Pasulong by Anton V. Quisumbing explores loss, longing, and repair. Two years in the making, Quisumbing pieced together the remains of bronze propellers from boats damaged in the aftermath of Typhoon Odette in 2021. Curated by Miguel Rosales and designed by Caramel Creative Consultancy, the exhibition consists of twenty-nine compositions. The works suggest that moving […]
Celebrating Philippine-Japanese Relations Through the Tree of Life
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When one thinks of the Tree of Life, several images may come to mind because of its deep roots in different cultures and religions. The first and last books of the Bible mention it together with the Tree of Knowledge in the Garden of Eden, while the Bodhi Tree in Buddhism was where Siddhartha Gautama reached enlightenment.
As the Philippines and Japan commemorate 70 years of diplomatic relations, the coconut tree – in all its profound symbolism – was chosen to be the theme and highlight of the exhibit that kicks off the year’s festivities.
Salcedo Auctions partners with the Department of Trade and Industry, the Philippine Trade and Investment Center in Tokyo, and the Embassy of the Philippines in Japan to present The Philippine Coconut: Tree of Life, Seed of Innovation. “I really wanted to focus on something that the Philippines is a leader of. Not a lot of people know that we are one of the largest exporters of coconut products internationally,” says Salcedo Auctions chairman and chief specialist Richie Lerma.
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The exhibit, held at Tokyo Midtown Design Hub in Roppongi, begins with a hallway lined with Hacienda Crafts’ Ikat Lamp, designed by Tes Pasola. The lamps made of bamboo and buri are painstakingly designed with beads that mimic textile patterns reminiscent of ikat weaves.
Lightboxes showcase specific parts of the coconut tree, introducing the varied uses of the coconut. The trunk produces lumber, used in architecture, furniture, and crafts. Salcedo Auctions handpicked Filipino furniture brand Lamana to use the coconut trunk as material for their designer line. Lamana’s partnership with Japanese brand Ishinomaki Laboratory allows them to manufacture these designs, exemplifying good relations between Japan and the Philippines in the design industry. A mix of Ishinomaki Laboratory products—including the Ishinomaki Stool by Keiji Ashizawa, the Tripodal Stool by Studio Adjective, and the AA Stool by Torafu Architects—is presented alongside two pieces by Filipino designers: the Hex Stool by Migo Mariano and the Score Chair by Brian Ver.
Coir – the robust fibers in the coconut husks – holds moisture while naturally resisting decay, making it a perfect material for nets. Coir geotextiles from the Philippines are widely used in civil engineering in Hokkaido and elsewhere in Japan for erosion control and soil reinforcement.
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At the center of the exhibit is a hexagonal structure that holds a floating model of the Coconut Palace by Philippine National Artist for Architecture Francisco “Bobby” Mañosa. Surrounding the structure are never-before-seen watercolor renders, offering a pristine vision and passion for the potential of the coconut tree. Granddaughter of Mañosa and executive director of Tukod Foundation, Natasha Mañosa Tanjutco, gives insight into the Coconut Palace’s deeply layered use of coconut. “In the architectural plan of the Coconut Palace, you will see the utilization of the hexagon. This originates from understanding how to actually cut coco lumber. You’ll notice how there are different variations of hardness and softness of the wood. Thus, by cutting it in a hexagon you were using the hardest and sturdiest part of the coco lumber. So he used this as the inspiration for the entire architectural landscape of the building.”
Beyond the architecture, the hexagon shape was also applied in the interior design. The windows, the parking floor, and the ceiling all used the hexagon. “Other than the hexagon, the use of herringbone design or diagonal lines inspired by the coconut leaf was utilized in various ways, from the entrance door and beams.
Tanjutco also notes, “No less than 70% of the whole structure is derived from the coconut tree,” emphasizing the central role of the coconut in the building’s creation.
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The exhibit continues with decorative products made from coconut shells, such as Arden Classic’s Curious Sea Creature, which combines coconut and silver-plated brass to form a vessel shaped like a peacock. Coconut meat and water produce coconut oil, coconut sugar, and a wide array of beauty products.
