Unfinished Benguet Tourist Spot Sparks Online Buzz, Draws Comparisons to Vietnam’s Golden Bridge

A new tourist attraction still under construction in Longlong, La Trinidad, Benguet, is making waves online—even before welcoming its first visitors. Photos of the site began circulating on Facebook after local resident Patrick Marrero Tapang Jr. shared directions, catching the attention of netizens nationwide.

Photo courtesy: Patrick Marrero Tapang Jr.

What sparked the conversation was a bridge design seemingly held up by giant sculpted hands, immediately drawing comparisons to Vietnam’s iconic Golden Bridge at Ba Na Hills, Da Nang. Within hours, comments flooded in, asking: is this a creative inspiration or simply imitation?

Reactions online were mixed. Some criticized the design for lacking originality, arguing that Benguet could showcase its rich Cordilleran culture or local folklore rather than borrowing from a foreign landmark. Others joked, calling it “Da Nang, Benguet,” while debating whether the inspiration came from Da Nang or Sa Pa, another Vietnamese tourist town.

Yet not everyone viewed the resemblance as a problem. Some defended the project, noting that tourism often thrives on shared ideas, and emphasized the importance of safety, accessibility, and a well-executed experience over where the concept originated. Practical concerns were also raised, including potential entrance fees, parking, and crowd management, reflecting ongoing discussions about sustainable tourism in the province.

Local authorities clarified that the “Glassway Attraction,” as it is informally referred to online, is a private initiative and not affiliated with the La Trinidad government. Currently, the LGU only manages the BSU Strawberry Farm, while the new attraction remains under construction, with no confirmed opening date or official details.

For now, the bridge and its giant hands exist mostly on social media, fueling debates about originality, inspiration, and the future of local tourism. Beyond one bridge, the conversation touches on a broader question: how can Benguet create attractions that are not only impressive but also deeply rooted in its own identity?