River of Time by Chris Norcross

River of Time

Chris Norcross

Fall 2019 Arch 513.01 Traces Roberto Viola Ochoa Integrative Design Studio

â&#x20AC;&#x153;Mankind, in his haste for development, has consistently destroyed most vestiges of his past. Antigua was saved from such a fate from one of the ultimate natural forces: the 1773 earthquakes severed the relationship between man and an already great city.â&#x20AC;?

~Elizabeth Bell

In some cases, ruins are viewed as something to be removed or demolished. Though this book, rather than discarding history, explores a way to grow and expand the past through the present and the future. From culture to design this information will analyze urban and architectural designs through two the chosen sites. The main goal is to take

what already exists and improve and preserve cultural intentions.

01.

The city of La Antigua, Guatemala, has a rich history and has the potential to have a strong future. Located in the mountainous regions of Guatemala, the city and its people face numerous dangers from being surrounded by volcanos, having a humid/hot climate, chances of seismic activity, and more, it is a miracle that parts of the city have survived to present day. Due to these reasons, some of the people are beginning to leave the city to seek new places to live. With the right interThrough proposals and reimagining the existing sites, there is potential to preserve and enhance the cultures of the city.

Urban: La Antigua

In Guatemala, the city of La Antigua has a unique urban layout, from being surrounded by volcanoes, tropical forests, densely populated areas, to open spaces the city has formed throughout history. Religion has played a major role in shaping the urban organization that we see today. The city layout was created in a grid pattern beginning with the center of the city. The 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. Thus, Antigua became the first planned city in the Americas. Time has changed the way that the city is seen as far as the religion and the built environment. With the many earthquakes and the civil war; the religion began as Roman Catholic and turned into protestant. In the images to the right you can see the festivities of holy week. The earthquakes tour through the city leaving many buildings in shambles.

02.

Geography

The highlands, located in the southern most part of Guatemala, are formed by the decline of the Sierra Madre mountains; La Antigua is situated in the end of this mountain range. The climate ranges drastically throughout the country; the highlands, formed by the Sierra Madre, experience a cool, rainy, overcast climate, while the rest of the country has a warm, sunny, and tropical climate. La Antigua is located between three volcanoes within the Sierra Madre mountain range in Guatemala. In the past, heavy rainfall and seismic activity have disturbed the mountains, causing many landslides; landslides remain to be a constant threat to the city, given the difficulty forecasting them. The three volcanoes around La Antigua are in various states of activity, Volcán de Agua is extinct, Acatenago is dormant, and Volcán de Fuego is active. Guatemala is part of the Ring of Fire that encircles the Pacific Ocean. As a result, the region experiences lots of seismic and volcanic activity. During the city’s early years in 1541, much of the city was destroyed by a mudslide of ash and volcanic debris which came from Volcán de Agua. After the mudslides took over much of the land, destroying the city and forcing them to start all over, the planners consulted with the council and the city was relocated. The city then became organized in a grid system starting with the center of the city, the Plaza Mayor. From there, the city was bounded with one hundred meters out from each side. As the years went on, the catholic church granted several plots of land to different religious orders in the city. The plazas were also given out to the most important families in La Antigua when creating this city. The volcanic activity of the region has made the soil around La Antigua very fertile. Landslides and volcanic ash has made the soil ideal for growing coffee beans, which is important for the region, which otherwise has little natural resources.

Religious Institutions

The people of La Antigua, Guatemala are very devote to their religion. The religion of Guatemala is mostly Roman Catholicism but in recent years has moved more towards Protestant. As the 19th century insued a group of liberal reformers took materials from the church to create a more libral religion called Protestantism. Throughout the city there is a large religious presence in fact there are 14 churches in this small city. The city council, known as the ayuntamiento were in charge of approving all building projects in the city. The Ayuntamiento was constantly against the construction of new religious institutions once the city had grown to the extents of the original plan. Mainly this hesitation toward new religious construction was because it would likely lead to the impoverishment of the local population. Additionally, to make matter more complicated all building projects required permission from the king of Spain resulting in long delays for the construction of buildings. This included the construction of projects that were not expressly permitted by the city council. After the 1975 earthquake chistianity made its mark in la Antigua. Some of the churches have turned into ruins as a direct consiquence of the earthquakes that have happened in this area. after both the earthquakes and the civil war that insude the only thing that the people of La Antigua turned to religion for comfort. Some of the other religious groups include Mormon, Jehovahâ&#x20AC;&#x2122;s Witness, Traditional Maya Religion, Judaism, Islam, and Buddhism. In La Antigua, Holy Week is a large part of their community history. The images on the right side of the page depicts some of the events that go on during this time of the year.