Geraldine Javier’s silk organza installation, entitled The Two Fridas, hangs at this point in the exhibition. “Her installation depicts two women seated together, tethered by a cord around their shoulders connected at the heart,” describes Lerma. “They are encircled by lush foliage and watchful primates, situating intimacy within the natural world. The work resonates with themes of interdependence, shared survival, and emotional ecology. Nature is not a backdrop but a witness. Like the coconut tree, the figures suggest endurance through connection.”
Artists such as botanical painter Emmanuel Cordova, Demetrio Dela Cruz, Maria Pureza Escaño, Mark Andy Garcia, and Joel Geolamen each offer a contemplative perspective on the coconut tree’s role in Filipino life. Geolamen paints tribal textiles across the landscape rather than the trees. Dela Cruz delves into the mythological figures Malakas and Maganda, who were sustained by the coconut tree. Escaño frames idyllic scenes with dappled sunlight and the ever-present coconut. Lerma, discussing Garcia’s painting Into Great Silence, notes, “Garcia presents nature as subject rather than setting. These are spaces of contemplation, visual articulations of the spiritual. What we see is not just landscape, but belief made visible.”
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The exhibit continues until January 30. “The coconut becomes a metaphor for interconnectedness. Ecological, cultural, and social growth and decay, ritual and labor, memory and transformation are shown not as opposites, but as cycles. In doing so, the exhibition invites us to reflect on how societies endure, adapt, and imagine continuity within a world in constant flux,” concludes Lerma.
Read More: Under the Tree: The Wish List Celebrates Heritage and the Spirit of Giving
Frequently Asked Questions
The exhibit features a floating model and original watercolor renders of the Coconut Palace, a structure where over 70% of the materials are derived from the coconut tree. Technically, the architecture is rooted in the hexagon, a shape Mañosa derived from the optimal way to cut coco lumber to preserve its hardest, sturdiest sections. This geometric motif is used throughout the palace’s landscape, windows, and ceilings to maximize the structural integrity of the coconut wood.
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The exhibit showcases a unique design synergy where the Filipino brand Lamana uses coconut trunks to manufacture furniture designs by the Japanese brand Ishinomaki Laboratory. This collaboration applies Japanese minimalist functionality to Philippine coconut lumber. Key pieces include the Hex Stool by Migo Mariano and the Score Chair by Brian Ver, demonstrating how coco lumber—often overlooked—can meet international designer standards.
Beyond aesthetics, the exhibit highlights the industrial utility of coir (the robust fibers from coconut husks). Because coir naturally resists decay while holding moisture, it is processed into geotextiles used extensively in Hokkaido and other parts of Japan. These nets are critical for erosion control and soil reinforcement, proving the coconut’s role in modern sustainable engineering.
Salcedo Auctions specialist Richie Lerma curated several artworks that use the coconut as a metaphor for shared survival. A highlight is Geraldine Javier’s silk organza installation, The Two Fridas, which depicts interdependence. Other artists like Demetrio Dela Cruz explore the mythology of Malakas and Maganda being sustained by the tree, while Emmanuel Cordova provides botanical precision, framing the coconut as a “spiritual landscape” rather than just a background.
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The entry to the exhibit features Ikat Lamps by Hacienda Crafts (designed by Tes Pasola), which are made from bamboo and buri but feature beadwork that mimics traditional coconut-based textile patterns. Additionally, Arden Classic presented luxury vessels like the Curious Sea Creature, which technically fuses coconut shell with silver-plated brass, elevating organic waste into high-end decorative art.
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Second homes have shifted from occasional escapes to extensions of everyday life. Increasingly, they are expected to offer the same level of comfort and clarity as a primary residence—while remaining within reach. In this context, a new type of development is emerging: the design-led resi-resort. In Calatagan, Batangas, Costa Calatagan introduces Ortigas Land’s first coastal […]
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