Comprehensive Studio Booklet ARCH.513 Roger Williams University

A REMNANCE OF PLACE Antigua, Guatemala

ALYSSA KAY HESS ARCH.513 INTEGRATED PROJECT DESIGN STUDIO-ROBERTO VIOLA OCHA

TABLE OF CONTENTS

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INTRODUCTION 1.1 Site and Context 1.2 Santa Teresa A REMNANCE OF PLACE 2.1 Project Introduction 2.2 Program 2.3 Building Drawings 2.4 Renderings / Collages 2.5 Physical Models TECHNICAL SULUTIONS 3.1 Program Details 3.2 Structure 3.3 Passive Strategies 3.4 Active Strategies 3.5 Elvelope APPENDICES 4.1 Black & White Set 4.2 All Assignments 4.3 Bibliography

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INTRODUCTION Twenty-first century architecture design theory is largely based on context; a sites condition dictates design. This type of research-based design has largely contributed to the architectural practice of sustainability as well as historic preservation. When considering context, environmental and historical components often take precedent. A strong historical context can pose many obstacles in design, potentially limiting movement, expansion or construction as a whole. Though considered a difficult task, a successful union of context and architecture can yield not only smart but also empathetic designs. In this studio, we will be exploring interventions of architecture and historical contexts that aim to enhance historical relevance, promote present awareness and ensure future preservation. To achieve this, we will study Antigua, Guatemala. One of only a few well preserved historic cities to remain in Central America.

INTRODUCTION When considering presidents for this type of intervention, we chose to look at three different project from around the world. The first was Peter Zumthor’s Kolumba Museum in Cologne, Germany. Zumthor explains that this project “rises from the inside out, and from the place”, as his addition directly touches the ruins and rises out of them. Because this museum houses the Roman Catholic Archdiocese’s collection of art, Zumthor compares his ideas to the inner spiritual values of art, its ability to make us think and feel.

He uses grey brick to reunite fragments of the site.

Similar in style to the Zumthor project, is Carlos Quevedo Rojas’s Matrera Castle Intervention in Cádiz, Spain. After the castles collapsed, Rojas aimed to simply structurally consolidate elements that were at risk, create a visual differentiation between the addition and the original structure as well as regain the original volume and texture of the tower. Causing much controversy over the design, the tower restoration has now become a tourist attraction.

Lastly, we examined Rafael Moneo’s Museum of Roman Art in Mérida Spain. When considering how to interact with the ruins, the idea of simply building a structure over the ruins was out of the question. This was because he did not want the ruins to become a lifeless object meant for contemplation or to create a coexisting structure, instead he chose to directly interact with the ruins by using quasiRoman construction methods and procedures. So naturally building in the same materials that the romans had used, seemed the most respectful.

Although these projects have similar visual qualities and material applications, the intentions are very distinct. Each has its own life, and is successful in its own way.

Matrera Castle Intervention Heritage - Carlos Quevedo Rojas

Kolomba Museum - Peter Zumthor

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SITE AND CONTEXT

When considering a site for historical intervention, Antigua, Guatemala adequately allows for ideal conditions. A UNESCO world heritage site, the city has a wellpreserved remanence of Spanish Baroque architecture and infrastructure. Its history of abandonment as well as damages suffered from earthquakes has left many archeological sites in the city vulnerable. The city has actively been restoring sites, however, no proper infrastructure has been implemented to protect them from deterioration due to weather and other elements. As a case study, we will examine how to best improve upon conditions on the site, preserve the existing remains of ruins as well as enhance their historical presence in the city.

LA ANTIGUA History

Modern day Antigua was founded within the Panchoy Valley in 1542 as la Ciudad de Santiago de los Caballeros as the capital city of Guatemala. Prior to this, the capital city of the country was first established in the Iximché Valley in 1524 but was later vacated due to indigenous uprisings and lack of natural resources such as silver or gold. In 1527, the capital city was established on the slopes of el Volcán del Agua. In 1541, the city experienced earthquakes causing water that had been stuck within the crater of the volcano to flow down creating avalanches and mudslides that destroyed the city. The survivors of this disaster decided to relocate to the Panchoy Valley due to its distance from the nearby volcanoes, the flat terrain, as well as the quantity of natural resources found in the valley.

In 1543, the first plots of land were assigned to the survivors of the previous capital city and maintaining the name that was given to the previous two capital sites. The design of the new town, by Juan Bautista Antonelli, was a rectilinear pattern with avenues running north-south and streets running east-west; a city that would have housed 5,000 people while placing the main families closest to the center of the city. Due to the cities lack of wealth, it grew as an agricultural center that attracted conquerors of all classes.

As the population of the city grew in the 17th century, the wealth and size of the city grew as well. During this period, the city experienced a continued pattern of destruction from natural disasters and reconstruction. Due to numerous earthquakes during this time, provisional buildings were torn down in favor of establishing more formal architectural styles such as Renaissance and Baroque styles throughout the city. Because of the large influence of religion in Guatemalan culture, religious centers were given more architectural importance than political structures. The city did attempt to improve public services for the citizens of Santiago including public fountains supplying city water, underground sewage, and the embellishment of plazas throughout the city.

1717 brought about a devastating earthquake that sparked considerations for moving to another location. Rather than acting on those considerations, the city saw a “Golden Period” of development of structures that were earthquake proof (safer roof vaults and single story housing). 1773, the city was bombarded with a series of earthquakes from May until December completely destroying the entire city and killing many.

January of 1774, the official capital was moved and established in present-day Guatemala City. The citizens of what is now known as La Antigua opposed moving the capital and rebelled against a forced move to the new city.

The government of Guatemala decreed it illegal to remain in La Antigua. The old city was ravaged, taking all valuable structure, ornament, and furniture were to be taken and moved to the new capital. Buildings were to be destroyed so as to be used to build the new structures of Guatemala City. Overall the country’s government ended up causing more destruction than the 1773 earthquake. As the new capital began to grow, the government lost interest in forcing poorer citizens to move from La Antigua.

1830 saw a resurgence of population in the city as coffee was introduced to the area. Abandoned houses and buildings were beginning to be renovated and rebuilt as it proved easier than starting anew. Monuments and churches began to be restored between 1850 and 1855

by José María Palomo y Montúfar. Houses did see an addition of Neo-classical forms though people were careful to preserve their own cultural heritage.

The 20th century saw less care for preservation and more modern additions to the city. Architectural historian Verle L. Annis visited in the 1940s and requested the Guatemalan Government give La Antigua the distinction of “National Monument”, which was signed and approved on March 30, 1944. After receiving this designation, preservation efforts rose with minimal funding. 1969 saw the formation of the National Council for the Protection of La Antigua Guatemala which approved the “Protective Law for the City of La Antigua Guatemala” providing guidelines to the

preservation of the colonial city. La Antigua was officially designated as a World Heritage Site by UNESCO in 1979.

As of 1986, La Antigua began to flood with visitors resulting in restaurants, hotels, shops, email cafés, and Spanish schools began to flourish.

Today, La Antigua’s homes are mostly occupied by antigüeños, while a few are weekend homes for the wealthy of Guatemala City. The city has also become a wedding destination. The municipality takes great care to improve conditions but there are still issues with vehicular congestion and some other public services. Overall, the city offers a great diversity of shops, restaurants, galleries and homes with the charm of a Colonial Spanish city.

LA ANTIGUA Topography

When examining the topography in La Antigua, one sees why it was placed within the plateau between the mountains and volcanoes.

The town was places here because of its protection from the mountains and volcanoes.

However, over time when these volcanoes erupted, the capital at the time was affected. La Antigua has very little grade change throughout the city, but has drastic changes around the outside where the mountains and volcanoes are located. Most of the important features of the city are located at its center because of its proximity to the volcanoes. More of the agriculture and poverty areas are located towards the outskirts of the city. This is because of its proximity to the volcanoes, and having farmable land.

LA ANTIGUA Religious Institutions

A result of 15th and 16th century Spanish conquest, Antigua is largely comprised of Convents, Churches as Monastery’s. As Catholicism spreads to the native civilizations of Guatemala, Spanish monks and catholic factions settled in Antigua, demanding local forces and funds to maintain and build new facilities for worship throughout the city. Though welcoming of the missionaries and their beliefs, local government was not in support of many of the plans of contruction, as monasteries of the time relied primarily on local government funds and donation. However, by pressure put on local government by of the Spanish King, the Guatemalans had no choice but to oblige. Because of this, Catholicism is still the primary religion practiced in Guatemala.

Name of Structure 1. Catedral 2. Universidad de San Carlos 3. Iglesia y Convento de Santa Clara 4. Iglesia y Convento de San Francisco 5. Iglesia y Convento de Capuchinas 6. Colegio de San Jerónimo 7. Iglesia y Convento de la Recolección 8. Hermita de la Santa Cruz 9. Iglesia de Santa Ana 10. La Candelaria 11. Iglesia de Santa Rosa de Lima 12. Monasterio de Santo Domingo 13. Iglesia y Convento de Belén 14. Ermita de Santa Isabel 15. Colegio Santo Tomas de Aquino 16. Iglesia Escuela de Cristo 17. Parroquia de los Remedios 18. Iglesia del Calvario 19. Iglesia y Convento de Santa Teresa 20. Iglesia y Convento del Carmen 21. Iglesia y Hospital de San Pedro Apostol 22. Ermita de Nuestra Señora del Manchén 23. Iglesia y Convento de la Merced 24. Arco de Iglesia de Santa Catalina 25. Iglesia de San Jose el Viejo 26. Iglesia Parroquial de San Sebastián 27. Iglesia y Convento de la Compañía de Jesús 28. Iglesia y Convento de San Agustín 29. Ermita de Santa Lucía 30. Iglesia de San Lázaro (Cementerio) 31. Iglesia y Convento de la Concepción

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were placed on Corner Plots of city blocks of the city grid in order to allow for expansion as well as central courtyards. Original intents for building locations were to provide not only proper drainage but also exquisite water supply. Because of this, religious buildings were planned to be placed on the south west slope of the city.

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Status Partly restored, partly in ruin Fully restored In ruin Fully restored Partly restored, partly in ruin In ruin In ruin Restored Fully restored In ruin In ruin Fully restored Fully restored Partly restored, partly in ruin Fully restored Fully restored In ruin Fully restored Restored Adapted Fully restored In ruin Fully restored Fully restored Fully restored Restored Restored In ruin Fully restored Fully restored In ruin

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LA ANTIGUA Growth

The initial settlement in the Panchoy Valley in 1543 was designed as an orthogonal grid that would house 5,000 people. Within this original settlement is the plot that would later become the convent Santa Teresa de Jesus.

Due to the cities lack of wealth, it grew as an agricultural center that attracted conquerors of all classes. The population grew over time the 17th century as religious centers continued to grow as well as the agricultural production. Though natural disasters did keep the population from growing as rapidly as it could as people would lose their homes and fall to diseases or were killed in the disasters.

After the 1773 earthquake, many people left the city and few stayed as it was illegal to have decreed illegal to remain in the city by the Guatemalan government. Once the government no longer cared who stayed the citizens of La Antigua were able to start minimal reconstruction on damaged houses.

It wasn’t until the introduction of coffee to the city that growth began to rise again in 1830. Since then the city has grown exponentially including a surge of tourism that began in the later 20th century following the designation of La Antigua as a World Heritage Site by UNESCO.

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1773

2019

LA ANTIGUA

Urban Condition and Climate Response text When examining a typical urban block, a large amount of them are just large courtyards made up of buildings either residential, restaurant, hotel, etc. Some blocks may have a larger shared green space in the center or it may just simply be owned by one person, either way it is a great way of cooling and shading and handful of buildings within the block. Individually, the singular buildings almost always have a courtyard or two within them. Some of these courtyards contain vegetation, but some do not. When examining a typical house in Antigua, it contains a form of courtyard that is open to a threshold or corridor with certain rooms perpendicular.

As the homes look small and tight, the courtyard allows for building to breathe and allow for a cooler and healthier experience. Rooms can be ventilated through the courtyards as they are practically exposed to the outdoors.

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LA ANTIGUA Green Systems

text There is a continuous system of tree colonnades that either frame the road on both sides of split the roads into two lanes. These roads are moderately popular and busy during certain times of the days, but most importantly serve as shade. The sun can become very dreadful during certain times of the year and incorporating trees alongside sidewalks and roads provide shade and help keep people and other objects cool. These greenways also link themselves to other plots of green areas, some of which can be accessible and others that cannot. Most areas are walled up and have vegetation spilling over them and into the sidewalks. On days where there is more moisture and wind it helps keep the city cool. The top two images showcase the green system that interconnect historical sites. From the edge of the city, La RecolecciĂłn, faces one of the main streets that have the IJ;K6<5ĂżG<5;745@5LĂżM595;7:NO<7PĂżQ7:5=;47J; tree colonnade. The following the street down to ĂżGHhistoric H6@7 site, Santa Teresa. the center is another Tourists will use this road to visit the two sites M;=77;ĂżRK7SĂżTĂż?<@ĂżABCD and can with ease due to the trees shading the path.

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LA ANTIGUA Regional: Wind

The city of La Antigua experiences can experience heavy winds thoughout the year. Mostly the windflow comes from the north or north east direction and also the south to south west direction. About 30 percent out of the whole year the wind comes from the northern direction. So the North facade of the building is going to suffer a large number wind load, that need us to pay attention to it.

In La Antigua the wind speed is quite high, especially in spring and winter, the average wind speed is about 12 mph, and the maximum even reach 30 mph, that bring an issue about resistance to wind load works on constructions in La Antigua.

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During the rainy season there are daily showers, which tend to fall in the afternoon. The latter months of the rainy season are usually the wettest.But the rain fall is largely dependent on how close to the coast you are and what side of a mountain chain you are on.

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Photos on the right include some natural disasters that occured within countries in Central America. Landslides and flooding are common occurances in these regions are large threats to the living conditions there. The landslide photo is a city in El Salvador, a neighboring country of Guatemala. The landslide have buried homes and properties in several feet of mud and dirt. Making them inhabitable

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Due to the large mountain range located in the heart of the country, the rain water runoff during the wet months can result in heavy flooding and often land slides. The graph on the right shows that the flat plataeu that the city of Antigue sits on, has a very high threat level when it comes to flooding. Also the surrounding mountain range to the north, west and east of the city has high threat levels of landslide occurance. This is a regional aspect that should be taken into consideration during design within the city.

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Regional: Geographical Features Topographic map of Guatemala includes various major geographic features like Volcanoes, Mountain ranges, rainforests, plains, lakes and rivers. Antigua is in the middle of the mountain ranges close to the volcano range on the southern portion of the country. Plains are towards the west close to the Pacific Ocean. And Rainforest north towards Belize.

Guatemala shares its borders with four other countries in Central America. The countries are Mexico, Belize, El Salvador, and Honduras. Coastal wise, Guatemala has the Gulf of Honduras to the east and the Pacific Ocean to the west.

The country of Guatemala is part of the active plate formation known as the â&#x20AC;&#x153;Ring of Fireâ&#x20AC;?. The volcanic range that extends from Mexico to El Salvador is active and has frequently caused devastating earth quakes and volcanic erruption though out the years.

There are three major Volcanoes around Antigua. There are Volcan de Fuego, Volcan De Acatenango, and Volcan de Agua. There are also mountain ranges surrounding the city of Antigua. Within the valleys are where neighboring cities have grown, including San Miguel Duenas, San Pedro Las Huertas, Santa Maria de Jesus, Amatitlan and Villa Nueva.

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LA ANTIGUA Regional: Temperature

The world’s climate can be classified in five major categories, this system is called the Koppen climate classification. The categories are Tropical, Dry, Temperate, Continental, Polar. Tropical climates located mostly in the middle of the globe. Known for being warm all year round, and heavy precipitation resulting in the usual rainforest.

This is the conditions of the country Guatemala. Dry climates are usually hot and sunny, with little precipitation.

Temperate climates and Continental climates experience all four seasons, but continental temperatures have more extreme averages than the temperate climates. Polar climates are found at the north and south poles of the globe. This climate is always cold and snow all year round.

Central America is considered a tropical climate. There is a lot of rain and is warm all year round. Guatemala is a country within Central America and is home to a large amount of rainforest. There they experience dry winters and warm summers.

The average temperature within Antigua is between 6070˚F yearly. The hottest months are March, April, and May. During the summer time, the temperatures stay mostly the same with the temperatures not dropping past 55˚F, and not over 79˚F during the months of June, July, August, September, October and November. The months with the most dramatic changes are the months of April and January. The highest temperature recorded is around 84˚F and the coldest is 47˚F. The elevation of the volcanoes are the following: Volcan de Fuego-3,700m (12,300ft) Volcan De Acatenango-3,900m (13,000ft) Volcan de Agua- 3,500m (11,500ft).

There are excursions and trips in which many tourguides lead tourist on a hike that covers all three volcanoes around the area.

La Antigua’s elevation is 1,533m (5,000ft) above sea level, which is similiar to the city of La Aurora which is 1,509m (4,950ft). The city of Aurora where the airport is located has a similar elevation to Antigua thus very similar climate conditions. The two sites within the city of Antigua, and the surrounding mountain shows a high range of elevation changes from within the city to a few miles away.

Koppen Climate Classification

Volcan De Acatenango

ANTIGUA

Volcan De Fuego

La Aurora

Volcan De Agua

13,000 ft (3,962m)

9,000 ft (2,743m)

6,000 ft (1,828m)

3,000 ft (914m)

Volcan de Acatenango 13,000 ft (3,962m)

Volcan de Fuego 12,300 ft (3,749m)

Volcan de Agua 11,500 ft (3,505m)

Antigua 5,029 ft (1,533m)

40˚F - 50˚F (4˚C-10˚C)

50˚F - 60˚F (10˚C-15˚C) La Aurora 9,500 ft (1,509m)

60˚F - 70˚F (15˚C-21˚C)

70˚F - 80˚F (21˚C-26˚C)

ARCHITECTURE

HIistory, Methods & Influences Though often referred to as the exemplar of a Spanish baroque colonial city, the architecture of Antigua cannot be defined by a singular style or technique. Though many builders came from Spain, they brought with them the knowledge and style of their home region, familiar to them. Natives, who were not craftsmen, were subjected to intense apprenticeships to attain the skills of Spanish building. Unlike any other city in central and south America, Antigua was built on virgin soil, therefore there is no direct remanence of native culture in the city. Early construction methods consisted of simple posts, thatched roofs and latticed walls of reed which were plastered in mud. Roofs were covered in Adobe, which was later used as the primary building material for shelters. In 1550, colonists adopted a form of construction for walls of ecclesiastical buildings that is still remnant today. This method consisted of laying a bed of heavy lime mortar with large pieces of rubble and stacking intervals of layers of brick used for leveling on lower walls. Upper walls were comprised of primarily brick and a relatively strong grout. This was primarily due to the lack of access to a supply of large stone, which also resulted in the use of stucco or plaster as a cladding material treatment for interior and exterior walls and the magnificent plaster decorations “ataurique”.

Although wood was an available building material, its use was predominantly for roof and ceiling construction and would then be covered in tiles. Occasionally in the mid 17th century, wood beams would be carved in more elaborate structures also known as “Mudéjar” or “Artesado” designs.

After 1650 stone arches and low domes known as “Boveda Viada” were a common ceiling structure in rooms, corridors, chapels, aisles and naves of churches. Though many of the builders were conscious of construction after the larger earthquakes of the 17th and 18th century, many buildings continued to increased in size with the only adjustment being wood being replaced by vaults. In 1725, exterior veneers started to move away from plaster and started to be comprised of small dress stones. Thanks to Diego De Porres, by 1750 small irregular stone veneer was common on exteriors of public buildings as well as churches and became known as “Earthquake Baroque”.

