P P O O R R T T F F O O L L II O O
Architecture-Heritage-Photography
ANGELA OMAYRA ANCHANTE BAUTISTA
"BEFORE EVEN KNOWING THE WORD ARCHITECTURE, ALL OF US HAVE ALREADY LIVED IT. THE ROOTS OF OUR UNDERSTANDING OF ARCHITECTURE BELONG TO OUR FIRST ARCHITECTURAL EXPERIENCES: OUR ROOM, OUR HOUSE, OUR STREET, OUR VILLAGE, OUR CITY, AND OUR LANDSCAPE. ARE THINGS THAT WE HAVE EXPERIENCED BEFORE AND THAT WE LATER COMPARE WITH LANDSCAPES, CITIES AND THE HOUSES THAT WERE ADDED TO OUR EXPERIENCE. THE ROOTS OF OUR UNDERSTANDING OF ARCHITECTURE ARE IN OUR CHILDHOOD, IN OUR YOUTH: THEY RESIDE IN OUR BIOGRAPHY"
(ZUMTHOR, 2009, P. 55)*
ZUMTHOR, P. 2009. Pensar la arquitectura. Barcelona, Gustavo Gili, 97 p.*
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Angela Omayra Anchante Bautista
ARCHITECT GRADUATED FROM THE FACULTY OF ARCHITECTURE OF UNIVERSIDAD PERUANA DE CIENCIAS APLICADAS (UPC), LIMA, PERU. WITH EXPERIENCE IN COORDINATING WORKSHOPS RELATED TO ARCHITECTURE AND HERITAGE, IN PROJECTS AND RESTORATION WORKS IN THE HISTORIC CENTRE OF LIMA AND MONUMENTAL AREAS, IN THE PUBLIC AND PRIVATE SECTOR (PROLIMA). PARTICIPATION IN PUBLICATIONS AND PRESENTATIONS RELATED TO BUILT HERITAGE. TRAINING IN CULTURAL MANAGEMENT AND PUBLIC MANAGEMENT, IN ADDITION TO MULTIPLE SPECIALIZATION COURSES IN HERITAGE CONSERVATION. CURRENTLY, I AM A DISTANCE LEARNING ASSISTANT AT THE PERUVIAN UNIVERSITY OF APPLIED SCIENCES (UPC), WHERE I TEACH IN THE INTRODUCTION TO ART AND ARCHITECTURE COURSE.
1. Photo in front of the main pyramid at Huaca Centinela, in Chincha, Ica, Peru. 2. Processes within the architectural design. 3. Graduation Day, August 2018. 4. Entablature restoration work within the Hospicio Manrique restoration project in Lima, Peru. 5. Guided visit to the archaeological sites in Chincha, Ica. To the students of Workshop 8 of the Faculty of Architecture, in 2018. 6.Participation in the university CADE of 2017, where I represented Universidad Peruana de Ciencias Aplicadas (UPC).
C H I N C H A ´ S
C U L T U R E
M U S E U M
T H E S I S
P R O J E C T
THE CHINCHA CULTURE MUSEUM IN CHINCHA BAJA, IT’S A PROJECT WHICH CONTRIBUTES WITH ITS SPACES FOR THE EDUCATION, PROTECTION AND DISSEMINATION OF CHINCHA´S HERITAGE THAT IS CURRENTLY IN DANGER OF DISAPPEARING. IT'S MAIN AXIS IS THE INTEGRATION INTO THE ENVIRONMENT, OF THE VOLUMES WITH THE ARCHAEOLOGICAL AND NATURAL COMPLEX, USING MODERN CONSTRUCTION SYSTEMS, SUCH AS SIREWALL (STABILIZED RAMMED EARTH) AND REINTERPRETING PRE-HISPANIC SPACES.
The ancient Chinchas were a society sustained by agriculture and fishing, but with a singular emphasis on commercial and artisanal activity (mainly associated with the production of silver objects). They occupied the valley of the same name, in the current department of Ica, south of the Capital of Peru. They had a large operational network, with penetration roads to the mountains, up to the Titicaca plateau (El Collao), and long-distance navigation routes, up to Puerto Viejo (Manabí), in Ecuador. (See image 1) These conditions would have made the lords of Chincha very important figures for the political project of Tahuantinsuyo, given their installed capacity for contacts and exchange relations, making them a privileged condition in the imperial power structure. From Cuzco to Quito, it received the name of Chinchaysuyu.