2 3

2. San Jeronimo

3. Templo Santa Teresa De Jesus

4. Antigua Guatemala Cathedral

1. Convento La Recoleccion

Urban Green System

Green Spaces are found spread throughout the country and city. Commonly known Guatemala is heavily covered in dense forest and jungle. The former capital of La Antigua is no exception and is surrounded by such nature conditions. The introduction of the grid was an attempt to bring order to this wild area but the peopleâ&#x20AC;&#x2122;s culture and desire for nature exists today. La Antigua has a very significant green system that to some degree has authority to the occupation and future development of this grid. The three major edge conditions are densely forests seen as the darkest shade represented. In sporadic arrangement this high-density vegetation is in few locations in the urban realm. However, they do begin to formulate location and distance for this familiar of La Antigua. More common throughout the city are a mix of privately owned and public green spaces that are a park system dotting the urban realm. These green spaces are lighter is shade to note that they are more manicured and more open to the sky. The park system in La Antigua allows for the city to breathe is density and to introduce high community interaction by allowing locations for people to meet. Such frequency of these parks become characteristic to a Central American city and to some degree show the intertwined connections of La Antiguaâ&#x20AC;&#x2122;s people, culture, and nature. Lastly the light shades represented provoke the acknowledgement of cleared areas that have very little coverage. In many cases this clear green spaces area privately owned by religious institutions and the wealthier. In some cases, they are grand courtyards to larger homes and shared courtyards to an entire community in an urban block. The dotted arrangements are representative of the suggestive connectivity between these three spaces within La Antiguaâ&#x20AC;&#x2122;s green system. Here is showcased the major axis in which this green space is oriented and provide a network in which people can move from one to another. This direct quality informs an underlying datum supported by the grid in La Antigua, tapping into these green spaced as well as the bold connected axis are highly important.

Urban Zones

At the origin of La Antigua during the 16th century is the colonial grid that was developed in 1543. This grid is coded in light purple and represents the initial boundaries of the city when it was declared on behalf of the Spanish Crown. The grid is organized along orthogonal intersection running in the cardinal direction. At the center was the first urban block to be developed as the Central Plaza, from this origin the immediate urban blocks were dedicated to three major architectural typologies, religious, civic, and royalty. In this zone are some of the oldest structures in La Antigua and was the beginning of the UNESCO mission to register the city. Within the 17th century, La Antigua was expanding with an influx of population and religious institutions. The expansion of the urban realm is coded in the mid-tone purple, here the grid attempts to follow form but begins to mutate. Corner lots of the expanded grid were dedicated to religious institutions. This expansion caused conflict with the native council that was established, they were called the Ayuntamiento. They opposed the continuation of religious expansion in fear that it would obliterate the native culture. However, their voices were not heard, and La Antigua began to become a premier example of Spanish Indie colonialism. Today many of these streets are density urbanized with a variety of living conditions. Most lots are residents of the farming community and low-income families, each home has walls protecting each lot. There are areas of this urban zone that features public parks that begin to inform a green system that dots the city. Aside from these public parks in the city, courtyards are popular for residential homes of all sizes. The courtyard systems are a unique characteristic of La Antigua and can easily be seen from above. Courtyards originate from cultural heritage over many centuries in Spain and the Roman Empire, they are also highly effective in balancing climate conditions, as well as providing privacy and security to the family. It is in this zone that new developments take place today. The outer zone of La Antigua is mostly rural with an abundance of crop fields. Coded in the dark purple these zones are dedicated to forests, crop fields, and national parks. In these forested areas are the beginnings of the foothills to the volcanoes. Largely these areas are uninhabited and are also walled in. Adjacencies to the outer zone are high circulation corridors such as main roadways that connect La Antigua to other communities. Some national parks are frequented by tourists and provide popular overlooks to the city.

Urban Edges

La Antigua is nestled in the valley underneath the watchful eye of Volcan de Agua and its surrounding hills. Although it is a highly significant city in Guatemala’s history La Antigua is still thickly patrolled by natural forests. The forested areas naturally form edge conditions on an urban scale creating the perimeter limits of the city. The entire western end of La Antigua is bordered by dense forest in which traveling by foot is difficult. Here a western edge condition is highly significant for it uninterrupted and authoritarian order. To the north of the city is an edge condition that is the smallest in scale. Here there is a manicured state park known as Cerro de La Cruz. This park acts like a spear head plunging into the urban realm, it has a special quality of providing an overlook to the city. Physically this edge condition not only creates a blockade for La Antigua, but it manifests into a natural separation from the smaller town north called Jocotenango. In the eastern end of La Antigua is a peculiar edge condition that is a blend of natural and man-made elements. This bent barrier is the local waterway Rio Pensativo, along it is promenade that is paralleled by one of the modern highways in the area. Beyond this edge condition is another foothill of the volcano and is the location of two forested area, Santo Domingo del Cerro and Fina el Pilar. Here this edge condition is significant for its connection to the countries capital Guatemala City as well as preventing the city from continuing to sprawl in the eastern direction. The last edge condition is unlike its predecessors due to its creation. This special edge condition is formulated by the site of Santa Teresa Convent and is orthogonal adhering to the city’s grid. Santa Teresa Convent is merely a property of an urban block, however for is scale and corner position it begins to inform the other corner of the intersection. By this man-mad urban edge condition other characteristic being to speak such as axis and destination. La Antigua’s grid is rigid at its core and typically disorients pedestrians for its repetitive visual. Using this special urban edge condition new discoveries can be produced on the relationship between the selected sites and the rest of the city’s urban nature.