The colonial masons were extremely adept in the use of brick, by implementing clever vaulting, constructing arches without the use of keystones as well as brick used as a core for round columns, entablatures, ornament as well as all other architectural expressions, they were able to use the material to its full potential. Other component of Spanish architecture that the builders brought with them were the patio, Mudéjar details and the Doric and Ionic column orders. However, enough originality existed in Antigua, to dispute any particular source or influence that governed buildings. Because of the abundance of water in the city, public and private fountains were implemented with no restrictions on use, water ran continuously. All blocks of the city had fountains and colonial houses contained some form of a free standing or wall fountain in one or more patio spaces. Each public fountain in Antigua was also equipped with a section dedicated to laundry, so that citizens had easy access to water for washing clothes.

The fountain system relied heavily on gravity to distribute water to control tanks in every block, which would then distribute water to private and public fountains by pipes in varying sizes. This system functioned for more than 4 centuries until 1962 when it was replaced by a water pressure system with meters. However, public as well as private fountains still exist today.

There are a multitude of noteworthy architectural components in residential dwellings as well. Stone based windows as well as stone colonial doorframes are ornamental but create a sense of heaviness that is unmatchable with stucco or plaster. Large colonial kitchens require large chimneys, many of which are still remnant today. The craftsmen of Antigua have continued on their trade, as they are still working today. Woodcarvers, furniture makers, ironworkers and masons still carry strong traditions and pride. Many of these families still follow the ways of the Spanish, by requiring young family members to begin lengthy apprenticeship at an early age.

Antigua’s architecture is unique, because the builders created something new that was of their time, limited with materiality creating the “Barroco antigueño”. If it were not for the abandonment at the height of Antigua’s existence and a century

of isolation, it would not have remained in its perfect state.

There is no other city in the Americas with monumental churches or magnificent and beautiful buildings from the same era. The residual colonial image is clearly visible.

Because of this, Antigua is a rare piece of central America’s culture. As remanence of historical structures still define the street scape of Antigua, restorations for old residences adapt to modern times. Most of these residences are vacation homes, hotels and restaurants catering to the boom of tourism in the city. While some original residences have been restored in the original colonial way, new construction follows what is known as a neo-colonial “Antigua Style”. The adaptation of colorful facades and cobblestone streets standout within the contrast of the ruins. Not much has been changed about Antigua, its colonial heritage is still the guiding factor. In recent years, as restorations have expanded, even to the most holy of places. There have been concerns about new development being added into existing ruins. As an example, UNESCO mentions the Casa Santo Domingo which is a modern hotel that was built into the ruins of the Santo Domingo church and monastery. Although adaptive re-use is being driven by tourism, there has been a lot of push back though the enforcements of laws and regulations to develop conservation guidelines. Institutions that promote local awareness are for example the Salvemos Antigua “Save Antigua” as well as public education campaigns supported by the Japanese government. In order to start new construction in Antigua, approval of congress is required. UNESCO believes that the implementation of a masterplan as well as definitions and efficient protection of a buffer zone would promote new construction that meets government requirements.

1.2

SANTA TERESA

Centrally located, the Santa Teresa convent has a rich history of ownership and use. While we study its context and past life, we will aim to reimagine the site as it once was. Recently restored, it is now open to the public for viewing. The Santa Teresa Convent is located in the original grid of the city, on the main north south axis of the city.

SANTA TERESA Formal Organization

The convent complex was designed by José de Porres who also designed the cathedral. De Porres borrowed building strategies from the cathedral project for the construction of Santa Teresa. Additionally, it is possible that José de Porres was in fact the father of Diego de Porres who served as designer of many other religious structures. José de Porres designed an irregular plan for a convent as it is wider in width and shorter in length than usual. As a result it resembles a parish church more so than a convent church. Furthermore, the arcades of the cloister were low and the columns heavy in proportion.

Additionally, renaissance forms were incorporated into the design including, a door recessed under an arch, large window-niche and two bodies with three streets separated by inter-columns.

Circulation Work Rooms Chapel Support Spaces Outdoor Space

On June 22nd, 1675, Real Cédula (Royal Decree) was issued authorizing the function of the Convento de Carmelitas Descalzas (Barefoot Carmelites), under the invocation of Santa Teresa de Jesús. City Council reports from 1675 show that Bishop Mañosca and Murillo donated the houses of his residence for the foundation of the Convento de Carmelitas Descalzas. On May 25th, 1677, three nuns arrived from Lima, Peru to found the convent. In 1677, the Convent was completed. Furthermore, as time progressed the building began to further develop. On August 17th, 1683, construction of the formal temple in the convent began and was completed in 1687.

However, the complete church and convent did not last long. In 1717, earthquakes caused minor cracking on the corner of the structure. In response to the damage to the convent and the partial collapse of the roof, the nuns decided to live out of small thatched roof structures in the garden of the church within the convent property. It was not until years later that the nuns returned to living within the convent walls.

From 1737-1751 Bishop Pardo de Figueroa reinforces the structure in part and partly renews it. However, this restoration effort is reversed following another series of earthquakes that occurred on February 4th, 1751 which left the temple damaged once again.

Following the abandonment of the city in 1773, the monastery was occupied by poor families. However this use changed again during the second half of the 19th century the courtyard was used to dry coffee beans. Around the end of the 19th century, the convent spaces were used as a center for the production of aguardiente, wine and soft drinks. During the 1940s, the convent was occupied by a jail of men from the Palace of the City.

SANTA TERESA Elevations and Sections

FACHADA PRINCIPAL FACHADA PRINCIPAL

FACHADA PRINCIPAL FACHADA PRINCIPAL

FACHADA PRINCIPAL

Chapel Main Facade Current

Section A - Chapel SECCIÃ&#x201C;N

A-A'

Chapel Main Original Facade

SANTA TERESA D E Ăż V Ăż JW 8 K L X 6 Ăż N = > Connection to Urban Condition & Access The site of Santa Teresa is located directly in the urban environment of the city. The north and west faces of the building face the streets and both have entrances inside. The location doesnâ&#x20AC;&#x2122;t hold much lush vegetation, rather more privatized green spaces and courtyards.

The east side of Santa Teresa, however, holds an open garden space to the public that compliments the building. Two roads on the east and west sides surrounding the site both have traffic going one direction, and the north facing street provides two lanes going both directions and can become very busy during traffic. The site however provides sidewalks on all sides of the streets creating pedestrians to access the site away from traffic.

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SANTA TERESA >RĂżSĂżFT4GHU2ĂżJ9: Edges & Traffic

Santa Teresaâ&#x20AC;&#x2122;s west and north facades face the edge of the corresponding streets that create an engaging condition. This edge runs along two streets that can become high in traffic. Vehicular traffic, in general can vary depending on the time of the day. The diagram indicate the traffic around 5pm. It isnâ&#x20AC;&#x2122;t a pleasant experience during this time of day, but during slow hours of the day there becomes minimum to no traffic. The north facing facade of the building faces the same street that if one was to follow west, they would reach the other potential site, La RecolecciĂłn.

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SANTA TERESA Views

Entering the site is possible from the west and north faces of Santa teresa. The top image shows the first view labeled on the diagram and the bottom image is the other entrance. The third view labeled on the diagram is the interior perspective and is located on the following page.

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SANTA TERESA Materials

Primary materials of construction were compromised of brick, concrete and stucco. The buildings main structure is made of brick and covered in stucco. The central fountain in the courtyard is comprised of tile and concrete. The use of cobble stone can be seen in more remote areas of the site. Ceramic tiles were added later as a path material, as means of restoration, however arenâ&#x20AC;&#x2122;t original to the design. The new paths do not directly touch the wall of the building, as there is a vital detail which allows for a 4 -5 inch gap between path and wall, filled with gravel.

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DroneSite Plan Image

Formal Organization Drone Image Sight Perspectives Courtyard Private Residence Chapel Back Volume TEXTTTT

2

A REMNANCE OF PLACE A remnance of place has become the defining resemblace of the project. The history of the site in combination of a new identidy is the inspiration behin the concept of the design and the spirit of the architecture.

2.1

INTRODUCTION

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Introduction Refrences

Introduction Site Strategies

Introduction Building Strategies

Lastly, we will look at Fuensanta Nieto and Enrique Sobejanoâ&#x20AC;&#x2122;s Moritzburg Museum Extension Located in Halle, Germany. Through having undergone various changes since the 15th century, the main structures of the surrounding walls, three of the four towers and the central courtyard still remained. The initial question asked by the design team was: Is it possible to reconstruct, starting from the representations of the place itself, an architecture that connects symbolically with the past and reveals its contemporary condition to recompose reality? Inspired by one of the exhibitions paintings, Nieto and Sobejanoâ&#x20AC;&#x2122;s proposal consisted of a simple strategy, a new roof which rises and breaks to allow natural light to enter, and from which two new exhibition spaces hang and two vertical communication cores, providing access to city views. The design enables the space to open up, by freeing up the floor of the ruins, providing spaces for exhibition in the western wing. The design draws to the memory of the ruins by interrupting the sequence of the exhibition spaces, through reemergence. The new intervention aimed to protect the ruins by preserving the existing building and superimposing a light structure that contains exhibition spaces.

In my final site strategy collage, the design occupies the volume of the courtyard as well as the chapel. The intention is to preserve the existing ruins of Santa Teresa while hierarchically intervening in the two main volumes of the ruins. The courtyard and the chapel have significance within the ruin, and by allowing the design to engulf this space, it forces a new perspective towards the remaining voids, allowing for a greater connection with the surrounding ruins.

Each winery will find that they have different risk tolerances, different layouts, different workflows, and therefore different needs. A commercial security system should be scalable and customizable to fit the situation of each individual vineyard, and a commercial security company in Kansas City should work with each wine maker to find the solution that’s right for them. Maintaining Security and the Winery AestheticWineries face a unique security challenge—protecting a wide variety of different areas, monitoring the status of crops, keeping guests safe, and maintaining access control—all while also keeping up the aesthetic that visitors and tourists expect. At the end of the day, wine makers are artisans, and they are aware of the importance of good taste. Whatever aesthetic a winery is going for, it’s a part of what you’re selling with each bottle, which is why you don’t want it ruined with bulky security cameras dangling from every beam. A professional security team like A-TEC Security can put together a commercial security system in Kansas City that protects your crops, your people, your inventory, your premises, and your intellectual property, all while maintaining the winery aesthetic that you’ve worked so hard to cultivate.

To learn more, contact A-TEC Security today.

2.2

PROGRAM

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Program: Commercial security for wineries is more complex than you might think. Wine makers face all the challenges that come with farming and protecting their crops, along with things like liability issues that accompany vineyard tourism, the challenges of protecting intellectual property, and much more. Because wine makers are usually also wine merchants who sell stock from public-facing retail spaces within their vineyards, they also have to contend with all the security challenges that come with retail, including monitoring public areas, keeping an eye on inventory and money, and guarding against employee theft, to name just a few.Vineyards and wineries also have to consider cyber security, since most of todayâ&#x20AC;&#x2122;s wine makers probably do a considerable amount of business online, and may maintain databases containing client data, not to mention proprietary information regarding crops, formulas, and processes.What Would a Winery Security System Include?

A commercial security system can do more than help a winery protect money and inventory. It can monitor the perimeter and grounds, help keep an eye on crops, see who is coming and going in the multiple buildings that make up a winery, help to protect against fire and other hazards, and even provide remote monitoring and oversight of environmental controls and other components of the operation.Doing all of that calls for a fairly sophisticated system, but a robust commercial security solution for a winery begins with four main components: premise access control, intrusion detection, security cameras, and monitoring.Access Control for Your WineryAccess controls are a core component of most commercial surity systems, giving wine-making business owners and managers control over who comes and goes on their premises, which helps to not only protect winery business resources but also keep employees, vendors, and the public safe.

When properly implemented, access controls can: Help deter trespassers and anyone who is up to no good.Restrict certain areas or allow access to certain areas fr vendors, maintenance, etc.Keep a record of who is coming and going, and who was where, when.Help to reduce employee theft and simplify employee tunover.

Provide customized access for different employees based on their needs.Protect proprietary information including intellectual property, formulas, and so on.

SANTA TERESA WINERY Program Worker's Area Visitor's Area

Production Area

Subtotal Net Gross

Area (net)

Quantity

Total

Remarks

Type B - Business Group A-3 - Assembly Group A-2 - Assembly Group A-3 - Assembly Group B - Business Group A-2 - Assembly Group A-3 - Assembly Group

Administrative Offices Locker/Changing rooms Kitchen (for workers only) Reception/lobby Security Tasting room Tasting room-support

1000 500 250 500 500 2000 500

1 2 1 1 1 1 1

1000 1000 250 500 500 2000 500

dir office 250, 2 mtg rms 200ea, admin 350 small areas with lockers. 1 male, 1 female

Private room Main kitchen Storage Gallery Shop Loading+receiving area Tank room Barrique' Cellar Storeroom

2500 800 500 1500 600 2000 5000 3500 2000

1 1 1 1 1 1 1 1 1

2500 800 500 1500 600 2000 5000 3500 2000

Weddings and special ceremonies. All one space To serve primarily Private room To serve primarily Private room (furniture, etc) Santa Teresa History and wine production process In proximity to Storeroom from production area Receiving of grapes/oranges and other misc.

Chrome cisterns for first phase of fermentation Wine matures in wooden barrels. 2 years Wine bottled, store in wooden cases and sold.

24150 1.66667 40,250.08 1.4285 34,498.28

Can be sectioned off into smaller zones or a singular space bar area-Adjacent to main kitchen

(100/60) assuming 60% efficiency (Indicative Only) (100/70) assuming 70% efficiency

A-3 - Assembly Group A-2 - Assembly Group S-1 Storage Group A-3 - Assembly Group M - Merchantile Group U - Utilitity Group S-2 - Storage Group S-2 - Storage Group

Category

Area Gross (60% Eff)

Fl Area/occupant-NET

Fl Area/occupant -GROSS

Business Group B occupancy includes, among others, the use of a building or structure, or a portion thereof, for office, professional or service-type transactions, including 1666.67 storage of records and accounts.

1666.67 Occupancy includes assembly uses intended for food and/or drink consumption 416.6675 Occupancy includes assembly uses intended for worship, recreation or amusement and other assembly uses not classified elsewhere in Group A 833.335 Business Group B occupancy includes, among others, the use of a building or structure, or a portion thereof, for office, professional or service-type transactions, including 833.335 storage of records and accounts.

Occupancy includes assembly uses intended for food and/or drink consumption 3333.34 Occupancy includes assembly uses intended for worship, recreation or amusement and other assembly uses not classified elsewhere in Group A 833.335 Occupancy includes assembly uses intended for worship, recreation or amusement and other assembly uses not classified elsewhere in Group A

15 15 15

Occupants 150 50 200 150

12 34 3 34 6 134 34

When people think of commercial security systems, intrusion detection is one of the first things that come to mind.

Sure, that includes alarms on doors, glass break sensors on windows, and that sort of thing, but it can also include more complex solutions for large-scale operations such as wineries that can: Deter burglary or large-scale theft and protect assets against vandalism.Keep non-public areas secure, especially those that may include dangerous machinery.Potentially lower insurance rates and reduce liability.Offer a safer working environment for employees in the field and behind the scenes.Commercial-Grade Security Cameras No wine-making business that is serious about security should be without at least a few commercial-grade security cameras. With these, a winery can: Keep an eye on every area of the winery, from the outside in.Monitor customer traffic, even from mobile devices.

Have a record in the event of an incident. Track product inventory and customer behavior in real-time. Discourage shoplifting from public or retail areas. Provide documentation for fraud or insurance liability claims. 24/7 Security Monitoring A commercial security system at your winery is no good if no one is watching it. While the components listed above help wine makers and vineyard owners keep their finger on the pulse of their wine-making business even when theyâ&#x20AC;&#x2122;re on the go, 24/7 monitoring gives business owners more freedom to relax, even when theyâ&#x20AC;&#x2122;re not keeping an eye on things. What does it mean for wineries? Authorities (and owners) are alerted immediately in the event of an incident, leading to quicker response times. Business owners and property managers get real-time security updates whenever they need them.

Someone is always on guard, allowing wine makers to focus on what matters most. Many insurance companies require monitoring, which can also help lower insurance premiums. What Spaces Need to Be Secure and Why? Wine making is a complex business, and vineyards feature many different areas that serve different functions and have different security needs. A tasting room is a public space that may also do retail wine sales business, while the tanks where wine is fermented are a different thing entirely, and are different still from loading docks, equipment storage buildings, or the vineyards themselves. Many wineries also feature event spaces and may even include personal dwellings. Thatâ&#x20AC;&#x2122;s a lot of different buildings and areas to cover, and a lot of different security needs and challenges to meet.

4166.675 7 358 1333.336 200 7 Storage Group S-1 occupancies are buildings occupied for storage uses that are not classified as Group S-2 833.335 300 3 Occupancy includes assembly uses intended for worship, recreation or amusement and other assembly uses not classified elsewhere in Group A 2500.005 30 50 Mercantile Group M occupancy includes, among others, the use of a building or structure or a portion thereof for the display and sale of merchandise, and involves 1000.002 stocks of goods, wares or merchandise incidental to such purposes and accessible to the public 60 17 Buildings and structures of an accessory character and miscellaneous structures not classified in any specific occupancy shall be constructed, equipped and maintained 3333.34 to conform to the requirements of this code commensurate with the fire and life hazard incidental 300 to their occupancy 12 Buildings and structures of an accessory character and miscellaneous structures not classified in any specific occupancy shall be constructed, equipped and maintained 8333.35 to conform to the requirements of this code commensurate with the fire and life hazard incidental 300 to their occupancy 28 Storage Group S-2 occupancies include, among others, buildings used for the storage of noncombustible materials such as products on wood pallets or in paper cartons 5833.345 with or without single thickness divisions; or in paper wrappings. Such products are permitted 300 to have a negligible amount of plastic 20 trim, such as knobs, handles or film wrapping Storage Group S-2 occupancies include, among others, buildings used for the storage of noncombustible materials such as products on wood pallets or in paper cartons 3333.34 with or without single thickness divisions; or in paper wrappings. Such products are permitted 300 to have a negligible amount of plastic 12 trim, such as knobs, handles or film wrapping Occupancy includes assembly uses intended for worship, recreation or amusement and other assembly uses not classified elsewhere in Group A Occupancy includes assembly uses intended for food and/or drink consumption

TOTAL OCCUPANCY 764

Program: Organization

The third scheme is inspired by Nieto and Sobejanos Moritzburg Museum addition in Germany. The strategy of Nieto and Sobejano was to create an addition which occupies volumes of the ruins by floating above them.

This allowed for floor space to be freed up and create more space for exhibitions. In turn, this massing strategy occupies the full volumes of the chapel as well as the courtyard space to dominate the space available. By doing this, the new program and the existing ruins are in direct competition. This contrast is what allows the ruins to be realized as what they are, while giving the new volume a purpose. A new perspective is the objective, the creation of a large viewing platform allows for views into the ruins and the city of Antigua, becoming a new destination for the city.

Program: Organization

PRODUCTION

VISITOR AREA

WORKERS AREA

2.3

BUILDING DRAWINGS

The first draft of assignment 7 Black and White set.