Maritime route of the Chinchas along the coasts of Peru and Ecuador. The Chincha´s was known as the "Phoenicians" of the Inca period.
The importance of the Museum of Chincha today transcends the simple fact of enjoying a culture, whose heritage is vast. It's importance lies in being a platform for the defence, protection and valuation of heritage so, together with a population aware of its heritage, they avoid more monumental losses and reaffirm their identity.
Interior view of permanent showroom
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The Centinela complex, which is located next to the museum, is a 60-hectare spatial unit. It was the main seat of the Inca administration. It has a dense urban fabric, where you can see the compact arrangements of a series of monumental complexes, delimited by walls, squares, platforms, stepped truncated pyramids, 14 buildings.
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The first integration strategy is to project the main and secondary streets of La Huaca onto the land. The volumes respond to the duality that is also observed in the "Huaca" zoning.
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The square or "Catus" are the main spatial articulating element of the architectural configuration. It provided an architectural setting for public functions that framed large-scale reciprocal administration. These are present within the project as a continuity of the archaeological complex
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The project is close to the archaeological zone, so it is necessary to protect the monument, through a buffer space (30 meters suggested by specialists) where a dry garden and squares of surface materials are proposed.
L O V
Exploited isometry with functional packages
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Blocks A. Accommodation for researchers, library, restaurant.
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B. Research centre. C. Permanent exhibition room.
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Visitors
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Visitors
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Museum staff and archaeological objects
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Museum staff
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Visitors
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RESEARCH CENTRE: IN THE SECTION: THE MUSEUM DEPOSITS, THE LABORATORIES, AND THE CENTRAL SPACE "THE LEARNING LADDER".
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PLAN AND SECTION OF MUSEUM: THE MUSEUM TOUR IS DIVIDED INTO THREE PARTS, ALWAYS REFERRING TO THE PAST, PRESENT AND FUTURE, AS WELL AS THE VOLUMES OF THE EXHIBITION SPACES. THE THREE VOLUMES ARE STAGGERED, SO AS NOT TO BREAK WITH THE ARCHAEOLOGICAL PROFILE. THE THREE VOLUMES ARE CONNECTED THROUGH A TRANSVERSAL AXIS, WHICH SYMBOLICALLY REPRESENTS THE UNITY OF THE THREE TIMES IN WHICH THE STORY IS TOLD.
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1. Ticket office 2. Reception ROOM 1 ("Chinchanos") 3. Landscape and territory / Chinchanos today and their origin. 4. Activity Space
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ROOM 2 ("Born, live and transcend") 5. Economy 6. Society 7. Activity space ROOM 3 ("This is my friend the Lord of Chincha") 8. Chincha architecture / The emergence of Chinchaysuyu / I defender of heritage.
1. Exterior view of the museum
2. Main entrance
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"MIMETISM: IN ARCHITECTURE, IT IS USED TO MAKE A POTENTIALLY DISTURBING REALITY DISAPPEAR BECAUSE IT IS UNPLEASANT OR VISUALLY DISTORTED."
J.Serra, 2010*
E D N E 3.View from the archaeological complex
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*Serra, J. (2010). La arquitectura contemporánea y el color del paisaje: entre el mimetismo y la singularidad. Ega: expresión gráfica arquitectónica, pag. 106-115
4. Temporary showroom
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5. Work area
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VIRTUAL TOUR
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(2017)
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H E R I T A G E
P R O Y E C T S
IN THE COURSE OF HERITAGE RESTORATION AND CONSERVATION, FOR THE FIRST TIME, I HAD CONTACT WITH HERITAGE. THE COMMISSION WAS TO RECOGNIZE SOME OF THE PATHOLOGIES THAT THEY PRESENTED ABROAD AND TO RECOGNIZE THE CONSTRUCTION SYSTEMS. AS A UNIVERSITY EXERCISE I MADE PLANS, ELEVATIONS, CUTS AND DETAILS OF SOME ORNAMENTS. THE HERITAGE PROPERTIES WERE: THE AQUEDUCT OF SAN JUAN DE VILLA (RECOGNITION OF ITS STRUCTURES), IS CLOSE TO THE UNIVERSITY CAMPUS IN CHORRILLOS. AND THE OSAMBELA MANSION, ONE OF THE MOST EMBLEMATIC MANSIONS IN THE CITY OF LIMA.