Architecture: La Antigua

As found in many South American countries, the current architecture found in Antigua has been influenced by Spanish Baroque Architecture and other typologies throughout its history. In addition, climate has made an extreme impact to the way the city created their structures. Famous buildings including the Palace of the Captin, La Merced, and the Colombo Museum have been famous landmarks since La Antiguaâ&#x20AC;&#x2122;s start to Baroque Architecture. From originally being a city of primarily white, plain typologies, there are now a multitude of materials and a variety of colors in all directions. With the use of materials, colors, scale, and human experience, the combination of the cityâ&#x20AC;&#x2122;s architecture is reflective

of its culture.

03.

Climate Response The worldâ&#x20AC;&#x2122;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. Dry climates are usually hot and sunny, with little precipitation. Temperate climates and Continental climates are often combined as they can overlap. Both climate types experience all four seasons, but continental temperatures have more extreme averages than the temperate climates. The New England part of America is considered Temperate. Polar climates are found at the north and south poles of the globe. This climate is always cold and snow all year round. Antigua, for most of the year is very hot and has mostly a high humidity. There is a large rainy season which effects the dynamic of the city and creates many problems for travel within the city. In La Antigua, there are times of the year where the rain fall increases dramatically which correlates with the amount of humidity in these months. the months between June and November are at the most risk for torrential downpours leading to flooding through the city. the psychrometric chart at the bottom of the page gives information leading to the creation of courtyards and open corridors that help to cool many types of buildings in the city. The way that the climate affects the buildings that are created in this area is through the ways of passage through the buildings, the heights of the buildings, and the materials used. Most of the buildings in La Antigua have central courtyards that are wrapped with a cloister of a covered walkway. This technique utilizes the high winds in the area to cool building down. The heights of the buildings are directly related to the earthquakes that have taken place over the years through the idea that buildings should stay between one and two stories to avoid more destruction. In the same respect the building materials reflect the strength of the force of the earthquakes. The building materials include stone, brick, and stucco.

Typologies/Styles/Influences The city of La Antigua has its own style of architecture that does not compare to the rest of Guatemala. Discussing “Earthquake Baroque”, its vernacular architecture has an allover background of identifiable periods of architecture styles. Its style of architecture differentiates from Spanish styles from colonial times and uses the combination of brick, mortar, and plaster with stucco on the exterior of the building. This architecture focuses on the use of arches, columns, and vaults as a reinforced structure. Some typologies include the use of their roof construction of wooden rafters in domed construction at the time when wood was the primary material in Guatemala.

La Antigua’s influences focused on decoration and vernacular influences in their architecture such as using materials like stone and brick in their construction. Both materials acted as a module in construction. Stone would be used as a “backfill” for brick walls to support the structure when earthquakes strike the city. Wood was very common before the addition of materials and was then shifted to using only the more solid materials for better structure and stability. Brick became the primary material after stone became too brittle to carve so there was too much material to take and then replace.

The architecture of Antigua developed in direct response to the “Site, economics, and earthquakes” (Verle 21). During the early history of the city the houses that were built were temporary in nature. Thatched roofs, lattice walls and mud finishes served as the primary building technique. (Verle 22). The Spanish patio and European cloister were introduced to the city and became common across all building types in Antigua. The vernacular architecture of Antigua has been referred to as “Earthquake Baroque” with “a lack of identifiable periods and a sequence of styles.” (Verle 25). Antigua has a completely independent style from the rest of the Spanish colonial settlements. This style implements the use of brick and mortar that is plastered over with stucco. Walls, columns, vaults, domes, arches as well as sculptures are constructed from bricks and mortar in addition to rubble being used as a reinforcing agent. Throughout the history of colonial Antigua the roof construction techniques shifted from wooden rafters to domed construction. When wood was the primary construction material for rafters they were usually carved and tile was used as the roofing material. However as the city contained a large number of craftsmen the shift towards brick and stone became significant during the eighteenth century in Antigua. Stone in the Panchoy valley was too brittle to carve which in turn led to the prominent use of brick. Furthermore, this meant that the stone in Antigua could not be used as blocks and as a result meant that the stones main use would be to be used as backfill inside the large brick walls of the colonial structures. The architecture of Antigua most resembles baroque forms in terms of decoration. However, with the construction techniques and additional elements present in Antigua a style of its own was developed. This style spread across many parts of Guatemala and became vernacular to the country. Rebuilding became common in Antigua due to the frequent earthquakes. As a result, styles across time periods did not occur. Instead there were constant restorations taking place which all followed the original style of the buildings.