ROGER WILLIAMS

SCHOOL OF ARC

Bristol, Rhod

SANTA TERESA WINERY

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A1-02

SCHOOL OF ARCHITECTURE Bristol, Rhode Island

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SCHOOL OF ARCHITECTURE Bristol, Rhode Island

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B

Designed by: Alyssa Hess

Checked by: Roberto Viola Ochoa

9'

11'

A

H

DATE: 11- 05 -19

STAMP:

E 1

2

19'

3

20'

20'

20'

20'

20'

19'

19' REVISIONS:

1

2

3

4

5

6

7

8

9

ARCH.513

PLN

FOURTH FLOOR PLAN

Integrated Studio SCALE: 1/8"=1'

ROGER WILLIAMS UNIVERSITY SCHOOL OF ARCHITECTURE Bristol, Rhode Island

SANTA TERESA WINERY

PRIVATE RESIDENCE

N Designed by: Alyssa Hess Drawn by: Alyssa Hess

Checked by: Roberto Viola Ochoa

ARCH 513_02_FA19_A7_HESSA DATE: 11- 05 -19

STAMP:

REVISIONS:

ROGER WILLIAMS UNI

SCHOOL OF ARCHITE

Bristol, Rhode Isla

SANTA TERESA WINERY

N-S SECTION 1/8"=1'

N

SEC 01

ROGER WILLIAMS UNIVERSITY SCHOOL OF ARCHITECTURE Bristol, Rhode Island

SANTA TERESA WINERY N Designed by: Alyssa Hess Drawn by: Alyssa Hess

Checked by: Roberto Viola Ochoa

ARCH 513_02_FA19_A7_HESSA DATE: 11- 05 -19

STAMP:

REVISIONS:

ROGER WILLIAMS UNIVERSITY SCHOOL OF ARCHITECTURE Bristol, Rhode Island

4TA. AVENIDA NORTE

PRIVATE RESIDENCE

SANTA TERESA WINERY

1RA. CALLE ORIENTE

N Designed by: Alyssa Hess Drawn by: Alyssa Hess Checked by: Roberto Viola Ochoa ARCH 513_02_FA19_A7_HESSA DATE: 11- 05 -19

STAMP:

REVISIONS:

ARCH.513

RFR 04

SITE PLAN 1/32"=1'

Integrated Studio SCALE: 1/8"=1'

A0-04 Drawing # 7 of 25

2.4

RENDERINGS / COLLAGES

2.5

PHYSICAL MODELS

3

TECHNICAL SOLUTIONS This chapter details the systems used to fullfill HVAC and structural details.

3.1

PROGRAM DETAILS

SANTA TERESA WINERY Program Worker's Area Visitor's Area

Production Area

Subtotal Net Gross

Area (net)

Quantity

Total

Remarks

Type B - Business Group A-3 - Assembly Group A-2 - Assembly Group A-3 - Assembly Group B - Business Group A-2 - Assembly Group A-3 - Assembly Group

Administrative Offices Locker/Changing rooms Kitchen (for workers only) Reception/lobby Security Tasting room Tasting room-support

1000 500 250 500 500 2000 500

1 2 1 1 1 1 1

1000 1000 250 500 500 2000 500

dir office 250, 2 mtg rms 200ea, admin 350 small areas with lockers. 1 male, 1 female

Private room Main kitchen Storage Gallery Shop Loading+receiving area Tank room Barrique' Cellar Storeroom

2500 800 500 1500 600 2000 5000 3500 2000

1 1 1 1 1 1 1 1 1

2500 800 500 1500 600 2000 5000 3500 2000

Weddings and special ceremonies. All one space To serve primarily Private room To serve primarily Private room (furniture, etc) Santa Teresa History and wine production process In proximity to Storeroom from production area Receiving of grapes/oranges and other misc.

Chrome cisterns for first phase of fermentation Wine matures in wooden barrels. 2 years Wine bottled, store in wooden cases and sold.

24150 1.66667 40,250.08 1.4285 34,498.28

Can be sectioned off into smaller zones or a singular space bar area-Adjacent to main kitchen

(100/60) assuming 60% efficiency (Indicative Only) (100/70) assuming 70% efficiency

A-3 - Assembly Group A-2 - Assembly Group S-1 Storage Group A-3 - Assembly Group M - Merchantile Group U - Utilitity Group S-2 - Storage Group S-2 - Storage Group

Area Gross (60% Eff)

Fl Area/occupant-NET

Fl Area/occupant -GROSS

ncy includes, among others, the use of a building or structure, or a portion thereof, for office, professional or service-type transactions, including 1666.67 storage of records and accounts.

1666.67 mbly uses intended for food and/or drink consumption 416.6675 mbly uses intended for worship, recreation or amusement and other assembly uses not classified elsewhere in Group A 833.335 ncy includes, among others, the use of a building or structure, or a portion thereof, for office, professional or service-type transactions, including 833.335 storage of records and accounts. mbly uses intended for food and/or drink consumption 3333.34 mbly uses intended for worship, recreation or amusement and other assembly uses not classified elsewhere in Group A 833.335

mbly uses intended for worship, recreation or amusement and other assembly uses not classified elsewhere in Group A

15 15 15

Occupants 150 50 200 150

12 34 3 34 6 134 34

4166.675 7 358 mbly uses intended for food and/or drink consumption 1333.336 200 7 ncies are buildings occupied for storage uses that are not classified as Group S-2 833.335 300 3 mbly uses intended for worship, recreation or amusement and other assembly uses not classified elsewhere in Group A 2500.005 30 50 pancy includes, among others, the use of a building or structure or a portion thereof for the display and sale of merchandise, and involves 1000.002 stocks of goods, wares or merchandise incidental to such purposes and accessible to the public 60 17 of an accessory character and miscellaneous structures not classified in any specific occupancy shall be constructed, equipped and maintained 3333.34 to conform to the requirements of this code commensurate with the fire and life hazard incidental 300 to their occupancy 12 of an accessory character and miscellaneous structures not classified in any specific occupancy shall be constructed, equipped and maintained 8333.35 to conform to the requirements of this code commensurate with the fire and life hazard incidental 300 to their occupancy 28 ncies include, among others, buildings used for the storage of noncombustible materials such as products on wood pallets or in paper cartons 5833.345 with or without single thickness divisions; or in paper wrappings. Such products are permitted 300 to have a negligible amount of plastic 20 trim, such as knob ncies include, among others, buildings used for the storage of noncombustible materials such as products on wood pallets or in paper cartons 3333.34 with or without single thickness divisions; or in paper wrappings. Such products are permitted 300 to have a negligible amount of plastic 12 trim, such as knob

mbly uses intended for worship, recreation or amusement and other assembly uses not classified elsewhere in Group A

TOTAL OCCUPANCY 764

3.2

STRUCTURE

STRUCTURE Option 1

ROG

SC

1

2

32'

A

18'

18'

A

B

18'

18'

B

C

C

32' 1

2

1

2

19'

3

20'

4

20'

6

5

20'

20'

7

20'

8

20'

9

19'

A

16'

16'

A

B

20'

20'

B

F

36'

C

3

36'

19'

2

19'

1

A D

G B

B

36'

36'

15'

9'

11'

11'

A

H

E 1

2

19'

3

20'

20'

20'

20'

20'

19'

19'

STAM

1

2

3

4

5

6

7

8

9

REVI

STR 01

STRUCTURALGROUND FLOOR PLAN 3/32=1'

S

ROGER WILLIA

SCHOOL OF A

Bristol, R

1

2

32'

A

18'

18'

A

B

18'

18'

B

C

C

32' 2

1

2

19'

3

20'

4

20'

6

5

20'

20'

7

20'

8

20'

9

19'

A

16'

16'

A

B

20'

20'

B

F

19'

19'

C

D

G

15'

9'

1

H

E

19'

20'

20'

20'

19'

20'

20'

19'

Desig

Dra

Checked

ARCH 5

D

1

2

3

4

5

6

7

8

9

STAMP:

REVISION

ROG

SCH

1

2

32'

A

18'

18'

A

B

18'

18'

B

C

C

32' 2

1

2

19'

3

20'

4

20'

6

5

20'

20'

7

20'

8

20'

9

19'

A

16'

16'

A

B

20'

20'

B

F

19'

19'

C

D

G

15'

9'

1

H

E

20'

19'

1

2

20'

3

20'

4

5

19'

20'

20'

6

7

19'

8

STAM

9

REVIS

ROG

SCH

1

2

32'

A

18'

18'

A

B

18'

18'

B

C

C

32' 1

2

1

2

19'

3

20'

4

20'

6

5

20'

20'

7

20'

8

20'

9

19'

A

16'

16'

A

B

20'

20'

B

F

36'

C

3

36'

19'

2

19'

1

A D

G B

B

36'

36'

15'

9'

11'

11'

A

H

E 1

2

19'

3

1

20'

2

20'

3

20'

4

20'

20'

5

6

19'

7

19'

8

9

STAM

REVIS

ROGER

SCHO

B

1

2

32'

A

18'

18'

A

B

18'

18'

B

C

C

32' 1

2

1

2

19'

3

20'

4

20'

6

5

20'

20'

7

20'

8

20'

9

19'

A

16'

16'

A

B

20'

20'

B

F

36'

C

3

36'

19'

2

19'

1

A D

G B

B

36'

36'

15'

9'

11'

11'

A

H

E 1

2

19'

3

20'

20'

20'

19'

20'

20'

19'

C

1

2

3

4

5

6

7

8

9

A

STAMP

REVISI

SCHOOL OF ARCH

Bristol, Rhode

SANTA TERESA WINERY

1

2

32'

A

18'

18'

A

B

18'

18'

B

C

C

32' 1

2

1

2

19'

3

20'

4

20'

6

5

20'

20'

7

20'

8

20'

9

19'

A

16'

16'

A

B

20'

20'

B

F

36'

C

3

36'

19'

2

19'

1

A D

G B

B

36'

36'

15'

9'

11'

11'

A

H

Designed b

Drawn b

Checked by: R

E 1

2

19'

3

1

20'

20'

2

3

20'

4

5

19'

20'

20'

6

7

19'

8

ARCH 513_0

DATE:

STAMP:

9

REVISIONS:

SCHOOL O

Bristol,

2

25'

3

32'

SANTA TERESA WINERY

1

4

25'

A

24'

24'

A

B

18'

18'

B

C

18'

18'

C

D

20'

20'

D

E

E

25'

25'

32'

1

1

3

2

2

3

4

6

5

7

8

9

4

19'

20'

20'

20'

20'

20'

20'

19'

A

16'

16'

A

B

20'

20'

B

F

36'

C

3

36'

19'

2

19'

1

A D

G

Des

9'

11'

11'

A

36'

36'

D

15'

B

B

H

Checke

ARCH

E 1

2

19'

3

1

20'

2

20'

3

20'

4

20'

20'

5

6

19'

7

STAMP:

19'

8

9

REVISION

ROGER WILLIAMS UNIVERSITY SCHOOL OF ARCHITECTURE Bristol, Rhode Island

SANTA TERESA WINERY N Designed by: Alyssa Hess Drawn by: Alyssa Hess Checked by: Roberto Viola Ochoa ARCH 513_02_FA19_A7_HESSA DATE: 11- 05 -19

STAMP:

REVISIONS:

STR 01

STRUCTURAL AXONOMETRIC 3/32"=1'

ARCH.513 Integrated Studio SCALE: 1/8"=1'

s0-07 Drawing # 5 of 25

3.3

PASSIVE STRADEGIES

PASSIVE STRADEGIES Analysis

La Antigua is a typical Central American weather, it has a dry and rainy season. The dry season (verano) usually lasts from November until May, while the rainy season (invierno) typically runs from May through November.

During the rainy season there are daily showers, which tend to fall in the afternoon. The latter months of the rainy season are usually the wettest.But the rain fall is largely dependent on how close to the coast you are and what side of a mountain chain you are on.

Due to the large mountain range located in the heart of the country, the rain water runoff during the wet months can result in heavy flooding and often land slides. The graph on the right shows that the flat plataeu that the city of Antigue sits on, has a very high threat level when it comes to flooding. Also the surrounding mountain range to the north, west and east of the city has high threat levels of landslide occurance. This is a regional aspect that should be taken into consideration during design within the city.

Photos on the right include some natural disasters that occured within countries in Central America. Landslides and flooding are common occurances in these regions are large threats to the living conditions there. The landslide photo is a city in El Salvador, a neighboring country of Guatemala.

The landslide have buried homes and properties in several feet of mud and dirt. Making them inhabitableTopographic map of Guatemala includes various major geographic features like Volcanoes, Mountain ranges, rainforests, plains, lakes and rivers. Antigua is in the middle of the mountain ranges close to the volcano range on the southern portion of the country. Plains are towards the west close to the Pacific Ocean. And Rainforest north towards Belize.

Guatemala shares its borders with four other countries in Central America. The countries are Mexico, Belize, El Salvador, and Honduras. Coastal wise, Guatemala has the Gulf of Honduras to the east and the Pacific Ocean to the west.

The country of Guatemala is part of the active plate formation known as the â&#x20AC;&#x153;Ring of Fireâ&#x20AC;?. The volcanic range that extends from Mexico to El Salvador is active and has frequently caused devastating earth quakes and volcanic erruption though out the years.

There are three major Volcanoes around Antigua. There are Volcan de Fuego, Volcan DeAcatenango, and Volcan deAgua.

December- June Model

June-December Model

There are also mountain ranges surrounding the city of Antigua. Within the valleys are where neighboring cities have grown, including San Miguel Duenas, San Pedro Las Huertas, Santa Maria de Jesus, Amatitlan and Villa Nueva. The world’s climate can be classified in five major categories, this system is called the Koppen climate classification. The categories are Tropical, Dry, Temperate, Continental, Polar. Tropical climates located mostly in the middle of the globe. Known for being warm all year round, and heavy precipitation resulting in the usual rainforest.

This is the conditions of the country Guatemala. Dry climates are usually hot and sunny, with little precipitation.

Temperate climates and Continental climates experience all four seasons, but continental temperatures have more extreme averages than the temperate climates. Polar climates are found at the north and south poles of the globe. This climate is always cold and snow all year round.

Central America is considered a tropical climate. There is a lot of rain and is warm all year round. Guatemala is a country within Central America and is home to a large amount of rainforest. There they experience dry winters and warm summers. The average temperature within Antigua is between 60-70˚F yearly. The hottest months are March, April, and May. During the summer time, the temperatures stay mostly the same with the temperatures not dropping past 55˚F, and not over 79˚F during the months of June, July, August, September, October and November. The months with the most dramatic changes are the months of April and January. The highest temperature recorded is around 84˚F and the coldest is 47˚F. The elevation of the volcanoes are the following: Volcan de Fuego-3,700m (12,300ft) Volcan De Acatenango-3,900m (13,000ft) Volcan de Agua- 3,500m (11,500ft).

There are excursions and trips in which many tourguides lead tourist on a hike that covers all three volcanoes around the area. La Antigua’s elevation is 1,533m (5,000ft) above sea level, which is similiar to the city of La Aurora which is 1,509m (4,950ft). The city of Aurora where the airport is located has a similar elevation to Antigua thus very similar climate conditions. The two sites within the city of Antigua, and the surrounding mountain shows a high range of elevation changes from within the city to a few miles away.

PASSIVE STRADEGIES Strategies Dec- June Strategy: -Shade -Passive Solar Gain -Plant Material -Shaded outdoor â&#x20AC;&#x153;Buffer Zonesâ&#x20AC;? oriented towards prevailing winds -Double Pane High Performance windows on W/N/E side ONLY -Well shaded Courtyards -Thermal Mass -Slab on grade (Night cooling storage) -open plan interior to promote cross ventilation Jun- December Strategy: -Movable walls to allow breeze -low roofs with wide overhangs -Screened porches / shaded Courtyards -No west glazing -use plant materials on west to minimize heat gain -use light colored materials and cool roofs to minimize conducted heat gain -cross ventilation -low E windows +insulated frames -Ceiling Fans on Hot days -High mass interior surface (tile, slate, stone, Brick, adobe) to reduce day nigh temp swings -open plan interior -Heat gain from lights and equipment reduce + keep homes well insulated -enclosed well shaded courtyards + small fountains -Max vertical height to produce stack ventilation

December- June Model

PASSIVE STRADEGIES Strategies

Exploit the prevailing summer winds: • Site and orient the building to take advantage of natural ventilation.

• Use amply sized, well-placed exterior openings and open interior plans to promote natural ventilation within the building.

Protect against the summer sun: • Use trees and other vegetation to shelter the building from the summer sun.

• Design building overhangs and exterior shades to block the entry of the summer sun.

• Avoid overexposure to low early and late-day sun.

• Avoid unshaded large east- and west-facing glazed areas.

• Use glazing materials with appropriate shading and thermal performance characteristics.

• Use exterior light-colored or reflective materials with care to avoid reflecting glare or heat into the building.

• Use building forms or groupings to create strategically shaded exterior public areas.

Reduce internal building heat loads: • Use high-efficiency lighting and equipment that minimize heat production.

• Use natural daylighting to reduce the demand for light from electric sources.

• In buildings dominated by heat transfer through the building skin, design and detail the building enclosure to minimize heat gains and uncontrolled air leakage.

Mitigate very dry or very humid air: • In dry climates, take advantage of natural or human-made water features to raise the relative humidity.

• In humid climates, consider raising the building to avoid the most humid air close to the ground.

• In humid climates, avoid increasing humidity with water features or extensive vegetated areas.

The successful performance of passive systems is dependent on the intimate interaction of the building with its environment.

June- December Model

PASSIVE STRADEGIES Operable walls and shaded outdoor spaces

Low pitched roofs with wide overhangs

Natural Ventilation

High Mass walls use Exterior Insulation

3.4

ACTIVE STRADEGIES

ACTIVE STRADEGIES: Analysis

Variable Air Volume (VAV) system in basement and winery zones â&#x20AC;&#x201C; This allows one to highly regulate and control temperature to various zones, the Air is conditioned (mixed with a percentage of outdoor air, filtered, heated or cooled, and humidified or dehumidified) at a central source. Supply and return fans circulate the conditioned air through ducts to the occupied spaces of the building. At each zone, a thermostat controls room temperature by regulating the volume of air that is discharged through the diffusers in that zone. This system offers a high degree of local temperature control at moderate cost. It is economical to operate and virtually self-balancing. While one of its disadvantages is that VAV is limited in the range of heating or cooling demand that may be accommodated within a single system. When one area of a building needs heating while another needs cooling, a VAV system cannot serve both areas without help from a secondary system.

However, because the systems primary use would be for cooling and temperatures in the Basement area of the Winery, the system would be ideal as it serves large areas of the system. Its components are made up of : Boilers and chimney, chilled water plant, cooling tower, fan room, outdoor fresh air and exhaust louvers, vertical supply and return ducts, horizontal supply and return ducts, a VAV control box for each zone, supply diffusers, return grilles.

This system requires a fan room, which will be located in the basement of the east volume in the main mechanical room. This will allow the system to circulate air through a filter and hot water and chilled water coils to condition it. The conditioned air is ducted to the occupied spaces of the building. A return fan draws air from the occupied spaces into return grilles and back to the fan room through return ducts. Just before it passes through the heating and cooling coils again, a portion of the air is diverted by a damper and exhausted through a louver to the outdoors. An equal portion of fresh air is drawn in through another outdoor louver and added to the stream of return air. Because these spaces can be noisy and create heavy vibrations, they should not be located near office spaces or public areas. Another benefit of locating the fan room in the basement, is that fan room equipment is often heavy enough to require stronger structural support than the surrounding areas of the building.

