferdinand Marcos Sr. It exudes an old-Filipino-home atmosphere, with furniture inspired by the Vigan region, including a massive four-poster bed supported by elaborate wooden carvings. For the bed base underneath the mattress, its solihiya surface provides crucial structural support and ventilation. At the spacious terrace—the largest, with a view of the revered Manila Bay sunset—sits a butaca, a traditional reclining birthing chair with long armrests designed to support women during childbirth. The en suite bathroom is an architectural marvel in itself, featuring walls clad in laminated young and mature coconut shells beneath a luminous capiz ceiling.

The Bicol room pays homage to southern Luzon with recurring banana-inspired designs; banana leaf forms elegantly appear on the cabinet, mirror and bedpost, while the table legs cleverly resemble banana trunks. Originally serving as a design room for the former First Lady, it features late-19th-century artistic depictions of the iconic Mayon volcano by Andre Slom, as well as works associated with Austrian geologist Richard von Drasche.

Down the polished hall, the Iloilo room bursts with coastal charm. Shells appear throughout the furniture and the striking fan-shaped headboard, evoking the feeling of Visayan islands and beaches. Translucent capiz is used generously, naturally allowing light to pass through and create a softer, diffused glow while providing privacy. This room, where Shields stayed during her visit, also features an artwork depicting the 1797 Miag-ao Church and vibrant paintings by Spanish-born artist Betsy Westendorp.

The sensory journey continues in the Marawi room, which draws heavily on the rich artistic traditions of the Maranao people in Lanao del Sur. The space is anchored by a three-panel brass headboard featuring a pointed arc-like form, intricate metalwork and dark wood inlay. A large metal Gadur vessel sits proudly alongside the highly recognisable Sarimanok symbol, while a traditional sungka game rests on the centre table.

Similarly striking is the Zamboanga room, defined by its highly textured coconut parquet flooring. The centrepiece is a beautifully carved four-poster bed made with coconut lumber, its carved posts attributed to National Artist for Sculpture Napoleon Abueva and associated with his 1979 work Columna Imelda. A much darker finish is applied to the bathroom’s coconut materials, providing a richer, more dramatic feel.

In the Pampanga room, the Central Luzon tradition of fine furniture-making is celebrated through elaborately carved wooden pieces bearing delicate floral and foliate details.

The Mountain Province room offers a distinctively different aesthetic, drawing inspiration from the traditions of the Cordillera highlands. Woven geometric patterns grace the textiles, while carved bulul figures—symbols of rice and abundance—stand in silent guardianship beside traditional libbit conical drums. Subtle lizard motifs appear throughout, signifying longevity, good fortune and prosperity. Notably, this is the only upper bedroom without a terrace, a design choice that preserves the palace’s perfect hexagonal symmetry when viewed from above.

Within the Coconut Palace compound, a tranquil chapel awaits, adorned with intricate capiz shell motifs that evoke the Philippines’ enduring identity as a tropical archipelago. At the altar, three revered images—San Lorenzo Ruiz, San Pedro Calungsod and a Santo Niño marking the 1521 Spanish expedition to Cebu—are gracefully enshrined.

The preservation of these historic spaces has followed strict, internationally recognised guiding philosophies. “Conservation’s most important principle is ‘the lesser you touch, the better’,” shares the Heritage Team. Rather than erasing the passage of time, every era’s contribution has been honoured, allowing the palace to stand today as a living testament to Filipino ingenuity and artistry.

“The Tahanang Pilipino is a home that continuously celebrates Filipino craftsmanship,” declares the restoration team. As the nation prepares to welcome regional leaders through its storied wooden doors, the reborn Coconut Palace stands ready to showcase the enduring allure of materials that are unmistakably our own.

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