Materials and Colors of the City

Amarillo Tridentino

Rojo Concepcion

Amarillo la Merced

Ocre

Amarillo Pensativo

Celeste Santiago

Amarillo Jocotenango

Celeste Colonial

Rojo Santo Domingo

The city of La Antigua has its own style of architecture that is unique to Guatemala’s diverse culture. Discussing “Earthquake Baroque”, its vernacular architecture has an all-over background of identifiable periods of architecture styles. Its style of architecture differentiates from Spanish styles from colonial times and uses the combination of brick, mortar, and plaster with stucco on the exterior of the building. This architecture focuses on the use of arches, columns, and vaults as a reinforced structure. Main construction conerns are intended to resist lateral forces introcuded by powerful earthquakes. The use of their roof construction of wooden rafters in domed construction at the time when wood was the primary material in Guatemala. La Antigua’s influences focused on decoration and vernacular influences in their architecture such as using materials like stone and brick in their construction. Both materials acted as a module in construction. Stone would be used as a “backfill” for brick walls to support the structure when earthquakes strike the city. Wood was very common before the addition of materials and was then shifted to using only the more solid materials for better structure and stability. Brick became the primary material after stone became too brittle to carve so there was too much material to take and then replace. La Antigua originally was vibrant with color as many residents decorated their home. In the mid history of the city religious institutions enforced limitations of character on the urban realm, which was supported by the Spanish Crown. The notion of colonial purity in faith enacted a movement in whcih La Antigua’s structures were painted white. This lasted for many decades until the city was abandoned by degree from the Spanish Crown. Once the city was repopulated and register as a UNESCO site, coloration returned. Residential homes are typically one or two stories. This is due to the seismic activity that has hit the city before. If an earthquake were to hit, the homes that are as close to one story have the least chances to buckle and collapse, saving both the building itself and the people within them.

Ruin And Redemption

Ruins have the unjust and dark conotation of skeletal remains that symbolize the chaos that history remembers. However, around the world ruins exist and more over become icons of cultural and regional identity. Worldwide ruins are the unconditional truth of who we are as humanity and what we believed as valuable to life. In rare but highly significant moments have ruins been brought back from death to reinform the future with lessons from the past. Ruins have the most honest potential in humanity reflecting on our existance and influence on the world. Not only should they be remembered as valued icons of human

advancement but should be remembered as brutally truthful remain of our roots in culture.

04.

Iglesia de La Merced

La Antigua, Guatemala is rich in history with ruins being an abundant example of such richness. As time passes the ruins degrade and the remaining structure are at risk of being lost. Natural disasters such as earthquakes have been the main cuase of destruction in La Antigua becoming an in seperable part of its identity. The most influential earthquake was one in 1773 that hit 7.5 on the Richter scale that topled many buildings and left many in ruins. La Antigua is in a state of indecision, two conflicting opinions are in opposition in what should be done with the abundance of ruins. On one hand many veiw the ruins as sacred and symbolic representation of La Antiguaâ&#x20AC;&#x2122;s culture and shoud be lef tin their natural state without intervention, and only pure preservation. Other views see the ruins as opportunites to revitalize the city and to breathe new life into the symbolic structures. In an effort to save some of the buildings that were affected by the earthquakes, the city of La Antigua has began to rebuild since their registation as a UNESCO site. Renovation and adaptive reuse are significat modifications that should be taken with considerate respect. La Antigua is apprehensive to introduce these methods out of fear of mediocrity and gentrification of culture for ambigious modern design. However there have been instances of successful and cultural respectful interventions of La Antiguaâ&#x20AC;&#x2122;s ruins. One of the most significant examples is the renovation of La Merced that had two occurances. Affected by an earthquake and abandoned by decree, it was at at a condemning conditions of mass damages. In the 1970s the first attempt to resotre the cultural icon was done which brought it to a presentable status but still prevented it from being efficiently used by the people. A second renovation project was in the 21st century in which all architectural elements of La Merced were respected and brought to sufficient standards to hold mass. All materiality of the structure were maintained and new structural elements were introduced sparingly. Today La Merced for preserving its iconic presence is herolded as an national symbol for Guatemalan culture and heritage.