ROGER WILLIAMS UNIVERSITY SCHOOL OF ARCHITECTURE Bristol, Rhode Island

SANTA TERESA WINERY

MECHANICAL 001

N Designed by: Alyssa Hess Drawn by: Alyssa Hess Checked by: Roberto Viola Ochoa ARCH 513_02_FA19_A7_HESSA DATE: 11- 05 -19

STAMP:

REVISIONS:

ARCH.513

MEC 01

BASEMENT MECHANICAL PLAN 1/8"=1'

Integrated Studio SCALE: 1/8"=1'

M0-01

ROGER WILLIAMS UNIVERSITY SCHOOL OF ARCHITECTURE Bristol, Rhode Island

SANTA TERESA WINERY N Designed by: Alyssa Hess Drawn by: Alyssa Hess Checked by: Roberto Viola Ochoa ARCH 513_02_FA19_A7_HESSA DATE: 11- 05 -19

STAMP:

REVISIONS:

ARCH.513

MEC 02

FIRST FLOOR MECHANICAL PLAN 1/8"=1'

Integrated Studio SCALE: 1/8"=1'

M0-02

ROGER WILLIAMS UNIVERSITY SCHOOL OF ARCHITECTURE Bristol, Rhode Island

SANTA TERESA WINERY N Designed by: Alyssa Hess Drawn by: Alyssa Hess Checked by: Roberto Viola Ochoa ARCH 513_02_FA19_A7_HESSA DATE: 11- 05 -19

STAMP:

REVISIONS:

ARCH.513

MEC 03

SECOND FLOOR MECHANICAL PLAN 1/8"=1'

Integrated Studio SCALE: 1/8"=1'

M0-03

ROGER WILLIAMS UNIVERSITY SCHOOL OF ARCHITECTURE Bristol, Rhode Island

SANTA TERESA WINERY N Designed by: Alyssa Hess Drawn by: Alyssa Hess Checked by: Roberto Viola Ochoa ARCH 513_02_FA19_A7_HESSA DATE: 11- 05 -19

STAMP:

REVISIONS:

ARCH.513

MEC 04

THIRD FLOOR MECHANICAL PLAN 1/8"=1'

Integrated Studio SCALE: 1/8"=1'

M0-04

3.5

ENVELOPE

ENVELOPE: Resolution

ROGER WILLIAMS UNIVERSITY SCHOOL OF ARCHITECTURE Bristol, Rhode Island

ROOF DECK 48'-0"

FLOOR 3 32'-0"

SANTA TERESA WINERY

TO PARAPET 51-9"

FLOOR 2 16'-0"

N Designed by: Alyssa Hess Drawn by: Alyssa Hess Checked by: Roberto Viola Ochoa ARCH 513_02_FA19_A7_HESSA DATE: 11- 05 -19

STAMP:

FLOOR 1 000'-0" ELEV WALL ASSEMBLY ELEVATION 01 1/8"=1'

REVISIONS:

ARCH.513 Integrated Studio SCALE: 1/8"=1'

A3-01 Drawing # 5 of 25

ROGER WILLIAMS UNIVERSITY SCHOOL OF ARCHITECTURE Bristol, Rhode Island

Drawn by: Alyssa Hess

ARCH 513_02_FA19_A7_HESSA DATE: 11- 05 -19

WALL ASSEMBLY 1/8"=1'

STAMP:

SEC 01

FLOOR 1 000'-0"

FLOOR 2 16'-0"

FLOOR 3 32'-0"

ROOF DECK 48'-0"

BASEMENT -16'-0"

N

TO PARAPET 51-9"

SANTA TERESA WINERY Designed by: Alyssa Hess

Checked by: Roberto Viola Ochoa

REVISIONS:

ARCH.513 Integrated Studio SCALE: 1/8"=1'

A3-01 Drawing # 5 of 25

4

APPENDICES KKKKKSEKJBFCLKHBF;jsfbc/KLSDJFBCwkbf;ksjdfbcsdk;

4.1

BLACK AND WHITE SET

This is the accumilation of assignment 7 The Black and White Set.

ROGER WILLIAMS UNIVERSITY SCHOOL OF ARCHITECTURE Bristol, Rhode Island

SANTA TERESA WINERY Designed by: Alyssa Hess Drawn by: Alyssa Hess Checked by: Roberto Viola Ochoa ARCH 513_02_FA19_A7_HESSA DATE: 11- 05 -19

STAMP:

REVISIONS:

ARCH.513 Integrated Studio

A0-00

ROGER WILLIAMS UNIVERSITY SCHOOL OF ARCHITECTURE Bristol, Rhode Island

NOTE STYLE FONT STYLE ARIAL-1 16 NOTE STYLE FONT STYLE ARIAL-1 16 DWG# SHEET# SPOTELEV 000'-0" SPOTELEV 000'-0"

000'-0" ROOMNAME ROOM# #

#

A#

A#

N#

CL

W# SHEET# E# S#

# A#

SANTA TERESA WINERY

5'-113 8"

# A#

N Designed by: Alyssa Hess Drawn by: Alyssa Hess Checked by: Roberto Viola Ochoa ARCH 513_02_FA19_A7_HESSA DATE: 11- 05 -19

STAMP:

REVISIONS:

ARCH.513 Integrated Studio SCALE: 1/8"=1'

A0-01

CODE REQUIREMENTS- PROGRAM ROGER WILLIAMS UNIVERSITY SCHOOL OF ARCHITECTURE Bristol, Rhode Island

SANTA TERESA WINERY N Designed by: Alyssa Hess Drawn by: Alyssa Hess Checked by: Roberto Viola Ochoa ARCH 513_02_FA19_A7_HESSA DATE: 11- 05 -19

STAMP:

REVISIONS:

ARCH.513 Integrated Studio SCALE: 1/8"=1'

A0-06

CODE REQUIREMENTS ROGER WILLIAMS UNIVERSITY SCHOOL OF ARCHITECTURE Bristol, Rhode Island

SANTA TERESA WINERY

—

— —

ˇ ˇ

ˇ

ˇ

ˇ ˇ ˇ

–

BATHROOMS 301

1RA. CALLE ORIENTE

STORE ROOM 103

N

LOBBY 101

Designed by: Alyssa Hess Drawn by: Alyssa Hess Checked by: Roberto Viola Ochoa

LOBBY 101

ARCH 513_02_FA19_A7_HESSA

4TA. AVENIDA NORTE

DATE: 11- 05 -19

STAMP: LOADING/ RECIEVING AREA 102

REVISIONS:

STORE ROOM 103

ARCH.513 Integrated Studio SCALE: 1/8"=1'

A0-07

ROGER WILLIAMS UNIVERSITY SCHOOL OF ARCHITECTURE Bristol, Rhode Island

SANTA TERESA WINERY

1

2

32'

JANITORS CLOSET 003

A

18'

18'

A

B

B TASTING ROOM / BARRIQUE CELLAR

18'

18'

001

ELECTRICAL CLOSET 002

C

C

32' 1

2

1

2

19'

3

20'

4

20'

6

5

20'

20'

7

20'

8

20'

9

19'

A

A JANITORS CLOSET

16'

16'

006

B

B BARRIQUE CELLAR 002

TANK ROOM

20'

20'

003

F

C

G

N

19'

19'

001

Designed by: Alyssa Hess

005

ELECTRICAL CLOSET

MECHANICAL

Drawn by: Alyssa Hess Checked by: Roberto Viola Ochoa ARCH 513_02_FA19_A7_HESSA

D

DATE: 11- 05 -19

15'

9'

STAMP: ELEVATOR ROOM 004

H

E

19'

1

20'

2

20'

3

20'

4

5

19'

20'

20'

6

7

REVISIONS:

19'

8

9

ARCH.513

RFR 01

BASEMENT PLAN 1/8"=1'

Integrated Studio SCALE: 1/8"=1'

A1-01

ROGER WILLIAMS UNIVERSITY SCHOOL OF ARCHITECTURE Bristol, Rhode Island

SANTA TERESA WINERY

1

2

32'

A

A

PRIVATE RESIDENCE

DTL 1

18'

18'

A3-01 LOBBY 101

B

18'

18'

B

C

C

32' 1

2

1

2

19'

3

20'

4

20'

6

5

20'

20'

7

20'

8

20'

9

19'

A

16'

16'

A

B

B STORE ROOM 103

20'

LOBBY

20'

101

F

36'

A

1

2

N

D

9' B

36'

36'

102

G

11'

11'

A

B

LOADING/ RECIEVING AREA

19'

3

Designed by: Alyssa Hess

15'

36'

2

19'

1

C

H

Drawn by: Alyssa Hess Checked by: Roberto Viola Ochoa ARCH 513_02_FA19_A7_HESSA DATE: 11- 05 -19

E

3

20'

19'

1

2

20'

3

20'

4

5

19'

20'

20'

6

7

STAMP:

19'

8

9 REVISIONS:

ARCH.513

PLN 02

GROUND FLOOR PLAN 1/8"=1'

Integrated Studio SCALE: 1/8"=1'

A1-02 Drawing # 2 of 25

ROGER WILLIAMS UNIVERSITY SCHOOL OF ARCHITECTURE Bristol, Rhode Island

SANTA TERESA WINERY

1

2

32'

A

A

PRIVATE RESIDENCE

DTL 1

18'

18'

A3-01

B

B

TASTING ROOM

18'

18'

201

C

C

32' 1

2

1

2

3

19'

20'

4

20'

6

5

20'

7

20'

8

20'

20'

9

19'

A

A

204

16'

16'

STAFF KITCHEN OFFICE 206

OFFICE 205

ADMIN OFFICE 201

B

20'

20'

B

M LOCKER ROOM

W LOCKER ROOM

203

202

C

F

36'

3

201

19'

2

19'

1

MEETING ROOM

36' A

D

G

11'

Designed by: Alyssa Hess Drawn by: Alyssa Hess

B

B

36'

H

2

ARCH 513_02_FA19_A7_HESSA DATE: 11- 05 -19

36'

E

19' 1

Checked by: Roberto Viola Ochoa

15'

11'

A

20'

20'

20'

19'

20'

20'

STAMP:

19'

3 1

2

3

4

5

6

7

8

9

REVISIONS:

ARCH.513

PLN 03

SECOND FLOOR PLAN 1/8"=1'

Integrated Studio SCALE: 1/8"=1'

A1-03 Drawing # 3 of 25

ROGER WILLIAMS UNIVERSITY SCHOOL OF ARCHITECTURE Bristol, Rhode Island

SANTA TERESA WINERY

1

2

32'

A

PRIVATE RESIDENCE

18'

18'

A

B

B BATHROOMS

18'

18'

301

C

C

32' 1

2

1

2

19'

3

20'

4

20'

6

5

20'

20'

7

8

20'

20'

9

19'

A

16'

16'

A

MEETING ROOM 302

B

B

STORAGE

20'

20'

303

F

C SECURITY

36'

3

11'

11'

B

B

36' 1

D

G

H

Designed by: Alyssa Hess Drawn by: Alyssa Hess Checked by: Roberto Viola Ochoa

E

36' 2

N

9'

A

A

15'

2

19'

36'

19'

301

1

19'

20'

20'

20'

19'

20'

20'

19'

ARCH 513_02_FA19_A7_HESSA DATE: 11- 05 -19

STAMP:

3 1

2

3

4

5

6

7

8

9 REVISIONS:

ARCH.513

PLN 04

THIRD FLOOR PLAN 1/8"=1'

Integrated Studio SCALE: 1/8"=1'

A1-04 Drawing # 4 of 25

ROGER WILLIAMS UNIVERSITY SCHOOL OF ARCHITECTURE Bristol, Rhode Island

2

25'

3

32'

SANTA TERESA WINERY

1

4

25'

A

24'

24'

A

B

PRIVATE RESIDENCE

18'

18'

B

LARGE KITCHEN 402

C

18'

18'

C

D

20'

20'

D

PRIVATE ROOM 401

E

E

25'

25'

32'

1

3

2

1

4

2

19'

3

20'

4

20'

6

5

20'

20'

7

20'

8

20'

9

19'

A

16'

16'

A

B

20'

20'

B

F

36'

C

3

36'

19'

2

19'

1

N

A D

G

11'

Checked by: Roberto Viola Ochoa

36'

36'

ARCH 513_02_FA19_A7_HESSA

15'

B

B

Designed by: Alyssa Hess Drawn by: Alyssa Hess

9'

11'

A

H

DATE: 11- 05 -19

STAMP:

E 1

2

19'

3

20'

20'

20'

19'

20'

20'

19' REVISIONS:

1

2

3

4

5

6

7

8

9

ARCH.513

PLN 05

FOURTH FLOOR PLAN 1/8"=1'

Integrated Studio SCALE: 1/8"=1'

A1-05 Drawing # 5 of 25

1RA. CALLE ORIENTE

ROGER WILLIAMS UNIVERSITY SCHOOL OF ARCHITECTURE Bristol, Rhode Island

SANTA TERESA WINERY

PRIVATE RESIDENCE

N Designed by: Alyssa Hess Drawn by: Alyssa Hess Checked by: Roberto Viola Ochoa ARCH 513_02_FA19_A7_HESSA DATE: 11- 05 -19

STAMP:

REVISIONS:

ARCH.513

RFR 07

ROOF PLAN 1/8"=1'

Integrated Studio SCALE: 1/8"=1'

A1-07 Drawing # 7 of 25

ROGER WILLIAMS UNIVERSITY SCHOOL OF ARCHITECTURE Bristol, Rhode Island

4TA. AVENIDA NORTE

PRIVATE RESIDENCE

SANTA TERESA WINERY

1RA. CALLE ORIENTE

N Designed by: Alyssa Hess Drawn by: Alyssa Hess Checked by: Roberto Viola Ochoa ARCH 513_02_FA19_A7_HESSA DATE: 11- 05 -19

STAMP:

REVISIONS:

ARCH.513

RFR 04

SITE PLAN 1/32"=1'

Integrated Studio SCALE: 1/8"=1'

A0-04 Drawing # 7 of 25

ROGER WILLIAMS UNIVERSITY SCHOOL OF ARCHITECTURE Bristol, Rhode Island

SANTA TERESA WINERY N Designed by: Alyssa Hess Drawn by: Alyssa Hess Checked by: Roberto Viola Ochoa ARCH 513_02_FA19_A7_HESSA DATE: 11- 05 -19

STAMP:

REVISIONS:

ARCH.513

ELEV WEST ELEVATION 1/8"=1' 01

Integrated Studio SCALE: 1/8"=1'

A2-01

ROGER WILLIAMS UNIVERSITY SCHOOL OF ARCHITECTURE Bristol, Rhode Island

SANTA TERESA WINERY

N-S SECTION 1/8"=1'

N

SEC 01

Designed by: Alyssa Hess Drawn by: Alyssa Hess Checked by: Roberto Viola Ochoa ARCH 513_02_FA19_A7_HESSA DATE: 11- 05 -19

STAMP:

E-W SECTION 1/8"=1'

N

SEC 03

REVISIONS:

ARCH.513 Integrated Studio SCALE: 1/8"=1'

A2-03 Drawing # 5 of 25

ROGER WILLIAMS UNIVERSITY SCHOOL OF ARCHITECTURE Bristol, Rhode Island

ROOF DECK 48'-0"

FLOOR 3 32'-0"

SANTA TERESA WINERY

TO PARAPET 51-9"

FLOOR 2 16'-0"

N Designed by: Alyssa Hess Drawn by: Alyssa Hess Checked by: Roberto Viola Ochoa ARCH 513_02_FA19_A7_HESSA DATE: 11- 05 -19

STAMP:

FLOOR 1 000'-0" ELEV WALL ASSEMBLY ELEVATION 01 1/8"=1'

REVISIONS:

ARCH.513 Integrated Studio SCALE: 1/8"=1'

A3-01 Drawing # 5 of 25

ROGER WILLIAMS UNIVERSITY SCHOOL OF ARCHITECTURE Bristol, Rhode Island

Drawn by: Alyssa Hess

ARCH 513_02_FA19_A7_HESSA DATE: 11- 05 -19

WALL ASSEMBLY 1/8"=1'

STAMP:

SEC 01

FLOOR 1 000'-0"

FLOOR 2 16'-0"

FLOOR 3 32'-0"

ROOF DECK 48'-0"

BASEMENT -16'-0"

N

TO PARAPET 51-9"

SANTA TERESA WINERY Designed by: Alyssa Hess

Checked by: Roberto Viola Ochoa

REVISIONS:

ARCH.513 Integrated Studio SCALE: 1/8"=1'

A3-01 Drawing # 5 of 25

ROGER WILLIAMS UNIVERSITY SCHOOL OF ARCHITECTURE Bristol, Rhode Island

1

2

32'

A

18'

18'

A

B

18'

18'

B

C

C

32' 1

2

1

2

19'

3

20'

4

20'

6

5

20'

20'

7

20'

8

20'

9

19'

A

16'

16'

A

B

20'

20'

B

F

19'

19'

C

D

15'

9'

G

H

N E

19'

20'

20'

20'

19'

20'

20'

19'

Designed by: Alyssa Hess Drawn by: Alyssa Hess Checked by: Roberto Viola Ochoa ARCH 513_02_FA19_A7_HESSA DATE: 11- 05 -19

1

2

3

4

5

6

7

8

9

STAMP:

REVISIONS:

ARCH.513

STR 01

STRUCTURAL FOUNDATION PLAN 1/8"=1'

Integrated Studio SCALE: 1/8"=1'

S0-01

ROGER WILLIAMS UNIVERSITY SCHOOL OF ARCHITECTURE Bristol, Rhode Island

SANTA TERESA WINERY

1

2

32'

A

18'

18'

A

B

18'

18'

B

C

C

32' 1

2

1

2

19'

3

20'

4

20'

6

5

20'

20'

7

20'

8

20'

9

19'

A

16'

16'

A

B

20'

20'

B

F

19'

19'

C

D

N

15'

9'

G

H

Designed by: Alyssa Hess Drawn by: Alyssa Hess Checked by: Roberto Viola Ochoa ARCH 513_02_FA19_A7_HESSA DATE: 11- 05 -19

E

20'

19'

1

2

20'

3

20'

4

5

19'

20'

20'

6

7

19'

8

STAMP:

9 REVISIONS:

ARCH.513

STR 01

BASEMENT PLAN 1/8"=1'

Integrated Studio SCALE: 1/8"=1'

S0-02

ROGER WILLIAMS UNIVERSITY SCHOOL OF ARCHITECTURE Bristol, Rhode Island

SANTA TERESA WINERY

1

2

32'

A

18'

18'

A

B

18'

18'

B

C

C

32' 1

2

1

2

19'

3

20'

4

20'

6

5

20'

20'

7

20'

8

20'

9

19'

A

16'

16'

A

B

20'

20'

B

F

36'

C

3

36'

19'

2

19'

1

A D

G B

B

36'

36'

15'

9'

11'

11'

A

H

E 1

2

19'

3

20'

20'

20'

19'

20'

20'

N

19'

Designed by: Alyssa Hess Drawn by: Alyssa Hess

1

2

3

4

5

6

7

8

9

Checked by: Roberto Viola Ochoa ARCH 513_02_FA19_A7_HESSA DATE: 11- 05 -19

STAMP:

REVISIONS:

ARCH.513

STR 01

GROUND FLOOR PLAN 1/8"=1'

Integrated Studio SCALE: 1/8"=1'

S0-03

ROGER WILLIAMS UNIVERSITY SCHOOL OF ARCHITECTURE Bristol, Rhode Island

SANTA TERESA WINERY

1

2

32'

A

18'

18'

A

B

18'

18'

B

C

C

32' 1

2

1

2

19'

3

20'

4

20'

6

5

20'

20'

7

20'

8

20'

9

19'

A

16'

16'

A

B

20'

20'

B

F

36'

C

3

36'

19'

2

19'

1

A D

G B

B

36'

36'

15'

9'

11'

11'

A

H

E 1

2

19'

3

20'

20'

20'

20'

20'

19'

N

19'

Designed by: Alyssa Hess Drawn by: Alyssa Hess Checked by: Roberto Viola Ochoa

1

2

3

4

5

6

7

8

9

ARCH 513_02_FA19_A7_HESSA DATE: 11- 05 -19

STAMP:

REVISIONS:

ARCH.513

STR 01

FIRST FLOOR PLAN 1/8"=1'

Integrated Studio SCALE: 1/8"=1'

S0-04

ROGER WILLIAMS UNIVERSITY SCHOOL OF ARCHITECTURE Bristol, Rhode Island

SANTA TERESA WINERY

1

2

32'

A

18'

18'

A

B

18'

18'

B

C

C

32' 1

2

1

2

19'

3

20'

4

20'

6

5

20'

20'

7

20'

8

20'

9

19'

A

16'

16'

A

B

20'

20'

B

F

36'

C

3

36'

19'

2

19'

1

A D

G

N

B

B

36'

36'

15'

