Our Common Home: How the Kilayko House Found New Purpose

Every house holds a philosophy, whether intentional or inherited. In the case of the 80-year-old ancestral home of Millie Kilayko in Bacolod City, that philosophy began with a layout that defied conventional design. Built without a formal architectural blueprint by a matriarch with no academic training, the house was designed around a singular, central living room, with bedrooms opening directly into the shared space.

For Kilayko growing up, the spatial arrangement meant that privacy was a luxury. To reach the kitchen, one had to step into the central hall—an awkward reality whenever visitors were seated in the living room. Yet, alongside the unconventional layout came an unbending household rule passed down by her mother: nothing in the house was to be artificial; everything had to be organic. Fresh flowers, harvested straight from the garden, were the only décor permitted. It was an aesthetic standard that doubled as a moral compass: you could not be artificial as a person.

For decades, that central room hosted a sweeping intersection of political and civic history. International diplomats, ambassadors, and a visiting Prince of Ghana sat in its chairs. Former President Cory Aquino visited and stayed in the Kilayko home on multiple occasions, establishing a quiet connection to the household that spanned decades.

Inside HOPEtopia: Hand-painted forest murals, interactive reading circles, and step-by-step pathways transform former domestic quarters into spaces designed to engage young minds in ecological stewardship. 

A home of such rich historical density, however, carries a heavy physical toll. Following Typhoon Yolanda, the gates were thrown open—transforming the property into an ad-hoc disaster relief hub. Sacks of rice, donated tables, and volunteers filled the rooms. But as time wore on, the aging infrastructure took its toll. Leaking roofs, rotting timber, and mounting maintenance costs began draining Kilayko’s personal retirement funds.

When friends and relatives urged her to preserve the estate for its historical memories, Kilayko’s response was practical: “You’re saying that because you’re not paying for the repairs.”

The turning point came not through a grand strategic plan, but through an act of divine providence. Deciding to downsize, Kilayko agreed to sell the property to an interested Manila-based buyer. Retaining a compact 200-square-meter parcel on the edge of the lot to build a smaller personal residence, she prepared herself for the reality of urban development. Given the property’s proximity to a local university, Kilayko expected the remaining 1,000 square meters would be cleared for a multi-story student boarding house—sampayans and all.

The new owner initially considered converting the property into an events venue. That was when the reality of the transition fully set in. “Wow, the house of many memories is going,” Kilayko recalls. “The biggest blessing to me was I never ever felt sentimental about leaving the house. I think it was a grace. It doesn’t happen by human design—it’s really grace.”

An Eight-Decade Evolution: Archives from 1947 document the original Kilayko estate at 54 Lizares Avenue, alongside its physical transformation through the years into Garden 54—where historic features and a Marian statue stand alongside modern mosaic work and public community spaces. 

The new owner, upon recognizing the historical gravity of the structure, decided against demolition. Beyond preserving the house, she gave Kilayko free rein to repurpose her former home into a public community sanctuary. The physical transformation of the property into what is now known as Garden 54 required a precise reconfiguration of its rooms into functional, public-facing operations.

A concrete firewall was erected to separate Kilayko’s new private quarters from the original structure. The most dramatic transformation, however, occurred within the core living spaces, which were repurposed to house HOPEtopia—an interactive children’s museum and ecological learning sanctuary.

Inspiration for the museum struck when Kilayko encountered an illustrated children’s adaptation of Pope Francis’s encyclical on environmental stewardship and creation care, Laudato Si’ (Our Common Home). Rather than displaying the book behind glass, the team designed an interior that makes visitors feel as though they are stepping directly through its physical pages.

Visitors journey from vibrant, painted depictions of forests into a dark, somber hallway representing industrial pollution and environmental degradation. The room that once served as Cory Aquino’s bedroom became the “Ubuntu” room—named for the African philosophy of interconnectedness—where children write down their vows to care for the environment.

Bringing Laudato Si’ to Life: Illustrated children’s adaptations of Pope Francis’s encyclical on care for our common home serve as the blueprint for HOPEtopia’s immersive, page-by-page interior design. 

To bring the physical spaces to life, HOPEtopia rejected the conventional model of formulaic museum tours. Heading the initiative as Museum Director is Chart Motus, a veteran Bacolod theater actress who came out of retirement to manage the center’s educational programming.

Under Motus’s direction, staff and volunteers do not act as passive tour guides. Rather, they operate as “Storytellers,” guiding intimate groups capped at 10 to 12 visitors to maximize personal interaction. The Storytellers use theatrical movement, dialogue, and guided reflection to translate abstract concepts of ecological responsibility into tangible lessons visitors can take home with them.

HOPEtopia’s impact is measured in the immediate, unscripted responses of its youngest visitors. Upon completing the walk-through, children write personal environmental commitments—promising to reduce plastic waste, avoid excessive consumer purchases, or start household vegetable gardens. These handwritten pledges are gathered from a locked commitment box, cataloged by Kilayko at night, and affixed to decorative stars to be used as Christmas tree ornaments during the holiday season.

Storytellers and Community: Museum Director Chart Motus (left) guides visitors through interactive exhibits, alongside the Fernandez family with their friends and relatives (center), and Ms. Millie Kilayko (right) in HOPEtopia. 

For local families, the impact of the spatial transformation is felt the moment the lights turn on inside HOPEtopia. When Bacolod residents Gab and Rhea Fernandez visited with their three children, Gray, Gary, and Rui, the initial dark entryway gave way to a bright, room-wide “feast for the senses.” Guided by a Storyteller who engaged the kids in open dialogue rather than rigid lecturing, the experience culminated in the Ubuntu room, where their children wrote pledges to “Protect the animals” and “Not throw trash everywhere.”

The Fernandez family’s experience left an indelible mark not only on the children, but on their parents as well. “This was meaningful to me because as young as they are,” Rhea recalls, “they want to be part of the solution. They want to take part in making the world a better place.”

Millie Kilayko’s journey from growing up in an unconventional household to managing its public afterlife offers a clear lesson on legacy: preserving a family home is not merely preserving old wood, cement, and personal nostalgia—it’s sustaining the home’s essence and purpose.

Past and Present Doorways: The original 1947 entry façade (left) alongside its modern restoration (right)—a physical indication in preserving a home’s essence while adapting its purpose for new generations. 

 A house that once hosted national leaders and political elites has found a far higher purpose: serving as a living classroom that shapes the character, conscience, and hope of the next generation.

Experience the living classroom firsthand: For group bookings, educational tours, and community visits, reach out to HOPEtopia at info@hopetopia.org or follow updates on facebook.com/hopetopiaorg.

Writer: John Mari A. Marcelo

Photos: John Mari A. Marcelo / Millie Kilayko / Rhea Fernandez