La Merced: Created in 1749, La Merced church and its monastery is an example of the selective styles La Antigua has used in their city. This striking traditional yellow church is one of the original structures standing from the “Mercedian” times. Mercedians, the first to establish a male monastery, created a place of sanctuary and religion in the city. The oldest parts of the church and the monastery are the stone cross located in the atrium and selective rooms behind the main altar in the church, dating back to the 17th century. In 1749, the Santa Marta Earthquake struck the city and the majority of the church was demolished. After the seismic wave ended, construction was due to start on the place of worship. Juan de Dios Estrada became commissioner of construction on La Merced and recreated the structure as well as creating an addition of the sanctuary and cloister behind the church. He focused on the height of the church to withstand earthquakes that have been so popular to happen around that time. The facade of the church is baroque style consisting of two bell towers standing at a shorter height for protection of the church from seismic activity. Estrada thought the height of the church should be minimized and its walls to be thickened so that it could be more structurally supported. Its windows, small and placed higher in height, was to keep the masses low and concentrated. In 1773, the church was damaged again but was then restored shortly after to its original appearance and repainted in its traditional lime-based yellow paint from the colonial times. Looking closer on the facade, the virgin mary, known to the mercedians as “The Virgin of Mercy, The Queen of Heaven”, is located at the very top of the church. She has a crown placed on her head in the sculpture symbolizing the Virgin Mary based off the Mercedian religion and its original culture and beliefs.

La RecolecciĂłn

The site of La Recoleccion is currently one of the largest ruins in La Antigua. At its pinnacle it was a significant church and monastery to the Order of the Recollects. It had important influence on the lives of the people in La Antigua. The site was destroyed by an earthquake in 1773 leaving the remaining structure in rubble as seen today. Located in the western edge of La Antigua the site is isolated from the urban fabric and is surrounded on three sides by open space and forests. However, it is still respectfully seen as a cultural landmark and even after death, La Recoleccion is a significantly influential icon of La

Antiguaâ&#x20AC;&#x2122;s identity.

05.

Convent and Monastary History

Friars of the Recollects arrived in Antigua in 1685. The Ayuntamiento were not in favor of building a new religious structure in the city. The main concern was the economic well being of the population as they were already supporting a large number of religious organizations. Furthermore, the Ayuntamiento 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, who also served as the architect for many of the religious structures built during the beginning of the eighteenth century. The church was officially opened on May 23, 1717 and was subsequently 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 Recolecciรณn including a kitchen, hospital, and monastery. The architecture of the building is predominantly focused on scale in opposition to detail unlike many of the other religious structures in Antigua.

Nearly in total ruins. The only surviving part of the church is the “portada,” or the archway serving as the main entrance into the structure. However, based on historic photographs this arch may not be the original or was reconstructed in the twentieth century. 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. Additionally, it is not possible to determine which part of the ruins were results of which historic event. Damage to the building was sustained during earthquakes, explosions to ensure safety, as well as removal of stone following the direct order of the new government to raze the city and transport all materials to Guatemala City In addition to the removal of materials, 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. Additionally, the sacristy was used as a soap factory following the abandonment of the city. Furthermore, the refectory was used as a stables and shed. (the Refectory is the area between the southern cloisters. 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.

Site Edge Condition

The edge conditions for La Recoleccion is interesting due to the fact that its location creates such a stark contrast. La Antiguaâ&#x20AC;&#x2122;s character is the balance between nature and urban realms, the edge condition present is the pure manifestation of that notion. To the west is the dense forest in which is untouched by people, to the east is the dense urban structure of the grid and dwellings. La Recoleccion is on the perimeter of the city and rests on the dividing line of this edge condition. This representation speaks of contrast, balance, axis between two opposing conditions present. It shall be highly important to understand the relationship between the two and the role of La Recoleccion being situated as a terminating destination on an edge condition.

Site Circulation La Recoleccion is significant for its resolution to an end of an axis of the grid. Here there are three major zone conditions that show the contrast of in La Antigua between natural and urban realms. West of the site an uninhabited zone that is shown with the darkest shade, the vegetation and property is unmanicured and the nature is preserved. This is a buffer zone that acts similar to an edge condition. East of the site is the urban realm of La Antigua were properties begin to mix between green spaces and structure. The immediate property to the bottom is a large parking lot that providing spaces for employees using the bus terminal and the hospital that are located south of La Recoleccion. Here this zone condition is shaded the lightest in order to clearly define property spaces. The immediate property to the top is a well-manicured park it is open to the public and welcomes community-based sports to take place. There is some coverage for shade and has notable vegetation variety thus being shaded in a mid-tone as a bridge between the two zone extremes or nature and urban.