9'

11'

11'

A

H

Designed by: Alyssa Hess Drawn by: Alyssa Hess Checked by: Roberto Viola Ochoa

E 1

2

19'

3

1

20'

20'

2

3

20'

4

5

19'

20'

20'

6

7

19'

8

ARCH 513_02_FA19_A7_HESSA DATE: 11- 05 -19

STAMP:

9

REVISIONS:

ARCH.513

STR 01

THIRD FLOOR PLAN 1/8"=1'

Integrated Studio SCALE: 1/8"=1'

S0-05

ROGER WILLIAMS UNIVERSITY SCHOOL OF ARCHITECTURE Bristol, Rhode Island

SANTA TERESA WINERY N Designed by: Alyssa Hess Drawn by: Alyssa Hess Checked by: Roberto Viola Ochoa ARCH 513_02_FA19_A7_HESSA DATE: 11- 05 -19

STAMP:

REVISIONS:

STR 01

STRUCTURAL AXONOMETRIC 3/32"=1'

ARCH.513 Integrated Studio SCALE: 1/8"=1'

s0-07 Drawing # 5 of 25

ROGER WILLIAMS UNIVERSITY SCHOOL OF ARCHITECTURE Bristol, Rhode Island

4TA. AVENIDA NORTE

PRIVATE RESIDENCE

SANTA TERESA WINERY

1RA. CALLE ORIENTE

N Designed by: Alyssa Hess Drawn by: Alyssa Hess Checked by: Roberto Viola Ochoa ARCH 513_02_FA19_A7_HESSA DATE: 11- 05 -19

STAMP:

REVISIONS:

ARCH.513

RFR 04

SITE PLAN 1/32"=1'

Integrated Studio SCALE: 1/8"=1'

A0-04 Drawing # 7 of 25

ROGER WILLIAMS UNIVERSITY SCHOOL OF ARCHITECTURE Bristol, Rhode Island

SANTA TERESA WINERY

MECHANICAL 001

N Designed by: Alyssa Hess Drawn by: Alyssa Hess Checked by: Roberto Viola Ochoa ARCH 513_02_FA19_A7_HESSA DATE: 11- 05 -19

STAMP:

REVISIONS:

ARCH.513

MEC 01

BASEMENT MECHANICAL PLAN 1/8"=1'

Integrated Studio SCALE: 1/8"=1'

M0-01

ROGER WILLIAMS UNIVERSITY SCHOOL OF ARCHITECTURE Bristol, Rhode Island

SANTA TERESA WINERY N Designed by: Alyssa Hess Drawn by: Alyssa Hess Checked by: Roberto Viola Ochoa ARCH 513_02_FA19_A7_HESSA DATE: 11- 05 -19

STAMP:

REVISIONS:

ARCH.513

MEC 02

FIRST FLOOR MECHANICAL PLAN 1/8"=1'

Integrated Studio SCALE: 1/8"=1'

M0-02

ROGER WILLIAMS UNIVERSITY SCHOOL OF ARCHITECTURE Bristol, Rhode Island

SANTA TERESA WINERY N Designed by: Alyssa Hess Drawn by: Alyssa Hess Checked by: Roberto Viola Ochoa ARCH 513_02_FA19_A7_HESSA DATE: 11- 05 -19

STAMP:

REVISIONS:

ARCH.513

MEC 03

SECOND FLOOR MECHANICAL PLAN 1/8"=1'

Integrated Studio SCALE: 1/8"=1'

M0-03

ROGER WILLIAMS UNIVERSITY SCHOOL OF ARCHITECTURE Bristol, Rhode Island

SANTA TERESA WINERY N Designed by: Alyssa Hess Drawn by: Alyssa Hess Checked by: Roberto Viola Ochoa ARCH 513_02_FA19_A7_HESSA DATE: 11- 05 -19

STAMP:

REVISIONS:

ARCH.513

MEC 04

THIRD FLOOR MECHANICAL PLAN 1/8"=1'

Integrated Studio SCALE: 1/8"=1'

M0-04

4.2

ALL ASSIGNMENTS

This is accumulation of all assignments completed during the semester.

TRACES Antigua, Guatemala

ARCH.513 INTEGRATED PROJECT DESIGN STUDIO ASSIGNMENT 2: CONSOLIDATED RESEARCH

TABLE OF CONTENTS

1 2

INTRODUCTION

LA ANTIGUA 2.1 Climate 2.2 architecture

3

SITES 3.1 Santa Teresa

3.1.1 Hitsory and Context 3.1.2 Site Analysis

3.2

La Recolecciรณn

3.2.1 Hitsory and Context 3.2.2 Site Analysis

Kolomba Museum - Peter Zumthor

1

INTRODUCTION Twenty-first century architecture design theory is largely based on context; a sites condition dictates design. This type of research-based design has largely contributed to the architectural practice of sustainability as well as historic preservation. When considering context, environmental and historical components often take precedent. A strong historical context can pose many obstacles in design, potentially limiting movement, expansion or construction as a whole. Though considered a difficult task, a successful union of context and architecture can yield not only smart but also empathetic designs. In this studio, we will be exploring interventions of architecture and historical contexts that aim to enhance historical relevance, promote present awareness and ensure future preservation. To achieve this, we will study Antigua, Guatemala. One of only a few well preserved historic cities to remain in Central America.

INTRODUCTION When considering presidents for this type of intervention, we chose to look at three different project from around the world. The first was Peter Zumthor’s Kolumba Museum in Cologne, Germany.

Zumthor explains that this project “rises from the inside out, and from the place”, as his addition directly touches the ruins and rises out of them.

Because this museum houses the Roman Catholic Archdiocese’s collection of art, Zumthor compares his ideas to the inner spiritual values of art, its ability to make us think and feel. He uses grey brick to reunite fragments of the site.

Similar in style to the Zumthor project, is Carlos Quevedo Rojas’s Matrera Castle Intervention in Cádiz, Spain. After the castles collapsed, Rojas aimed to simply structurally consolidate elements that were at risk, create a visual differentiation between the addition and the original structure as well as regain the original volume and texture of the tower. Causing much controversy over the design, the tower restoration has now become a tourist attraction.

Lastly, we examined Rafael Moneo’s Museum of Roman Art in Mérida Spain. When considering how to interact with the ruins, the idea of simply building a structure over the ruins was out of the question.

This was because he did not want the ruins to become a lifeless object meant for contemplation or to create a coexisting structure, instead he chose to directly interact with the ruins by using quasi-Roman construction methods and procedures. So naturally building in the same materials that the romans had used, seemed the most respectful.

Although these projects have similar visual qualities and material applications, the intentions are very distinct. Each has its own life, and is successful in its own way.

Matrera Castle Intervention Heritage - Carlos Quevedo Rojas

National Museum of Roman Art - Rafael Moneo

2

LA ANTIGUA When considering a site for historical intervention, Antigua, Guatemala adequately allows for ideal conditions. A UNESCO world heritage site, the city has a wellpreserved remanence of Spanish Baroque architecture and infrastructure. Its history of abandonment as well as damages suffered from earthquakes has left many archeological sites in the city vulnerable. The city has actively been restoring sites, however, no proper infrastructure has been implemented to protect them from deterioration due to weather and other elements. As a case study, we will examine how to best improve upon conditions on the site, preserve the existing remains of ruins as well as enhance their historical presence in the city.

LA ANTIGUA History

Modern day Antigua was founded within the Panchoy Valley in 1542 as la Ciudad de Santiago de los Caballeros as the capital city of Guatemala.

Prior to this, the capital city of the country was first established in the Iximché Valley in 1524 but was later vacated due to indigenous uprisings and lack of natural resources such as silver or gold. In 1527, the capital city was established on the slopes of el Volcán del Agua. In 1541, the city experienced earthquakes causing water that had been stuck within the crater of the volcano to flow down creating avalanches and mudslides that destroyed the city. The survivors of this disaster decided to relocate to the Panchoy Valley due to its distance from the nearby volcanoes, the flat terrain, as well as the quantity of natural resources found in the valley.

In 1543, the first plots of land were assigned to the survivors of the previous capital city and maintaining the name that was given to the previous two capital sites. The design of the new town, by Juan Bautista Antonelli, was a rectilinear pattern with avenues running north-south and streets running east-west; a city that would have housed 5,000 people while placing the main families closest to the center of the city. Due to the cities lack of wealth, it grew as an agricultural center that attracted conquerors of all classes.

As the population of the city grew in the 17th century, the wealth and size of the city grew as well.

During this period, the city experienced a continued pattern of destruction from natural disasters and reconstruction.Duetonumerousearthquakesduring this time, provisional buildings were torn down in favor of establishing more formal architectural styles such as Renaissance and Baroque styles throughout the city. Because of the large influence of religion in Guatemalan culture, religious centers were given more architectural importance than political structures. The city did attempt to improve public

services for the citizens of Santiago including public fountains supplying city water, underground sewage, and the embellishment of plazas throughout the city.

1717 brought about a devastating earthquake that sparked considerations for moving to another location. Rather than acting on those considerations, the city saw a “Golden Period” of development of structures that were earthquake proof (safer roof vaults and single story housing). 1773, the city was bombarded with a series of earthquakes from May until December completely destroying the entire city and killing many.

January of 1774, the official capital was moved and established in present-day Guatemala City. The citizens of what is now known as La Antigua opposed moving the capital and rebelled against a forced move to the new city. The government of Guatemala decreed it illegal to remain in La Antigua. The old city was ravaged, taking all valuable structure, ornament, and furniture were to be taken and moved to the new capital. Buildings were to be destroyed so as to be used to build the new structures of Guatemala City. Overall the country’s government ended up causing more destruction than the 1773 earthquake.

As the new capital began to grow, the government lost interest in forcing poorer citizens to move from La Antigua.

1830 saw a resurgence of population in the city as coffee was introduced to the area. Abandoned houses and buildings were beginning to be renovated and rebuilt as it proved easier than starting anew. Monuments and churches began to be restored between 1850 and 1855 by José María Palomo y Montúfar. Houses did see an addition of Neo-classical forms though people were careful to preserve their own cultural heritage.

The 20th century saw less care for preservation and more modern additions to the city. Architectural

historian Verle L. Annis visited in the 1940s and requested the Guatemalan Government give La Antigua the distinction of “National Monument”, which was signed and approved on March 30, 1944.

After receiving this designation, preservation efforts rose with minimal funding. 1969 saw the formation of the National Council for the Protection of La Antigua Guatemala which approved the “Protective Law for the City of La Antigua Guatemala” providing guidelines to the preservation of the colonial city. La Antigua was officially designated as a World Heritage Site by UNESCO in 1979.As of 1986, La Antigua began to flood with visitors resulting in restaurants, hotels, shops, email cafés, and Spanish schools began to flourish.

Today, La Antigua’s homes are mostly occupied by antigüeños, while a few are weekend homes for the wealthy of Guatemala City. The city has also become a wedding destination. The municipality takes great care to improve conditions but there are still issues with vehicular congestion and some other public services. Overall, the city offers a great diversity of shops, restaurants, galleries and homes with the charm of a Colonial Spanish city.

1600s Period of destruction and reconstruction in Santiago

1527 VolcĂĄn de Agua destroys second capital on slopes

1524 Indigenous uprisings at first capital in IximchĂŠ Valley 1543 Juan Bautista Antonelli designs new capital layout in Panchoy Valley

1773 Devastating earthquake ruining the capital city

1979 UNESCO designates city as a World Heritage Site

1774 Abandonment of city for new capital in Guatemala City 1940s Verle L. Annis requests La Antigua be a â&#x20AC;&#x153;National Monumentâ&#x20AC;?

1830 Introduction of coffee led to growth and renovation of monuments

1969 Formation of National Council for the Protection of La Antigua Guatemala 2019 Charm has led it to become a wedding destination and tourist attraction

LA ANTIGUA Topography

When examining the topography in La Antigua, one sees why it was placed within the plateau between the mountains and volcanoes.

The town was places here because of its protection from the mountains and volcanoes.

However, over time when these volcanoes erupted, the capital at the time was affected. La Antigua has very little grade change throughout the city, but has drastic changes around the outside where the mountains and volcanoes are located. Most of the important features of the city are located at its center because of its proximity to the volcanoes. More of the agriculture and poverty areas are located towards the outskirts of the city. This is because of its proximity to the volcanoes, and having farmable land.

LA ANTIGUA

City Structure History + Culture The text orthogonal grid constitutes the heart of the city starting with the Plaza Mayor with blocks approximately 80 meters on each side. Throughout the Americas, there was a new urban layout that would be superimposed on existing pre-Columbian cities in order to create new cities and towns. This pattern was drawn to rule following a geometric line where streets formed a grid oriented according to the cardinal points.

The conditions and characteristics of the Panchoy Valley were favorable for the implementation. The city and nature are integrated into a unique and indivisible unity.

Due to the foundation of religious characteristics of new cities, plots at the intersections of blocks were granted to different religious orders, some intermediaries, and the plots adjacent to Plaza Mayor were distributed to the most important families.

LA ANTIGUA Religious Institutions

A result of 15th and 16th century Spanish conquest, Antigua is largely comprised of Convents, Churches as Monastery’s. As Catholicism spreads to the native civilizations of Guatemala, Spanish monks and catholic factions settled in Antigua, demanding local forces and funds to maintain and build new facilities for worship throughout the city. Though welcoming of the missionaries and their beliefs, local government was not in support of many of the plans of contruction, as monasteries of the time relied primarily on local government funds and donation. However, by pressure put on local government by of the Spanish King, the Guatemalans had no choice but to oblige. Because of this, Catholicism is still the primary religion practiced in Guatemala.

Name of Structure 1. Catedral 2. Universidad de San Carlos 3. Iglesia y Convento de Santa Clara 4. Iglesia y Convento de San Francisco 5. Iglesia y Convento de Capuchinas 6. Colegio de San Jerónimo 7. Iglesia y Convento de la Recolección 8. Hermita de la Santa Cruz 9. Iglesia de Santa Ana 10. La Candelaria 11. Iglesia de Santa Rosa de Lima 12. Monasterio de Santo Domingo 13. Iglesia y Convento de Belén 14. Ermita de Santa Isabel 15. Colegio Santo Tomas de Aquino 16. Iglesia Escuela de Cristo 17. Parroquia de los Remedios 18. Iglesia del Calvario 19. Iglesia y Convento de Santa Teresa 20. Iglesia y Convento del Carmen 21. Iglesia y Hospital de San Pedro Apostol 22. Ermita de Nuestra Señora del Manchén 23. Iglesia y Convento de la Merced 24. Arco de Iglesia de Santa Catalina 25. Iglesia de San Jose el Viejo 26. Iglesia Parroquial de San Sebastián 27. Iglesia y Convento de la Compañía de Jesús 28. Iglesia y Convento de San Agustín 29. Ermita de Santa Lucía 30. Iglesia de San Lázaro (Cementerio) 31. Iglesia y Convento de la Concepción

22

were placed on Corner Plots of city blocks of the city grid in order to allow for expansion as well as central courtyards. Original intents for building locations were to provide not only proper drainage but also exquisite water supply. Because of this, religious buildings were planned to be placed on the south west slope of the city.

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LA ANTIGUA Growth

The initial settlement in the Panchoy Valley in 1543 was designed as an orthogonal grid that would house 5,000 people. Within this original settlement is the plot that would later become the convent Santa Teresa de Jesus.

Due to the cities lack of wealth, it grew as an agricultural center that attracted conquerors of all classes. The population grew over time the 17th century as religious centers continued to grow as well as the agricultural production. Though natural disasters did keep the population from growing as rapidly as it could as people would lose their homes and fall to diseases or were killed in the disasters.

After the 1773 earthquake, many people left the city and few stayed as it was illegal to have decreed illegal to remain in the city by the Guatemalan government.

Once the government no longer cared who stayed the citizens of La Antigua were able to start minimal reconstruction on damaged houses. It wasnâ&#x20AC;&#x2122;t until the introduction of coffee to the city that growth began to rise again in 1830. Since then the city has grown exponentially including a surge of tourism that began in the later 20th century following the designation of La Antigua as a World Heritage Site

by UNESCO.

1543

1773

2019

LA ANTIGUA

Urban Condition and Climate Response text When examining a typical urban block, a large amount of them are just large courtyards made up of buildings either residential, restaurant, hotel, etc. Some blocks may have a larger shared green space in the center or it may just simply be owned by one person, either way it is a great way of cooling and shading and handful of buildings within the block. Individually, the singular buildings almost always have a courtyard or two within them. Some of these courtyards contain vegetation, but some do not. When examining a typical house in Antigua, it contains a form of courtyard that is open to a threshold or corridor with certain rooms perpendicular.

As the homes look small and tight, the courtyard allows for building to breathe and allow for a cooler and healthier experience. Rooms can be ventilated through the courtyards as they are practically exposed to the outdoors.

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LA ANTIGUA Green Systems

text There is a continuous system of tree colonnades that either frame the road on both sides of split the roads into two lanes. These roads are moderately popular and busy during certain times of the days, but most importantly serve as shade. The sun can become very dreadful during certain times of the year and incorporating trees alongside sidewalks and roads provide shade and help keep people and other objects cool. These greenways also link themselves to other plots of green areas, some of which can be accessible and others that cannot. Most areas are walled up and have vegetation spilling over them and into the sidewalks. On days where there is more moisture and wind it helps keep the city cool. The top two images showcase the green system that interconnect historical sites. From the edge of the city, La RecolecciĂłn, faces one of the main streets that have the IJ;K6<5ĂżG<5;745@5LĂżM595;7:NO<7PĂżQ7:5=;47J; tree colonnade. The following the street down to ĂżGHhistoric H6@7 site, Santa Teresa. the center is another Tourists will use this road to visit the two sites M;=77;ĂżRK7SĂżTĂż?<@ĂżABCD and can with ease due to the trees shading the path.

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2.1

CLIMATE

The climate of Antigua, Guatemala is similar to other countries within Central America and regions locationed near the middle of the globe. The tropical climate of the country, imposes warm weather and rain on the city of Antigua. The local adaptation of the antigua people are seen in their way of living and the architecture responses the city have. From the multiple geographic features and the varying landscape around the city have certain impacts on the climate conditions. The elevation, wind, temperature and rainfall have strong influences on the city and are important design considerations for the future.

LA ANTIGUA Regional: Wind

The city of La Antigua experiences can experience heavy winds thoughout the year. Mostly the windflow comes from the north or north east direction and also the south to south west direction. About 30 percent out of the whole year the wind comes from the northern direction. So the North facade of the building is going to suffer a large number wind load, that need us to pay attention to it.

In La Antigua the wind speed is quite high, especially in spring and winter, the average wind speed is about 12 mph, and the maximum even reach 30 mph, that bring an issue about resistance to wind load works on constructions in La Antigua.

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Due to the large mountain range located in the heart of the country, the rain water runoff during the wet months can result in heavy flooding and often land slides. The graph on the right shows that the flat plataeu that the city of Antigue sits on, has a very high threat level when it comes to flooding. Also the surrounding mountain range to the north, west and east of the city has high threat levels of landslide occurance. This is a regional aspect that should be taken into consideration during design within the city.

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La Antigua is a typical Central American weather, it has a dry and rainy season. The dry season (verano) usually lasts from November until May, while the rainy season (invierno) typically runs from May through November.

During the rainy season there are daily showers, which tend to fall in the afternoon. The latter months of the rainy season are usually the wettest.But the rain fall is largely dependent on how close to the coast you are and what side of a mountain chain you are on.

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Regional: Geographical Features Topographic map of Guatemala includes various major geographic features like Volcanoes, Mountain ranges, rainforests, plains, lakes and rivers. Antigua is in the middle of the mountain ranges close to the volcano range on the southern portion of the country. Plains are towards the west close to the Pacific Ocean. And Rainforest north towards Belize.