WHERE IT´S LOCATED ?
The house is in the old street of Veracruz (second block from Jiron Lima, today Count of Superunda) highlights the mansion that belonged to Don Martín de Osambela on the land that belonged to the novitiate of the Santo Domingo convent. It is a house built in the final stage of the viceroyalty and it's construction was completed in 1808.
ELEVATION
It is a symmetrical facade, in the center it has a portal that combines different materials (Stone, Wood and quartz). Its construction system mixes the technique of adobes courses, and in the upper levels it is structured with "Quincha" panels.
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DETAIL Moulding and cornice
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1.Wooden balustrade bottom sleeper 2. Wooden top 3. 2 "x 5" joist 4. Wooden frieze 5. Adobe blocks 6. Beam necklace
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It is made up of a main central patio and a second patio, which, due to the layout of the land, was located to the right of the first patio. The house is entered through a Zahuan, which leads directly to the first patio. The rooms are arranged around the first patio. The rooms that are closer to the street, at some point were used as "Shops" so they had gates, now these have windows with box bars.
1. Zaguán 2. Patio 3. Principal Room 4. Cuadra 5. Corridor 6. Backyard
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FIRST FLOOR
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7.Auditorium 8.Room
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SECOND FLOOR
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(2020)
H E R I T A G E P H O T O G R A P H Y THE HISTORIC CENTRE OF LIMA WAS DECLARED A WORLD HERITAGE SITE BY UNESCO IN 1991. THESE CRACKS APPEARING IN THE HISTORICAL CENTRE, REPRESENT THE INDOLENCE OF ITS RULERS AND THE CITIZENS THEMSELVES FOR NOT PROTECTING THEIR HERITAGE. THIS COLLECTION OF INJURIES ON THE FACADES SHOWS US THE SKELETON OF THE BUILDINGS OF ONE OF THE MOST IMPORTANT CAPITALS IN LATIN AMERICA. NOT ONLY ARE CRACKS ON THE WALLS, BUT ALSO IN THE POLITICAL AND SOCIAL SENTIMENTS OF ALL PERUVIANS, IT IS NECESSARY TO SEE IF THEY ARE ONLY SUPERFICIAL OR ARE STRUCTURAL. THESE PHOTOGRAPHS WERE TAKEN DURING THE STATE OF EMERGENCY BY COVID 19 IN 2020.
PHOTO 01. BRICKS YELLOW HERITAGE
PHOTO 02. “QUINCHA EXPUESTA”
PHOTO 03. “LA MERCED”
PHOTO 04. “IT'S JUST PAINT””
PHOTO 05. “OSAMBELA”
P U B L I C A T I O N S
During the last years I have participated in various publications: On topics such as built heritage, museums and architecture.
BOOK (CO-AUTHOR): IMAGES
FROM
THE
SAME
WORLD.
Heritage
education in Latin America (2021)
ARTICLE (BULLETIN OF THE POSTAL AND PHILATELIC MUSEUM OF PERU - N ° 9 BICENTENNIAL EDITION): ARCHITECTURAL INSIGHTS (2021)
Publisher: D.R. H. Puebla City Council
Publisher: Postal and Philatelic Museum of Peru /Ministerio de Cultura del Perú
REVIEW (DE VERNIR - JOURNAL OF STUDIES ON BUILT HERITAGE)
REVIEW (DE VERNIR - JOURNAL OF STUDIES ON BUILT HERITAGE)
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MOQUEGUA.
ARCHITECTURAL
AND
URBAN NATIONAL SUPERIOR AUTONOMOUS SCHOOL OF
HERITAGE.
URBAN
AND
ARCHITECTURAL FINE
APPROACHES
AS
A
CONTRIBUTION
TO
THE RECOVERY
AND
CONSERVATION
OF
ARTS
OF
PERU.
CULTURAL
HERITAGE
OF
THE NATIONAL
AUTONOMOUS
SCHOOL
OF
FINE
THE ARTS OF PERU.(2021)
BUILDING
CHARACTER
OF
THE
CITY
OF
MOQUEGUA (2019)
Vol. 8 Núm. 15
Vol. 6 Núm. 11
Publisher: Faculty of Architecture, Urbanism and Arts of the National University of Engineering, Peru.
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Publisher: Faculty of Architecture, Urbanism and Arts of the National University of Engineering, Peru.