Exterior Views: The exterior views of La Recoleccion show the existing entrances and exits of the church and monastery. The top photo shows the main entrance to the church from an angle. This view is consistent with the entry of the site from the northern end of La Antigua. This view would have been common for those coming from the northern town to mass at the church on the sit. Beyond this wall is a set of stairs the ascend into what used to be the church which you can see in the middle photo, looking straight at the entrance. This view is taken from the front gates to the site and is the most significant view of La Recoleccion. In its pinnacle years of existence the power of the churchâ&#x20AC;&#x2122;s decorative architecture would have called the followers to mass and to be in observance of the Lord. It is in this view one can really see the measure of how much of the original structure was lost.

The bottom photo shows what used to be a side entrance to one of the three cloisters of the monastery. Looking at the plan, behind those walls is a courtyard that was seen in the middle photo of the interior views.

Interior Views: The ruins of La Recoleccion are more than just a pile of rubble in La Antigua. The site plays an important role in the city and also tells a story about what it once was and how it came to be. The views inside the ruins are located in the major areas of main courtyards and what use to stand in wall structure. The first photo, viewing an entrance and exit of the ruins, is the stone materials that now lays on the ground of the site due to the seismic activity in the cityâ&#x20AC;&#x2122;s past. This is the remains of the naive to the church that connected to the urban realm. The middle photo is of the private courtyard towards the rear of La Recoleccion. It is here that some of the friars would gather as a community behind the sacristy. The depression in the ground is the remains of a fountain that once rested there. The bottom photo is a diagonal view of the largest courtyard. Surprisingly, the majority of the structure is intact. However the arcades of the cloister have been destroyed. This courtyard saw the most activity after the original dissolution of La Recoleccion. The stone pattern that is present in the image is the remains of a public pool that was commissioned decades ago.

Site Vegetation

The vegetation types surrounding La Recoleccion vary in scale drastically. To the west of the site is the dense forest which houses many common tree species such as Caribbean Pine, the Huito, and majority rule the Netleaf Oak. These taller trees provide thicker shading within the forest condition. Closer to the ruins of La Recoleccion are traces of Ficus Maxima an invasive species that acts more like a carnivorous root. They can sprawl to incredible scales however on site that are surprisingly at minimal condition. One lone tree species to the east of the site is a Peruvian Pepper tree it has an interesting characteristic of having small red berries dangling from its twisted branches. On the eastern side of La Recoleccion is a varying size of White Sapote trees that stand out based on there brighter bladed leaves. Decorative vegetation is located sporadically across the ruins. One is the Spider Plant which is a razor blade grass species that can grow in harsh conditions. The second is very precious flower noticeable for its bright yellow glow in the sun, this is the Sweet-Scented Lycaste. For its delicate appearance but strong growth it is very commonly used among the people of Antigua to decorative their courtyards. The cloisters in the ruins of La Recoleccion are flat and uninterrupted by shaded vegetation thus is mainly of manicured grasses.

Construction Materiality: The ruins of La Recolección is in such a destructive state of transparency, by this the ruins show the internal materials used to create the building. Before the earthquake in 1773, the structure stood tall at nearly 75 feet and became an important landmark in the city. In order to achieve these heights into the heavens the thickness of the walls needed to have great depth to hold such heavy loads. Unfortunately, due to its height and design of load bearing walls with brittle foundation, the structure became ruins. The materiality of the ruins are exposed consisting of a stone, brick, and mortar combination called “mezcla” with a plaster finish mimicking the materials of the colonial city.

Spatial Analysis: The program of La Recoleccion is focused around four main spaces; 2 large courtyards, a smaller courtyard, and the nave of the church. The perimeter of the courtyards are defined by cloisters, which transition into smaller rooms. The nave and adjacent sacristy were built later after the construction of the monastery started, evidence of this can be seen in how the two programs interact spatially and structurally. The courtyards and cloisters server as circulation hubs, providing access to the circumjacent rooms and passage to the courtyards through narrow hallways. Between the two large courtyards and next to the nave is the main staircase to the second floor; in comparison to the small spiral stairs and stairs within walls, this main staircase is quite large and spacious. Taking the main stairs to the second floor, the same circulation system from the first floor is used again, circumambulating the courtyards to enter periphery rooms.