Guatemala shares its borders with four other countries in Central America. The countries are Mexico, Belize, El Salvador, and Honduras. Coastal wise, Guatemala has the Gulf of Honduras to the east and the Pacific Ocean to the west.

The country of Guatemala is part of the active plate formation known as the â&#x20AC;&#x153;Ring of Fireâ&#x20AC;?. The volcanic range that extends from Mexico to El Salvador is active and has frequently caused devastating earth quakes and volcanic erruption though out the years.

There are three major Volcanoes around Antigua. There are Volcan de Fuego, Volcan De Acatenango, and Volcan de Agua. There are also mountain ranges surrounding the city of Antigua. Within the valleys are where neighboring cities have grown, including San Miguel Duenas, San Pedro Las Huertas, Santa Maria de Jesus, Amatitlan and Villa Nueva.

Volcan De Acatenango Volcan De Fuego

La Aurora International Airport

Santa Terasa

La Aurora International Airport

LA ANTIGUA Regional: Temperature

The world’s climate can be classified in five major categories, this system is called the Koppen climate classification. The categories are Tropical, Dry, Temperate, Continental, Polar. Tropical climates located mostly in the middle of the globe. Known for being warm all year round, and heavy precipitation resulting in the usual rainforest.

This is the conditions of the country Guatemala. Dry climates are usually hot and sunny, with little precipitation.

Temperate climates and Continental climates experience all four seasons, but continental temperatures have more extreme averages than the temperate climates. Polar climates are found at the north and south poles of the globe. This climate is always cold and snow all year round.

Central America is considered a tropical climate. There is a lot of rain and is warm all year round. Guatemala is a country within Central America and is home to a large amount of rainforest. There they experience dry winters and warm summers.

The average temperature within Antigua is between 6070˚F yearly. The hottest months are March, April, and May. During the summer time, the temperatures stay mostly the same with the temperatures not dropping past 55˚F, and not over 79˚F during the months of June, July, August, September, October and November. The months with the most dramatic changes are the months of April and January. The highest temperature recorded is around 84˚F and the coldest is 47˚F. The elevation of the volcanoes are the following: Volcan de Fuego-3,700m (12,300ft) Volcan De Acatenango-3,900m (13,000ft) Volcan de Agua- 3,500m (11,500ft).

There are excursions and trips in which many tourguides lead tourist on a hike that covers all three volcanoes around the area.

La Antigua’s elevation is 1,533m (5,000ft) above sea level, which is similiar to the city of La Aurora which is 1,509m (4,950ft). The city of Aurora where the airport is located has a similar elevation to Antigua thus very similar climate conditions. The two sites within the city of Antigua, and the surrounding mountain shows a high range of elevation changes from within the city to a few miles away.

Koppen Climate Classification

Volcan De Acatenango

ANTIGUA

Volcan De Fuego

La Aurora

Volcan De Agua

13,000 ft (3,962m)

9,000 ft (2,743m)

6,000 ft (1,828m)

3,000 ft (914m)

Volcan de Acatenango 13,000 ft (3,962m)

Volcan de Fuego 12,300 ft (3,749m)

Volcan de Agua 11,500 ft (3,505m)

Antigua 5,029 ft (1,533m)

40˚F - 50˚F (4˚C-10˚C)

50˚F - 60˚F (10˚C-15˚C) La Aurora 9,500 ft (1,509m)

60˚F - 70˚F (15˚C-21˚C)

70˚F - 80˚F (21˚C-26˚C)

Iglesias y Convento de Capushinas

2.2

ARCHITECTURE

Antigua offers many interpretations of venacular. Builders from all around spain, brought their local venacular to the city of Antigua, however did not creat pure designs.

This is likely due to a limited variety of materials and numerous disatsters that left the them with no choice but to experiment with what was available. This resulted in an array of architectual ornamentation as well as new and different types of construction that are still visible today. Because of this, there is enough originality in building that no distinct style can be attributed to a specific region or style. If it were not for the abandonment and Antiguas isolation for a century, the remnance of the colonial period of Antigua would be extinct. Because of this, Antigua is one of greatest cultural centers of the americas.

ARCHITECTURE

HIistory, Methods & Influences Though often referred to as the exemplar of a Spanish baroque colonial city, the architecture of Antigua cannot be defined by a singular style or technique. Though many builders came from Spain, they brought with them the knowledge and style of their home region, familiar to them. Natives, who were not craftsmen, were subjected to intense apprenticeships to attain the skills of Spanish building. Unlike any other city in central and south America, Antigua was built on virgin soil, therefore there is no direct remanence of native culture in the city. Early construction methods consisted of simple posts, thatched roofs and latticed walls of reed which were plastered in mud. Roofs were covered in Adobe, which was later used as the primary building material for shelters. In 1550, colonists adopted a form of construction for walls of ecclesiastical buildings that is still remnant today. This method consisted of laying a bed of heavy lime mortar with large pieces of rubble and stacking intervals of layers of brick used for leveling on lower walls. Upper walls were comprised of primarily brick and a relatively strong grout. This was primarily due to the lack of access to a supply of large stone, which also resulted in the use of stucco or plaster as a cladding material treatment for interior and exterior walls and the magnificent plaster decorations “ataurique”.

Although wood was an available building material, its use was predominantly for roof and ceiling construction and would then be covered in tiles. Occasionally in the mid 17th century, wood beams would be carved in more elaborate structures also known as “Mudéjar” or “Artesado” designs.

After 1650 stone arches and low domes known as “Boveda Viada” were a common ceiling structure in rooms, corridors, chapels, aisles and naves of churches. Though many of the builders were conscious of construction after the larger earthquakes of the 17th and 18th century, many buildings continued to increased in size with the only adjustment being wood being replaced by vaults. In 1725, exterior veneers started to move away from plaster and started to be comprised of small dress stones. Thanks to Diego De Porres, by 1750 small irregular stone veneer was common on exteriors of public buildings as well as churches and became known as “Earthquake Baroque”.

The colonial masons were extremely adept in the use of brick, by implementing clever vaulting, constructing arches without the use of keystones as well as brick used as a core for round columns, entablatures, ornament as well as all other architectural expressions, they were able to use the material to its full potential. Other component of Spanish architecture that the builders brought with them were the patio, Mudéjar details and the Doric and Ionic column orders. However, enough originality existed in Antigua, to dispute any particular source or influence that governed buildings. Because of the abundance of water in the city, public and private fountains were implemented with no restrictions on use, water ran continuously. All blocks of the city had fountains and colonial houses contained some form of a free standing or wall fountain in one or more patio spaces. Each public fountain in Antigua was also equipped with a section dedicated to laundry, so that citizens had easy access to water for washing clothes.

The fountain system relied heavily on gravity to distribute water to control tanks in every block, which would then distribute water to private and public fountains by pipes in varying sizes. This system functioned for more than 4 centuries until 1962 when it was replaced by a water pressure system with meters. However, public as well as private fountains still exist today.

There are a multitude of noteworthy architectural components in residential dwellings as well. Stone based windows as well as stone colonial doorframes are ornamental but create a sense of heaviness that is unmatchable with stucco or plaster. Large colonial kitchens require large chimneys, many of which are still remnant today. The craftsmen of Antigua have continued on their trade, as they are still working today. Woodcarvers, furniture makers, ironworkers and masons still carry strong traditions and pride. Many of these families still follow the ways of the Spanish, by requiring young family members to begin lengthy apprenticeship at an early age.

Antigua’s architecture is unique, because the builders created something new that was of their time, limited with materiality creating the “Barroco antigueño”. If it were not for the abandonment at the height of Antigua’s existence and a century

of isolation, it would not have remained in its perfect state.

There is no other city in the Americas with monumental churches or magnificent and beautiful buildings from the same era. The residual colonial image is clearly visible.

Because of this, Antigua is a rare piece of central America’s culture.

ARCHITECTURE Climate Text:

ARCHITECTURE Today

As remanence of historical structures still define the street scape of Antigua, restorations for old residences adapt to modern times. Most of these residences are vacation homes, hotels and restaurants catering to the boom of tourism in the city. While some original residences have been restored in the original colonial way, new construction follows what is known as a neo-colonial “Antigua Style”.

The adaptation of colorful facades and cobblestone streets standout within the contrast of the ruins. Not much has been changed about Antigua, its colonial heritage is still the guiding factor. In recent years, as restorations have expanded, even to the most holy of places. There have been concerns about new development being added into existing ruins. As an example, UNESCO mentions the Casa Santo Domingo which is a modern hotel that was built into the ruins of the Santo Domingo church and monastery.

Although adaptive re-use is being driven by tourism, there has been a lot of push back though the enforcements of laws and regulations to develop conservation guidelines.

Institutions that promote local awareness are for example the Salvemos Antigua “Save Antigua” as well as public education campaigns supported by the Japanese government. In order to start new construction in Antigua, approval of congress is required. UNESCO believes that the implementation of a masterplan as well as definitions and efficient protection of a buffer zone would promote new construction that meets government requirements.

Casa Santo Domingo

3

SITES From what we have learned so far, interventions to historical ruins have not been widely accepted in Antigua. However, two sites that are unique in their location and individual history are a vital part of Antiguaâ&#x20AC;&#x2122;s urban context. One, La Recoleccion is located on the western edge of the city, while Santa Teresa is located centrally within the urban fabric. We will examine both sites conditions as well as context in this chapter.

RUIN INTERVENTIONS Legacy Text:

3.1

SANTA TERESA

Centrally located, the Santa Teresa convent has a rich history of ownership and use. While we study its context and past life, we will aim to reimagine the site as it once was. Recently restored, it is now open to the public for viewing. The Santa Teresa Convent is located in the original grid of the city, on the main north south axis of the city.

SANTA TERESA History

On June 22nd, 1675, Real Cédula (Royal Decree) was issued authorizing the function of the Convento de Carmelitas Descalzas (Barefoot Carmelites), under the invocation of Santa Teresa de Jesús. City Council reports from 1675 show that Bishop Mañosca and Murillo donated the houses of his residence for the foundation of the Convento de Carmelitas Descalzas. On May 25th, 1677, three nuns arrived from Lima, Peru to found the convent. In 1677, the Convent was completed. Furthermore, as time progressed the building began to further develop. On August 17th, 1683, construction of the formal temple in the convent began and was completed in 1687.

However, the complete church and convent did not last long. In 1717, earthquakes caused minor cracking on the corner of the structure. In response to the damage to the convent and the partial collapse of the roof, the nuns decided to live out of small thatched roof structures in the garden of the church within the convent property. It was not until years later that the nuns returned to living within the convent walls.

From 1737-1751 Bishop Pardo de Figueroa reinforces the structure in part and partly renews it. However, this restoration effort is reversed following another series of earthquakes that occurred on February 4th, 1751 which left the temple damaged once again.

Following the abandonment of the city in 1773, the monastery was occupied by poor families. However this use changed again during the second half of the 19th century the courtyard was used to dry coffee beans. Around the end of the 19th century, the convent spaces were used as a center for the production of aguardiente, wine and soft drinks. During the 1940s, the convent was occupied by a jail of men from the Palace of the City.

SANTA TERESA Formal Organization

The convent complex was designed by José de Porres who also designed the cathedral. De Porres borrowed building strategies from the cathedral project for the construction of Santa Teresa. Additionally, it is possible that José de Porres was in fact the father of Diego de Porres who served as designer of many other religious structures. José de Porres designed an irregular plan for a convent as it is wider in width and shorter in length than usual. As a result it resembles a parish church more so than a convent church. Furthermore, the arcades of the cloister were low and the columns heavy in proportion.

Additionally, renaissance forms were incorporated into the design including, a door recessed under an arch, large window-niche and two bodies with three streets separated by inter-columns.

Circulation Work Rooms Chapel Support Spaces Outdoor Space

SANTA TERESA Elevations and Sections

Chapel Main Original PRINCIPAL Facade FACHADA FACHADA PRINCIPAL FACHADA PRINCIPAL

FACHADA PRINCIPAL Chapel Main Facade Current FACHADA PRINCIPAL FACHADA PRINCIPAL

SECCIÓN A-A' SECCIÓN A-A' SECCIÓN Section A - Chapel A-A'

TEXT:

SANTA TERESA D E Ăż V Ăż JW 8 K L X 6 Ăż N = > Connection to Urban Condition & Access The site of Santa Teresa is located directly in the urban environment of the city. The north and west faces of the building face the streets and both have entrances inside. The location doesnâ&#x20AC;&#x2122;t hold much lush vegetation, rather more privatized green spaces and courtyards.

The east side of Santa Teresa, however, holds an open garden space to the public that compliments the building. Two roads on the east and west sides surrounding the site both have traffic going one direction, and the north facing street provides two lanes going both directions and can become very busy during traffic. The site however provides sidewalks on all sides of the streets creating pedestrians to access the site away from traffic.

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SANTA TERESA >RĂżSĂżFT4GHU2ĂżJ9: Edges & Traffic

Santa Teresaâ&#x20AC;&#x2122;s west and north facades face the edge of the corresponding streets that create an engaging condition. This edge runs along two streets that can become high in traffic. Vehicular traffic, in general can vary depending on the time of the day. The diagram indicate the traffic around 5pm. It isnâ&#x20AC;&#x2122;t a pleasant experience during this time of day, but during slow hours of the day there becomes minimum to no traffic. The north facing facade of the building faces the same street that if one was to follow west, they would reach the other potential site, La RecolecciĂłn.

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SANTA TERESA Views

Entering the site is possible from the west and north faces of Santa teresa. The top image shows the first view labeled on the diagram and the bottom image is the other entrance. The third view labeled on the diagram is the interior perspective and is located on the following page.

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SANTA TERESA Materials

Primary materials of construction were compromised of brick, concrete and stucco. The buildings main structure is made of brick and covered in stucco. The central fountain in the courtyard is comprised of tile and concrete. The use of cobble stone can be seen in more remote areas of the site. Ceramic tiles were added later as a path material, as means of restoration, however arenâ&#x20AC;&#x2122;t original to the design. The new paths do not directly touch the wall of the building, as there is a vital detail which allows for a 4 -5 inch gap between path and wall, filled with gravel.

3.2

LA RECOLECCIĂ&#x201C;N

One of the most visited ruins in the city, la Recoleccion has become a popular destination for photo ops due to its convenient location near a major bus terminal of Antigua. Located on the western edge of Antigua, the rubble has overtaken the layout of the once grand church, creating a sort of labyrinth of ruin. Surrounded by rich greenery, the site leaves more room for expansion as well as large scale intervention.

LA RECOLECCION History

Friars of the Recollects arrived in Antigua in 1685. The city had concerns that the friars would build a monastery that would ultimately get larger over time and exceed what was initially constructed. However, the friars requested the construction of a monastery through the crown and were granted approval on July 16, 1700. The building was designed and supervised by Diego de Porres, was officially opening on May 23, 1717 and was damaged by an earthquake the same year. Following the earthquake in 1717, a rebuilding and expansion effort was completed. The result was an expansive monastery that included three cloisters and a large church. Three additional exterior buildings were constructed to the south of La Recolección including a kitchen, hospital, and monastery.

1717 Large Earth Quake leaves major Damages 1750 Major Expansions are underway

1700 Spanish Crown grants approval for construction of Monastery

Nearly in total ruins, the only surviving part of the church is the “portada,” or the archway serving as the main entrance, though it may be a reconstruction. The building has been utilized for a series of functions since its closure as a monastery in 1773. Over time a lot of the stone/ brick/rubble has been removed from the site to be used as agricultural walls and to construct other buildings.

The building has been adapted to serve a series of uses.

The “first cloister” was converted into a swimming pool with the arcades being removed. The sacristy was used as a soap factory following the abandonment of the city. The refectory (the area between the southern cloisters) was used as a stables and a shed. Finally, the Cloisters have been used for sports and local fairs. There is no current effort to restore the damaged structure as the building may be too far damaged to be able to be brought back to the original design. Additionally, the removal of stone from the site following the forced demolition has limited the remaining pieces of rubble that could be used during restoration.

1685 Friars of the Recollects arrive in Antigua

1717 Monastery Opens

1774 Abandonment of city for new capital in Guatemala City

1773 Monastery Closes

Sacisity was used as a soap facotry

1830 Introduction of coffee led to growth and renovation of monuments 1773 Devastating earthquake ruining the capital city

Transformation of the â&#x20AC;&#x153;firstâ&#x20AC;? cloister to a swimming pool

LA RECOLECCION Formal Organization

The architecture of the building is predominantly focussed on scale in opposition to detail unlike many of the other religious structures in Antigua.

Circulation Work Rooms Chapel Support Spaces Outdoor Space

LA RECOLECCION Elevations and Sections

Section B

Sacristy Sections

Section C

Naive Sections

Section A

LA RECOLECCION Elevations and Sections

Church Front Facade Before Ruins

Church Front Facade In Ruins

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LA RECOLECCION O=LP6QĂżR8ĂżS6ĂżO8:IA8::LTP Connection to Urban Condition & Access Unlike Santa Teresa, La RecolecciĂłn is located in a different environment that connects to the urban environment from the outskirts of the city. These ruins are located on the west side of La Antigua where the east facade of the building faces the city and the other sides are engulfed by the natural and lush environment of vegetation. The building itself is surrounded by open green spaces where visitors are allowed to explore within the site. Beyond the site, a forest emerges and continues out what seems untouched vegetation west. South of the site starts to become private land with a mixture of dense vegetation. To the northeast is a park that is open to the public and has the potential for visitors of the La Recoleccion to visit the park afterwards.

If one wishes to enter the site, there are two entrances, however, the main entrance is the furthest north one. Visitors walk through a procession of vegetation that frames the ruins and what is to be uncovered. The street east of the site is a popular route with one sidewalk on the right side of the road and vehicles travel both directions. One may travel to the other site, Santa Teresa by following the street going east to west.

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LA RECOLECCION Edges & Traffic

An edge condition is created between the site and the wild vegetation growing on the west side of the site. Unlike Santa Teresa, this edge condition creates a more scenic natural relationship between architecture and nature. Having the site engulfed in this natural element and away from the city allows for a more peaceful and quiet environment.

As the ruins hold so much rich history it also belongs to the nature that it is nested in. Traffic, however, is still a concern during the busy hours of the day, such as 5 pm. During slower hours of the day, traffic becomes less of an issue and pedestrians walking can feel safe.

LA RECOLECCION Views

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LA RECOLECCION Materials

Due to earthquakes destroying La Recollection, large remanences of walls add structure reveals to us the extent of materials used. Throughout the site, there is use of brick and large rock stacked in layers that create the structure of walls. As common with the Spanish Baroque, stucco was used throughout the entire complex. Cobble stone pavers lead to the main entrance, adjacent to a carpet of grass.

The vegetation of the surrounding green space, closely frames views of the ruins.

Initial Site Stradegy Option 1

In Rafael Moneo’s The Murmur of the Site he discusses the importance of architecture in terms of the site. He begins to explain that the meaning of site is ownership. Site is the place where possession occurs. Moneo compares this to the temporality of a tent or the remanence of roman ruins in a foreign land, both demonstrate acts of possession in their respective ways. In the same way the romans built large structures to demonstrate power, a small tent placed on a site demands ownership of that site. Moneo believes that Architecture is “raised as the testimony of that domination” of site and therefore “to colonize and possess the land has always required its transformation”. Thanks to these “transformations” over time, it is impossible to possess a site which does not have a pervious circumstance; therefore, architecture often follows existing conditions or versions of them. Because of this conditional design process, Moneo believes that “architecture should be appropriate to the site” and that to achieve this is to “decipher the attributes, to hear how they manifest themselves”. This, he calls “listening to the murmur of the site”, an act that allows us to fully understand which factors are to be “ignored, subtracted, erased, added etc. from the existing conditions of the site”. The site becomes not only the material, but also the accepter of the architecture, as the design should bring forth otherwise unseen or unknown traits of the site.

The site then becomes the vessel for communicating the architecture, and because of this, architecture and site cannot be one without the other. When considering Moneo’s manifesto, we will examine three design precedents for site and building intervention which have adapted to similar circumstances in historical context in different ways.

First, we will examine Peter Zumthors Kolumba Museum located in Cologne, Germany. A competition set forth by the Archdiocese of Cologne, its aim was to create a museum to house the vast art collection of the Archdiocese. The site is located on the plot of the St. Kolumba Church in the inner city of Cologne. The site has been a prominent location for many churches in the past, including roman, with the Kolumba being the most recent of them. The former church was hit by bomb strike on the city during World war II, leaving only its shell as a reminder of its existence. The design premise asked for a “lively museum that corresponds to the reality and dignity of what already exists”. Zumthor approached this design with intentions to highlight the art. He argues that the “Bilbao Effect” is far from the design intent. The architecture does not aim to command attention through form, but rather through content and site. Zumthor achieves this on the exterior by use of grey brick, which seamlessly blends with the charred remanence of the Kolumba church walls.

The design successfully allows for historical and modern art to be displayed alongside each other, with no written descriptions of the art. Visitors are left to create their own way through the exhibit, challenging our expectations and our frame of reference. The museum is unique in this way, that the design speaks to all the senses as it is as intellectually and physically stimulating as it is highlighting the reminiscence of the place. The first collage aims to demonstrate an approach as sensitive as the Kolumba Museum. By simply connecting to the ruins of Santa Teresa in a way which does not subtract from the historical remanence but adds to it by means of pure materiality as well as preservation of structure. The design aims to be integrated within part of the ruin, highlighting its existence, while creating a new addition to the eastern front of the block. On the exterior wall of the convent, the design reveals its self slightly above the existing façade condition, allowing it to give the ruins a new presence on the street front.

Initial Site Stradegy Option 2

Secondly, we will examine David Chipperfieldâ&#x20AC;&#x2122;s Neues Museum located in Berlin, Germany. Similar to Zumthors project, this site was bombed in World War II and was subsequently abandoned by the government. However, unlike Zumthor, Chipperfieldâ&#x20AC;&#x2122;s design aimed to not just design a new building, but one that included the history in it. The design does this by restoring a sense of place to the fragments and re-establishing the meaning of the original building, inserting repaired fragments and reintegrating them into the framework. Chipperfield designed forms of simple volumes with limited materials, brick and prefab concrete, in order to form continuity between repaired fragmented parts. This created an issue of scale for repairs. A small repair did not need to be of distinct quality, while a large repair such as the stair foyer, needed a physical and material character of its own. The new reflects the lost, without imitating it.

The site strategy aimed to simply complete the original volume as well as restore the original sequence of rooms.

For my second strategy, the design intentions is to reconstruct the missing pieces of the original ruin of Santa Teresa by use of a familiar material such as metal or wood, in a modern way. The intervention becomes integrated within the entire second floor of the ruin, as well as an addition to the eastern side of the chapel. The intention of this strategy is to preserve the ruins on the first floor, as well as the chapel.

Initial Site Stradegy Option 3

Lastly, we will look at Fuensanta Nieto and Enrique Sobejanoâ&#x20AC;&#x2122;s Moritzburg Museum Extension Located in Halle, Germany. Through having undergone various changes since the 15th century, the main structures of the surrounding walls, three of the four towers and the central courtyard still remained. The initial question asked by the design team was: Is it possible to reconstruct, starting from the representations of the place itself, an architecture that connects symbolically with the past and reveals its contemporary condition to recompose reality? Inspired by one of the exhibitions paintings, Nieto and Sobejanoâ&#x20AC;&#x2122;s proposal consisted of a simple strategy, a new roof which rises and breaks to allow natural light to enter, and from which two new exhibition spaces hang and two vertical communication cores, providing access to city views. The design enables the space to open up, by freeing up the floor of the ruins, providing spaces for exhibition in the western wing. The design draws to the memory of the ruins by interrupting the sequence of the exhibition spaces, through reemergence. The new intervention aimed to protect the ruins by preserving the existing building and superimposing a light structure that contains exhibition spaces.

In my final site strategy collage, the design occupies the volume of the courtyard as well as the chapel. The intention is to preserve the existing ruins of Santa Teresa while hierarchically intervening in the two main volumes of the ruins. The courtyard and the chapel have significance within the ruin, and by allowing the design to engulf this space, it forces a new perspective towards the remaining voids, allowing for a greater connection with the surrounding ruins.

Initial Site Stradegy Option 1

In Rafael Moneo’s The Murmur of the Site he discusses the importance of architecture in terms of the site. He begins to explain that the meaning of site is ownership. Site is the place where possession occurs. Moneo compares this to the temporality of a tent or the remanence of roman ruins in a foreign land, both demonstrate acts of possession in their respective ways. In the same way the romans built large structures to demonstrate power, a small tent placed on a site demands ownership of that site. Moneo believes that Architecture is “raised as the testimony of that domination” of site and therefore “to colonize and possess the land has always required its transformation”. Thanks to these “transformations” over time, it is impossible to possess a site which does not have a pervious circumstance; therefore, architecture often follows existing conditions or versions of them. Because of this conditional design process, Moneo believes that “architecture should be appropriate to the site” and that to achieve this is to “decipher the attributes, to hear how they manifest themselves”. This, he calls “listening to the murmur of the site”, an act that allows us to fully understand which factors are to be “ignored, subtracted, erased, added etc. from the existing conditions of the site”. The site becomes not only the material, but also the accepter of the architecture, as the design should bring forth otherwise unseen or unknown traits of the site.

The site then becomes the vessel for communicating the architecture, and because of this, architecture and site cannot be one without the other. When considering Moneo’s manifesto, we will examine three design precedents for site and building intervention which have adapted to similar circumstances in historical context in different ways.

Kolumba Museum, Cologne Germany - Peter Zumthor

First, we will examine Peter Zumthors Kolumba Museum located in Cologne, Germany. A competition set forth by the Archdiocese of Cologne, its aim was to create a museum to house the vast art collection of the Archdiocese. The site is located on the plot of the St. Kolumba Church in the inner city of Cologne. The site has been a prominent location for many churches in the past, including roman, with the Kolumba being the most recent of them. The former church was hit by bomb strike on the city during World war II, leaving only its shell as a reminder of its existence. The design premise asked for a “lively museum that corresponds to the reality and dignity of what already exists”. Zumthor approached this design with intentions to highlight the art. He argues that the “Bilbao Effect” is far from the design intent. The architecture does not aim to command attention through form, but rather through content and site. Zumthor achieves this on the exterior by use of grey brick, which seamlessly blends with the charred remanence of the Kolumba church walls.

The design successfully allows for historical and modern art to be displayed alongside each other, with no written descriptions of the art. Visitors are left to create their own way through the exhibit, challenging our expectations and our frame of reference. The museum is unique in this way, that the design speaks to all the senses as it is as intellectually and physically stimulating as it is highlighting the reminiscence of the place. The first collage aims to demonstrate an approach as sensitive as the Kolumba Museum. By simply connecting to the ruins of Santa Teresa in a way which does not subtract from the historical remanence but adds to it by means of pure materiality as well as preservation of structure. The design aims to be integrated within part of the ruin, highlighting its existence, while creating a new addition to the eastern front of the block. On the exterior wall of the convent, the design reveals its self slightly above the existing façade condition, allowing it to give the ruins a new presence on the street front.

Initial Site Stradegy Option 2

Secondly, we will examine David Chipperfieldâ&#x20AC;&#x2122;s Neues Museum located in Berlin, Germany. Similar to Zumthors project, this site was bombed in World War II and was subsequently abandoned by the government. However, unlike Zumthor, Chipperfieldâ&#x20AC;&#x2122;s design aimed to not just design a new building, but one that included the history in it. The design does this by restoring a sense of place to the fragments and re-establishing the meaning of the original building, inserting repaired fragments and reintegrating them into the framework. Chipperfield designed forms of simple volumes with limited materials, brick and prefab concrete, in order to form continuity between repaired fragmented parts. This created an issue of scale for repairs. A small repair did not need to be of distinct quality, while a large repair such as the stair foyer, needed a physical and material character of its own. The new reflects the lost, without imitating it.

The site strategy aimed to simply complete the original volume as well as restore the original sequence of rooms.

For my second strategy, the design intentions is to reconstruct the missing pieces of the original ruin of Santa Teresa by use of a familiar material such as metal or wood, in a modern way. The intervention becomes integrated within the entire second floor of the ruin, as well as an addition to the eastern side of the chapel. The intention of this strategy is to preserve the ruins on the first floor, as well as the chapel.

Neues Museum, Berlin Germany - Chipperfield

Initial Site Stradegy Option 3

Lastly, we will look at Fuensanta Nieto and Enrique Sobejanoâ&#x20AC;&#x2122;s Moritzburg Museum Extension Located in Halle, Germany. Through having undergone various changes since the 15th century, the main structures of the surrounding walls, three of the four towers and the central courtyard still remained. The initial question asked by the design team was: Is it possible to reconstruct, starting from the representations of the place itself, an architecture that connects symbolically with the past and reveals its contemporary condition to recompose reality? Inspired by one of the exhibitions paintings, Nieto and Sobejanoâ&#x20AC;&#x2122;s proposal consisted of a simple strategy, a new roof which rises and breaks to allow natural light to enter, and from which two new exhibition spaces hang and two vertical communication cores, providing access to city views. The design enables the space to open up, by freeing up the floor of the ruins, providing spaces for exhibition in the western wing. The design draws to the memory of the ruins by interrupting the sequence of the exhibition spaces, through reemergence. The new intervention aimed to protect the ruins by preserving the existing building and superimposing a light structure that contains exhibition spaces.

In my final site strategy collage, the design occupies the volume of the courtyard as well as the chapel. The intention is to preserve the existing ruins of Santa Teresa while hierarchically intervening in the two main volumes of the ruins. The courtyard and the chapel have significance within the ruin, and by allowing the design to engulf this space, it forces a new perspective towards the remaining voids, allowing for a greater connection with the surrounding ruins.

Moritzburg Museum Extension, Halle Germany - Nieto & Sobejano

Spacial Concepts Collage 1 - Inside Outside The essence of the interior intervention is intended to become simultaneously integrated seamlessly into the existing ruins, while also distinctly occupying the volumes of the chapel and courtyard. Through the use of familiar methods of construction in combination with modern adaptations and a contrast between weights of materiality such as brick and concrete with use of glass, light and wood conveys a sense of balance. Two pieces of one complex, the challenge becomes the relationship between the two. The nature of the courtyard is a more public one, while the chapel is a more intimate experience. The essential question then becomes, what is their connection, or lack thereof, and how can this be conveyed experientially? Materiality can be a large factor in the way we perceive a space. A heavy-set masonry space feels more confined or controlled, than a space which is filled with light and has views to the exterior.

By creating a large space with heavy masonry while also allowing to make visual connections to the exterior, can allow for the space to become familiarly intimate.

Therme Vals , Switzerland - Peter Zumthor

Santa Teresa Convent - Antigua Guatemala

San Telmo Museum Extension, Spain - Nieto & Sobejano

Spacial Concepts

Collage 2 - Connection to Winery

Catedral de San Jose Roof Structure , Antigua Guatemala

Antinori Winery , Italy - Archea Associati

Spacial Concepts Model

Kengo Kuma

Ludwig Mies Van Der Rohe

Peter Zumthor

5

Massing Studies

The goal of this section is to reflect on the previous research and analyze the site in a way which allows us to conceptualize our ideas and form physical massingâ&#x20AC;&#x2122;s of strategy. This process is vital, in order to fully explore possibilities as well as being a first attempt to analyze program in the site. The program for Santa Teresa will be a winery, this could be challenging as wineries are environmentally sensitive. Temperature control as well as program adjacencies of private and public will be difficult to design in order for them to flow seamlessly.

MASSING STUDIES: Program

Commercial security for wineries is more complex than you might think. Wine makers face all the challenges that come with farming and protecting their crops, along with things like liability issues that accompany vineyard tourism, the challenges of protecting intellectual property, and much more. Because wine makers are usually also wine merchants who sell stock from public-facing retail spaces within their vineyards, they also have to contend with all the security challenges that come with retail, including monitoring public areas, keeping an eye on inventory and money, and guarding against employee theft, to name just a few.Vineyards and wineries also have to consider cyber security, since most of todayâ&#x20AC;&#x2122;s wine makers probably do a considerable amount of business online, and may maintain databases containing client data, not to mention proprietary information regarding crops, formulas, and processes.What Would a Winery Security System Include?

A commercial security system can do more than help a winery protect money and inventory. It can monitor the perimeter and grounds, help keep an eye on crops, see who is coming and going in the multiple buildings that make up a winery, help to protect against fire and other hazards, and even provide remote monitoring and oversight of environmental controls and other components of the operation.Doing all of that calls for a fairly sophisticated system, but a robust commercial security solution for a winery begins with four main components: premise access control, intrusion detection, security cameras, and monitoring.Access Control for Your WineryAccess controls are a core component of most commercial surity systems, giving wine-making business owners and managers control over who comes and goes on their premises, which helps to not only protect winery business resources but also keep employees, vendors, and the public safe.

When properly implemented, access controls can: Help deter trespassers and anyone who is up to no good.Restrict certain areas or allow access to certain areas fr vendors, maintenance, etc.Keep a record of who is coming and going, and who was where, when.Help to reduce employee theft and simplify employee tunover.

Provide customized access for different employees based on their needs.Protect proprietary information including intellectual property, formulas, and so on.

SANTA TERESA WINERY Program Worker's Area Visitor's Area

Production Area

Subtotal Net Gross

Area (net)

Quantity

Total

Remarks

Type B - Business Group A-3 - Assembly Group A-2 - Assembly Group A-3 - Assembly Group B - Business Group A-2 - Assembly Group A-3 - Assembly Group

Administrative Offices Locker/Changing rooms Kitchen (for workers only) Reception/lobby Security Tasting room Tasting room-support

1000 500 250 500 500 2000 500

1 2 1 1 1 1 1

1000 1000 250 500 500 2000 500

dir office 250, 2 mtg rms 200ea, admin 350 small areas with lockers. 1 male, 1 female

Private room Main kitchen Storage Gallery Shop Loading+receiving area Tank room Barrique' Cellar Storeroom

2500 800 500 1500 600 2000 5000 3500 2000

1 1 1 1 1 1 1 1 1

2500 800 500 1500 600 2000 5000 3500 2000

Weddings and special ceremonies. All one space To serve primarily Private room To serve primarily Private room (furniture, etc) Santa Teresa History and wine production process In proximity to Storeroom from production area Receiving of grapes/oranges and other misc.

Chrome cisterns for first phase of fermentation Wine matures in wooden barrels. 2 years Wine bottled, store in wooden cases and sold.

24150 1.66667 40,250.08 1.4285 34,498.28

Can be sectioned off into smaller zones or a singular space bar area-Adjacent to main kitchen

(100/60) assuming 60% efficiency (Indicative Only) (100/70) assuming 70% efficiency

A-3 - Assembly Group A-2 - Assembly Group S-1 Storage Group A-3 - Assembly Group M - Merchantile Group U - Utilitity Group S-2 - Storage Group S-2 - Storage Group

Category

Area Gross (60% Eff)

Fl Area/occupant-NET

Fl Area/occupant -GROSS

Business Group B occupancy includes, among others, the use of a building or structure, or a portion thereof, for office, professional or service-type transactions, including 1666.67 storage of records and accounts.

1666.67 Occupancy includes assembly uses intended for food and/or drink consumption 416.6675 Occupancy includes assembly uses intended for worship, recreation or amusement and other assembly uses not classified elsewhere in Group A 833.335 Business Group B occupancy includes, among others, the use of a building or structure, or a portion thereof, for office, professional or service-type transactions, including 833.335 storage of records and accounts.

Occupancy includes assembly uses intended for food and/or drink consumption 3333.34 Occupancy includes assembly uses intended for worship, recreation or amusement and other assembly uses not classified elsewhere in Group A 833.335 Occupancy includes assembly uses intended for worship, recreation or amusement and other assembly uses not classified elsewhere in Group A

15 15 15

Occupants 150 50 200 150

12 34 3 34 6 134 34

When people think of commercial security systems, intrusion detection is one of the first things that come to mind.

Sure, that includes alarms on doors, glass break sensors on windows, and that sort of thing, but it can also include more complex solutions for large-scale operations such as wineries that can: Deter burglary or large-scale theft and protect assets against vandalism.Keep non-public areas secure, especially those that may include dangerous machinery.Potentially lower insurance rates and reduce liability.Offer a safer working environment for employees in the field and behind the scenes.Commercial-Grade Security Cameras No wine-making business that is serious about security should be without at least a few commercial-grade security cameras. With these, a winery can: Keep an eye on every area of the winery, from the outside in.Monitor customer traffic, even from mobile devices.

Have a record in the event of an incident. Track product inventory and customer behavior in real-time. Discourage shoplifting from public or retail areas. Provide documentation for fraud or insurance liability claims. 24/7 Security Monitoring A commercial security system at your winery is no good if no one is watching it. While the components listed above help wine makers and vineyard owners keep their finger on the pulse of their wine-making business even when theyâ&#x20AC;&#x2122;re on the go, 24/7 monitoring gives business owners more freedom to relax, even when theyâ&#x20AC;&#x2122;re not keeping an eye on things. What does it mean for wineries? Authorities (and owners) are alerted immediately in the event of an incident, leading to quicker response times. Business owners and property managers get real-time security updates whenever they need them.

Someone is always on guard, allowing wine makers to focus on what matters most. Many insurance companies require monitoring, which can also help lower insurance premiums. What Spaces Need to Be Secure and Why? Wine making is a complex business, and vineyards feature many different areas that serve different functions and have different security needs. A tasting room is a public space that may also do retail wine sales business, while the tanks where wine is fermented are a different thing entirely, and are different still from loading docks, equipment storage buildings, or the vineyards themselves. Many wineries also feature event spaces and may even include personal dwellings. Thatâ&#x20AC;&#x2122;s a lot of different buildings and areas to cover, and a lot of different security needs and challenges to meet.

4166.675 7 358 1333.336 200 7 Storage Group S-1 occupancies are buildings occupied for storage uses that are not classified as Group S-2 833.335 300 3 Occupancy includes assembly uses intended for worship, recreation or amusement and other assembly uses not classified elsewhere in Group A 2500.005 30 50 Mercantile Group M occupancy includes, among others, the use of a building or structure or a portion thereof for the display and sale of merchandise, and involves 1000.002 stocks of goods, wares or merchandise incidental to such purposes and accessible to the public 60 17 Buildings and structures of an accessory character and miscellaneous structures not classified in any specific occupancy shall be constructed, equipped and maintained 3333.34 to conform to the requirements of this code commensurate with the fire and life hazard incidental 300 to their occupancy 12 Buildings and structures of an accessory character and miscellaneous structures not classified in any specific occupancy shall be constructed, equipped and maintained 8333.35 to conform to the requirements of this code commensurate with the fire and life hazard incidental 300 to their occupancy 28 Storage Group S-2 occupancies include, among others, buildings used for the storage of noncombustible materials such as products on wood pallets or in paper cartons 5833.345 with or without single thickness divisions; or in paper wrappings. Such products are permitted 300 to have a negligible amount of plastic 20 trim, such as knobs, handles or film wrapping Storage Group S-2 occupancies include, among others, buildings used for the storage of noncombustible materials such as products on wood pallets or in paper cartons 3333.34 with or without single thickness divisions; or in paper wrappings. Such products are permitted 300 to have a negligible amount of plastic 12 trim, such as knobs, handles or film wrapping Occupancy includes assembly uses intended for worship, recreation or amusement and other assembly uses not classified elsewhere in Group A Occupancy includes assembly uses intended for food and/or drink consumption

TOTAL OCCUPANCY 764

MASSING STUDIES: Program

Each winery will find that they have different risk tolerances, different layouts, different workflows, and therefore different needs. A commercial security system should be scalable and customizable to fit the situation of each individual vineyard, and a commercial security company in Kansas City should work with each wine maker to find the solution that’s right for them. Maintaining Security and the Winery AestheticWineries face a unique security challenge—protecting a wide variety of different areas, monitoring the status of crops, keeping guests safe, and maintaining access control—all while also keeping up the aesthetic that visitors and tourists expect. At the end of the day, wine makers are artisans, and they are aware of the importance of good taste. Whatever aesthetic a winery is going for, it’s a part of what you’re selling with each bottle, which is why you don’t want it ruined with bulky security cameras dangling from every beam. A professional security team like A-TEC Security can put together a commercial security system in Kansas City that protects your crops, your people, your inventory, your premises, and your intellectual property, all while maintaining the winery aesthetic that you’ve worked so hard to cultivate.