Initial Site Strategies Option 1

When I first learned about La Antigua, Guatemala, I was reminded of when I visited Innsbruck, Austria. The geography surrounding Innsbruck made the city feel as if it was nestled at the bottom of a bowl; everywhere I looked, I saw a mountain. The images I saw of La Antigua gave me a sense of how small I am in the world; the three large volcanos that loom over the city are a constant reminder of the immense energy stored within the Earth and how that energy can be releases at any moment without any notice. The ruins of churches and convents scattered throughout the city are monuments of this power concealed beneath the soil, the devastating 1773 earthquake. The ruins of La Recoleccion have been frozen in time since the its destruction, some of the rubble has been cleared, but the former monastery has not found a new life. The idea of time is ingrained within the identity of La Antigua and the ruins of La Recoleccion. Time has been frozen in 1773 for the cityâ&#x20AC;&#x2122;s ruins and architecture, yet time has continued to pass for the people of La Antigua. I am entranced by the odd manner in which time has passed in La Antigua; I feel that it is an important characteristic of the city which will influence my design of the archives at La Recoleccion. In 1875, La Antigua was visited by a photographer whose inventions and innovations changed photography, and how we see the world; this photographer was Eadweard Muybridge. Muybridgeâ&#x20AC;&#x2122;s was interested in using photography to slow down time, to see things which were too fast to see regularly. In order to slow down time through photographs, Muybridge developed a camera that captured images at a high frame rate, allowing him to see actions such as horses running, one frame at a time. This technology later was used to create the first film video cameras. In 1875, Muybridge was traveling through Central America and documenting the cities that he visited; one of those cities was La Antigua.

While in La Antigua, Muybridge visited many of the ruins of churches which collapsed in 1773, including La Recoleccion. Muybridgeâ&#x20AC;&#x2122;s photographs of La Recoleccion provide an insight into the conditions of the ruins during 1875. Muybridgeâ&#x20AC;&#x2122;s high speed photographs sparked the idea of making a series of frames that are spaced through the ruins. The frames serve as structure for the archives and define programmatic spaces. The frames are carved away and lack a roof over the courtyards, to light up the spaces and allow visitors to experience the ruins of La Recoleccion, the archives intervention, and the sky above.

Initial Site Strategies Option 2

Another place where I looked for an interpretation of time was Salvador Daliâ&#x20AC;&#x2122;s The Persistence of Memory. In this painting, Dali explored the concept of how time passes. The melting clocks in the painting symbolize a spectatorâ&#x20AC;&#x2122;s observation of time passing by, the pocketwatch covered in ants represents decay, and the dream-like environment of the painting is indicative of how one remembers the past with a hazy, soft memory. These concepts are important for how I look at La Recoleccion; to interact with the ruins, I built up my structure directly from the ruins. The structure uses pieces of rubble and parts of the ruins to rise up from; the two buildings are infused together with melted metal, which once solidified, joins together the archives with the ruins. Spanning over the ruins is a light weight structural frame, which uses a membrane to shade the ruins and protect them from rain. Built within the ruins of La Recoleccion are the archives and public spaces; housed underneath the same membrane, the ruins and the archives share the same space and coexist as one.

Initial Site Strategies Option 3

I found how the ruins have gone unchanged for so long to be fascinating, in other cities La Recoleccion may have been rebuilt or the site cleared, but La Antigua has kept it as it is. The ruinâ&#x20AC;&#x2122;s location in time has been frozen in the eighteenth century, people of La Antigua have not; people have been born, lived their lives, and passed away, all in the presence of the unchanging La Recoleccion. I wanted to keep the ruins frozen in time and avoid them changing. This meant that the intervention on the site must not change La Recoleccionâ&#x20AC;&#x2122;s spacial conditions and seek to preserve them. By situating the archives and public spaces to the north of the ruins, the site circulation can be managed to reduce damage to the ruins. Using the mass of the archives a large roof is cantilevered over the ruins, casting a shadow which locks La Recoleccion into a night. Out of the harsh sunlight and the damaging rain, the ruins would be better preserved and present to watch over more of La Antiguaâ&#x20AC;&#x2122;s history.

Spatial Concepts Collage 1

“Man does not have a nature, but a history. Man is not a thing, but a drama.” José Ortega y Gasset Of the three conceptual designs I conceived, none in particular stand out to me. Although within each concept, I see ideas which I think can coalesce to generate the next phase of my design. I see potential in the juxtaposing order of walls from the Muybridge concept, but this concept is missing a rationale for the orientation of the walls. Looking to the urban experience of La Antigua, all North-South streets frame a view of Volcán de Agua to the South. A view of the volcano should be a part of the experience of visiting La Recoleccion; the volcano is a result of movement of tectonic plates forcing magma up from the Earth’s core, these same tectonic plates cause the earthquakes which shake the city and flattened La Recoleccion in 1773. Understanding the entwined relationship of La Recoleccion and Volcán de Agua, I will establish a geometric order which interlaces the structural layout of the ruins with an array which is oriented towards Volcán de Agua, as well as the two other volcanoes Southwest of La Antigua.