To learn more, contact A-TEC Security today.

MASSING STUDIES: Option 1

For my first approach, I once again looked at Peter Zumthors Kolumba Museum. As part of his design, the main museum structure is set above the existing ruins, sitting on top of slim columns, seemingly floating. For this massing, I wanted to convey the idea of a seamless integration of the existing ruins with the new massing. By considering the buildings footprint and adjacency to the ruin, this strategy occupies the complete volume of the chapel and partial volumes of the courtyard and the back-courtyard spaces.

The private and public programs of the winery are divided throughout the three volumes, allowing for glimpses into production while in the private room for examples. The chapel and the back courtyard volume are connected by public viewing room. This scheme is overall, not fully resolved however some of the program adjacencies are interesting. All volumes are connected to the ground, unlike the initial strategy, however this massing mimics the Zumthors approach by being only slightly visible from the street.

MASSING STUDIES: Option 1

PRODUCTION

VISITOR AREA

WORKERS AREA

MASSING STUDIES: Option 2

For the second approach I started by analyzing David Chipperfieldâ&#x20AC;&#x2122;s Neues Museum in Berlin. The reimagining of the missing interiors of the volume that he recreated, mimic what was lost but are recreated with new minimalistic materials. This approach allows the existing condition to breathe, while providing a full picture of what was lost and the intended space. Similar to the first scheme, program adjacencies are not fully divided by public and private but are mixed to allow for interaction. There is a large viewing room which occupies the top level of all volumes as well as connects to the private room which is located on the top floor in this scheme.

MASSING STUDIES: Option 2

PRODUCTION

VISITOR AREA

WORKERS AREA

MASSING STUDIES: Option 3

The third scheme is inspired by Nieto and Sobejanos Moritzburg Museum addition in Germany. The strategy of Nieto and Sobejano was to create an addition which occupies volumes of the ruins by floating above them.

This allowed for floor space to be freed up and create more space for exhibitions. In turn, this massing strategy occupies the full volumes of the chapel as well as the courtyard space to dominate the space available. By doing this, the new program and the existing ruins are in direct competition. This contrast is what allows the ruins to be realized as what they are, while giving the new volume a purpose. A new perspective is the objective, the creation of a large viewing platform allows for views into the ruins and the city of Antigua, becoming a new destination for the city.

MASSING STUDIES: Option 3

PRODUCTION

VISITOR AREA

WORKERS AREA

6

Passive Strategies

test

PASSIVE STRADEGIES Analysis

La Antigua is a typical Central American weather, it has a dry and rainy season. The dry season (verano) usually lasts from November until May, while the rainy season (invierno) typically runs from May through November.

During the rainy season there are daily showers, which tend to fall in the afternoon. The latter months of the rainy season are usually the wettest.But the rain fall is largely dependent on how close to the coast you are and what side of a mountain chain you are on.

Due to the large mountain range located in the heart of the country, the rain water runoff during the wet months can result in heavy flooding and often land slides. The graph on the right shows that the flat plataeu that the city of Antigue sits on, has a very high threat level when it comes to flooding. Also the surrounding mountain range to the north, west and east of the city has high threat levels of landslide occurance. This is a regional aspect that should be taken into consideration during design within the city.

Photos on the right include some natural disasters that occured within countries in Central America. Landslides and flooding are common occurances in these regions are large threats to the living conditions there. The landslide photo is a city in El Salvador, a neighboring country of Guatemala.

The landslide have buried homes and properties in several feet of mud and dirt. Making them inhabitableTopographic map of Guatemala includes various major geographic features like Volcanoes, Mountain ranges, rainforests, plains, lakes and rivers. Antigua is in the middle of the mountain ranges close to the volcano range on the southern portion of the country. Plains are towards the west close to the Pacific Ocean. And Rainforest north towards Belize.

Guatemala shares its borders with four other countries in Central America. The countries are Mexico, Belize, El Salvador, and Honduras. Coastal wise, Guatemala has the Gulf of Honduras to the east and the Pacific Ocean to the west.

The country of Guatemala is part of the active plate formation known as the â&#x20AC;&#x153;Ring of Fireâ&#x20AC;?. The volcanic range that extends from Mexico to El Salvador is active and has frequently caused devastating earth quakes and volcanic erruption though out the years.

There are three major Volcanoes around Antigua. There are Volcan de Fuego, Volcan DeAcatenango, and Volcan deAgua.

December- June Model

June-December Model

There are also mountain ranges surrounding the city of Antigua. Within the valleys are where neighboring cities have grown, including San Miguel Duenas, San Pedro Las Huertas, Santa Maria de Jesus, Amatitlan and Villa Nueva. The world’s climate can be classified in five major categories, this system is called the Koppen climate classification. The categories are Tropical, Dry, Temperate, Continental, Polar. Tropical climates located mostly in the middle of the globe. Known for being warm all year round, and heavy precipitation resulting in the usual rainforest.

This is the conditions of the country Guatemala. Dry climates are usually hot and sunny, with little precipitation.

Temperate climates and Continental climates experience all four seasons, but continental temperatures have more extreme averages than the temperate climates. Polar climates are found at the north and south poles of the globe. This climate is always cold and snow all year round.

Central America is considered a tropical climate. There is a lot of rain and is warm all year round. Guatemala is a country within Central America and is home to a large amount of rainforest. There they experience dry winters and warm summers. The average temperature within Antigua is between 60-70˚F yearly. The hottest months are March, April, and May. During the summer time, the temperatures stay mostly the same with the temperatures not dropping past 55˚F, and not over 79˚F during the months of June, July, August, September, October and November. The months with the most dramatic changes are the months of April and January. The highest temperature recorded is around 84˚F and the coldest is 47˚F. The elevation of the volcanoes are the following: Volcan de Fuego-3,700m (12,300ft) Volcan De Acatenango-3,900m (13,000ft) Volcan de Agua- 3,500m (11,500ft).

There are excursions and trips in which many tourguides lead tourist on a hike that covers all three volcanoes around the area. La Antigua’s elevation is 1,533m (5,000ft) above sea level, which is similiar to the city of La Aurora which is 1,509m (4,950ft). The city of Aurora where the airport is located has a similar elevation to Antigua thus very similar climate conditions. The two sites within the city of Antigua, and the surrounding mountain shows a high range of elevation changes from within the city to a few miles away.

PASSIVE STRADEGIES Strategies Dec- June Strategy: -Shade -Passive Solar Gain -Plant Material -Shaded outdoor â&#x20AC;&#x153;Buffer Zonesâ&#x20AC;? oriented towards prevailing winds -Double Pane High Performance windows on W/N/E side ONLY -Well shaded Courtyards -Thermal Mass -Slab on grade (Night cooling storage) -open plan interior to promote cross ventilation

December- June Model

PASSIVE STRADEGIES Strategies

Jun- December Strategy: -Movable walls to allow breeze -low roofs with wide overhangs -Screened porches / shaded Courtyards -No west glazing -use plant materials on west to minimize heat gain -use light colored materials and cool roofs to minimize conducted heat gain -cross ventilation -low E windows +insulated frames -Ceiling Fans on Hot days -High mass interior surface (tile, slate, stone, Brick, adobe) to reduce day nigh temp swings -open plan interior -Heat gain from lights and equipment reduce + keep homes well insulated -enclosed well shaded courtyards + small fountains -Max vertical height to produce stack ventilation

June- December Model

PASSIVE STRADEGIES Option 1

Low pitched roofs with wide overhangs

High Mass walls use Exterior Insulation

Natural Ventilation

PASSIVE STRADEGIES Option 2

Low pitched roofs with wide overhangs

High Mass walls use Exterior Insulation

Natural Ventilation

PASSIVE STRADEGIES Option 3

Operable walls and shaded outdoor spaces

Low pitched roofs with wide overhangs

Natural Ventilation

High Mass walls use Exterior Insulation

ASSIGNMENT 7: PRELIMINARY DWGS OF FINAL SCHEME CONCEPT

ASSIGNMENT 7: PRELIMINARY DWGS OF FINAL SCHEME

4TA. AVENIDA NORTE

PRIVATE RESIDENCE

SCHOOL OF ARCHITECTURE Bristol, Rhode Island

SANTA TERESA WINERY

1RA. CALLE ORIENTE

ROGER WILLIAMS UNIVERSITY

N Designed by: Alyssa Hess Drawn by: Alyssa Hess Checked by: Roberto Viola Ochoa ARCH 513_02_FA19_A7_HESSA DATE: 11- 05 -19

STAMP:

REVISIONS:

ROGER WILLIAMS UNIVERSITY SCHOOL OF ARCHITECTURE Bristol, Rhode Island

SANTA TERESA WINERY

1

2

32'

A

A

PRIVATE RESIDENCE

DTL 1

18'

18'

A3-01 LOBBY 101

B

18'

18'

B

C

C

32' 1

2

1

2

19'

3

20'

4

20'

6

5

20'

20'

7

20'

8

20'

9

19'

A

16'

16'

A

B

B STORE ROOM 103

20'

LOBBY

20'

101

F

36'

A

1

2

N

D

9' B

36'

36'

102

G

11'

11'

A

B

LOADING/ RECIEVING AREA

19'

3

Designed by: Alyssa Hess

15'

36'

2

19'

1

C

H

Drawn by: Alyssa Hess Checked by: Roberto Viola Ochoa ARCH 513_02_FA19_A7_HESSA DATE: 11- 05 -19

E

3

20'

19'

1

2

20'

3

20'

4

20'

20'

5

6

19'

7

STAMP:

19'

8

9 REVISIONS:

ROGER WILLIAMS UNIVERSITY SCHOOL OF ARCHITECTURE Bristol, Rhode Island

SANTA TERESA WINERY

PRIVATE RESIDENCE

N Designed by: Alyssa Hess Drawn by: Alyssa Hess Checked by: Roberto Viola Ochoa ARCH 513_02_FA19_A7_HESSA DATE: 11- 05 -19

STAMP:

REVISIONS:

A1-07 ARCH.513 Integrated Studio SCALE: 1/8"=1'

PLN 07

ROOF PLAN 3/32=1'

ROGER WILLIAMS UNIVERSITY SCHOOL OF ARCHITECTURE Bristol, Rhode Island

SANTA TERESA WINERY

ELV 01

WEST ELEVATION 1/8" = 1'

N Designed by: Alyssa Hess Drawn by: Alyssa Hess Checked by: Roberto Viola Ochoa ARCH 513_02_FA19_A7_HESSA DATE: 11- 05 -19

STAMP:

REVISIONS:

ARCH.513 Integrated Studio

A2-01

ROGER WILLIAMS UNIVERSITY SCHOOL OF ARCHITECTURE Bristol, Rhode Island

SANTA TERESA WINERY

SEC 01

SECTION N - S 1/8=1'

N Designed by: Alyssa Hess Drawn by: Alyssa Hess Checked by: Roberto Viola Ochoa ARCH 513_02_FA19_A7_HESSA DATE: 11- 05 -19

STAMP:

REVISIONS:

ARCH.513 Integrated Studio

A2-03

STRUCTURE Option 1 TEXT

ROGER WILLIAMS UNIV

SCHOOL OF ARCHITEC

Bristol, Rhode Islan

1

2

32'

SANTA TERESA WINERY

A

18'

18'

A

B

18'

18'

B

C

C

32' 1

2

1

2

19'

3

20'

4

20'

6

5

20'

20'

7

20'

8

20'

9

19'

A

16'

16'

A

B

20'

20'

B

F

36'

C

3

36'

19'

2

19'

1

A D

G B

B

36'

36'

15'

9'

11'

11'

A

H

N E

Designed by: Aly

Drawn by: Aly

Checked by: Rober

1

2

19'

3

20'

20'

20'

20'

20'

19'

19'

ARCH 513_02_FA

DATE: 11- 0

STAMP:

1

2

3

4

5

6

7

8

9

REVISIONS:

ARCH.51

STR 01

STRUCTURALGROUND FLOOR PLAN 3/32=1'

Integrated

S0-0

STRUCTURE Option 2 TEXT

ROGER WILLIAMS UNIVERSITY SCHOOL OF ARCHITECTURE Bristol, Rhode Island

1

2

32'

SANTA TERESA WINERY

A

18'

18'

A

B

18'

18'

B

C

C

32' 1

2

1

2

19'

3

20'

4

20'

6

5

20'

20'

7

20'

8

20'

9

19'

A

16'

16'

A

B

20'

20'

B

F

36'

C

3

36'

19'

2

19'

1

A D

G B

B

36'

36'

15'

9'

11'

11'

A

H

N E

Designed by: Alyssa Hes

Drawn by: Alyssa Hes Checked by: Roberto Viola

1

2

19'

3

20'

20'

20'

20'

20'

19'

19'

ARCH 513_02_FA19_A7_ DATE: 11- 05 -19

STAMP:

1

2

3

4

5

6

7

8

9

REVISIONS:

ARCH.513

STR 01

STRUCTURALGROUND FLOOR PLAN 3/32=1'

Integrated Stud

S0-03

STRUCTURAL AXONOMETRIC 3/32"=1'

TEXT

Bristol, Rhode Island

SCHOOL OF ARCHITECTURE

ROGER WILLIAMS UNIVERSITY

SANTA TERESA WINERY

Axonometric

DATE: 11- 05 -19

Drawing # 5 of 25

s0-07

Integrated Studio SCALE: 1/8"=1'

ARCH.513

REVISIONS:

STAMP:

ARCH 513_02_FA19_A7_HESSA

Checked by: Roberto Viola Ochoa

Drawn by: Alyssa Hess

Designed by: Alyssa Hess

N STR 01

STRUCTURE

ROGER WILLIAMS UNIVERSITY SCHOOL OF ARCHITECTURE Bristol, Rhode Island

1

ROGER WILLIAMS UNIVERSITY SCHOOL OF ARCHITECTURE

2

Bristol, Rhode Island

2

32'

18' C

32' 2

4

20'

6

5

20'

20'

7

20'

8

20'

9

18'

18'

2

1

2

3

19'

19' A

A

B

B

F

20'

7

20'

8

20'

9

19'

20' C

F

C

19'

19'

20'

B

20'

20'

B

6

5

20'

A

16'

16'

A

4

20'

16'

3

20'

1

20'

2

19'

C

32'

16'

1

C

19'

1

B

19'

C

B

D

G

D

9'

G

N

15'

H

H

Designed by: Alyssa Hess Drawn by: Alyssa Hess

E

20'

19'

20'

20'

19'

20'

20'

Checked by: Roberto Viola Ochoa

Designed by: Alyssa Hess ARCH 513_02_FA19_A7_HESSA

19'

3

2

5

4

6

8

7

Drawn by: Alyssa Hess

E

DATE: 11- 05 -19

20'

19'

STAMP:

1

N

15'

18'

B

A

9'

B

A

18'

18'

18'

A

18'

A

SANTA TERESA WINERY

32'

SANTA TERESA WINERY

1

20'

20'

19'

20'

20'

Checked by: Roberto Viola Ochoa ARCH 513_02_FA19_A7_HESSA

19'

DATE: 11- 05 -19

STAMP:

9

3

2

1

REVISIONS:

5

4

6

8

7

9 REVISIONS:

ARCH.513

STR 01

Integrated Studio

STRUCTURAL BASEMENT PLAN 3/32=1'

ARCH.513

S0-02

STR 01

Integrated Studio

STRUCTURAL BASEMENT PLAN 3/32=1'

S0-02

ROGER WILLIAMS UNIVERSITY SCHOOL OF ARCHITECTURE

ROGER WILLIAMS UNIVERSITY

Bristol, Rhode Island

1

SCHOOL OF ARCHITECTURE

2

Bristol, Rhode Island

1

2

32'

18'

18'

B

C

C

32' 1

2

1

2

19'

3

20'

4

20'

6

5

20'

20'

7

20'

8

20'

9

19'

18'

18'

A

B

B

18'

B

A

18'

18'

18'

A

C

C

32' 1

2

1

2

19' A

SANTA TERESA WINERY

SANTA TERESA WINERY

A

32'

3

20'

4

20'

6

5

20'

20'

7

20'

8

20'

9

19'

A

A

B

16'

16'

16'

16'

A

B

B

F

C

3

F 2

36'

A

36'

36'

N E

B

B

36'

Designed by: Alyssa Hess Drawn by: Alyssa Hess Checked by: Roberto Viola Ochoa

1

2

19'

3

20'

20'

20'

20'

20'

19'

19'

2

3

4

5

6

7

8

36'

H

N E

ARCH 513_02_FA19_A7_HESSA DATE: 11- 05 -19

1

STAMP:

1

D

G

9'

H

11'

11'

15'

9' B

A

A

D

G

11'

11'

A

B

C

3

36'

19'

19'

19'

1

36'

15'

2

36'

19'

1

20'

20'

20'

20'

B

2

19'

3

20'

20'

20'

19'

20'

20'

19'

Designed by: Alyssa Hess Drawn by: Alyssa Hess Checked by: Roberto Viola Ochoa ARCH 513_02_FA19_A7_HESSA DATE: 11- 05 -19

9

STAMP:

1

2

3

4

5

6

7

8

9

REVISIONS:

REVISIONS:

ARCH.513

STR 01

STRUCTURALGROUND FLOOR PLAN 3/32=1'

Integrated Studio

S0-03

ARCH.513

STR 01

STRUCTURAL SECOND FLOOR PLAN 3/32=1'

Integrated Studio

S0-04

ASSIGNMENT 9: ENVELOPE CONCEPT-1

ROGER WILLIAMS UNIVERSITY SCHOOL OF ARCHITECTURE Bristol, Rhode Island

ROOF DECK 48'-0"

FLOOR 3 32'-0"

SANTA TERESA WINERY

TO PARAPET 51-9"

FLOOR 2 16'-0"

N Designed by: Alyssa Hess Drawn by: Alyssa Hess Checked by: Roberto Viola Ochoa ARCH 513_02_FA19_A7_HESSA DATE: 11- 05 -19

STAMP:

FLOOR 1 000'-0" ELEV WALL ASSEMBLY ELEVATION 01 1/8"=1'

REVISIONS:

ARCH.513 Integrated Studio SCALE: 1/8"=1'

A3-01 Drawing # 5 of 25

ASSIGNMENT 9: ENVELOPE CONCEPT-1

ROGER WILLIAMS UNIVERSITY SCHOOL OF ARCHITECTURE Bristol, Rhode Island

Drawn by: Alyssa Hess

ARCH 513_02_FA19_A7_HESSA DATE: 11- 05 -19

WALL ASSEMBLY 1/8"=1'

STAMP:

SEC 01

FLOOR 1 000'-0"

FLOOR 2 16'-0"

FLOOR 3 32'-0"

ROOF DECK 48'-0"

BASEMENT -16'-0"

N

TO PARAPET 51-9"

SANTA TERESA WINERY Designed by: Alyssa Hess

Checked by: Roberto Viola Ochoa

REVISIONS:

ARCH.513 Integrated Studio SCALE: 1/8"=1'

A3-01 Drawing # 5 of 25

ACTIVE STRADEGIES: Analysis