Spatial Concepts Collage 2

The geometric order that I establish will guide me as I develope my interventionâ&#x20AC;&#x2122;s structure and program. The structure will be built from an idea from my Dali concept. This structure will rise up from the rubble of the ruins in some areas; in other areas the structure will stand independently of the ruins. The roof structure will be continuous across the ruins, but the roof will feature perforations over the courtyards. The spaces created in the courtyards will be partially shaded by the loadfree structure, allow cooling airflow through some parts of the ruins, and connect the sky with La Recoleccion. The program of my intervention will use the geometry of La Recoleccion and the alignment with the nearby volcanoes to present visitors with the relationship between the ruins and the volcanoes. Looking to my cantilever concept, I will arrange the program into one or two masses adjacent to the ruins. These masses will use the structural organization of La Recoleccion to respect the ruins and alignment with the volcanoes to create spaces for learning about the cityâ&#x20AC;&#x2122;s history.

Spatial Concepts

Observations

The rubble in the church is much more massive than I originally imagined; care is necessary for designing how the visitors experience and traverse the space. The mass, volume, and thickness of the walls, ceilings, and rubble is immense; is this something I want to address in my design? This quality relates well to my cantilever concept. Color is a big part of the cityâ&#x20AC;&#x2122;s architectural language; my design should use colors that compliment the color palette of La Antigua. Many elements in the city are made of painted ceramic tiles (street & stop signs, window sills, decorations, etc.); ceramic tiles could be used to generate facades and floors. Tiles can vary in size, tone, sheen, shape, orientation, arrangement pattern, decorate patterns, and more. Courtyards are essential. They can drastically change the quality of a space through air flow, daylight, ambient noise, and vegetation. Open courtyards could be ineffective for some spaces (galleries & archives), but for the offices, cafe, lobby, and similar spaces, courtyards can be beneficial.

Time

Time flows as a river; Within the context of La Antigua, there have been three approaches to addressing the ruins. Allowing ruins to continue to drift down the River of Time; The ruins of La Recoleccion have been addressed in passive manner, except for structural stabilization, little has been done to the ruins; they have been left alone to be exposed to decades of sun exposure, rainfall, wind, vegetation, and human interaction. Bringing ruins upstream on the River of Time; The once ruined La Merced Church is one of the few ruins in the city to be restored. Rebuilding the ruins into what they once were provides an opportunity to see church as it was built, but the intriguing qualities or ruins are left behind in the process. Moving ruins downstream on the River of Time; The ruins of the former Santo Domingo Monastery complex has been adapted into a hotel. Bringing the ruins and a contemporary intervention together can successful if done well, but it has the risk of being perceived as disrespectful to the ruins and disliked by the people of La Antigua. Another approach; Stopping on the River of Time;

None of the ruins in La Antigua have been frozen in time. What if I was to drop anchor and halt ruins from flowing further along the River of Time? What would this be in an architectural sense?

Program

The purpose of this program is based in the idea of how architecture is influenced by the past and influences the future. By intervening on the site of La Recoleccion with an archive & museum program, the history of the city and the ruins are being undeniably referenced in the program. The museum facet of the program is exploring the unique history of La Antigua, the Spanish influenced culture, and the environmentally shaped architecture. The archives aspect of the program will help to preserve La Antiguaâ&#x20AC;&#x2122;s history through maintaining the ruins of La Recoleccion and safeguarding artifacts. Why use La Recoleccion as the site for a museum of La Antigua and archives? If a new museum building were to be constructed on an empty site, the museum program could perform well, but the architecture would not have as strong of a connection to the architecture, city, and history of La Antigua which the ruins of La Recoleccion offers. The ruins are the perfect setting for learning about history; the monastery is connected to the Conquistadors who established La Antigtua and the pious populace; the architecture is linked to the vernacular of the city; the ruined condition of La Recoleccion is a reminder of the 1773 earthquake and the seismic & volcanic activity in the region. How will the archive and museum program interact? How will these programs relate to La Recoleccion? How will circulation through the ruins be managed? How might the intervention damage harm the ruins? How will the program be arranged to account for environmental conditions?

GALLERY 1 CITY

ARCHIVE

GALLERY 2 ARCHITECTURE

READING ROOM GALLERY 3 FUTURE

RESTORATION WORKSHOP

BOOKSTORE CAFETERIA GALLERY STORAGE

SECURED RESEARCHER ROOM

IT ROOM

SECURITY BOOKSTORE STORAGE

TICKET BOOTH

LOUNGE/SUPPORT

QUARANTINE SECURITY

STAFF LOUNGE ADMIN OFFICES

DOCUMENTATION/ PROCESSING ROOM

RECEIVING AREA

VAULT

MEETING ROOM

STAFF CHANGING

COAT ROOM

• Ticketbooth - ideally there should not be a ticket booth, this museum should not charge admission, if there must be one, then it will be near the main entrance (either inside or outside) and should be the second thing visitors see when approaching the museum, the first thing they see should be • Bookstore - Near the lobby and coatroom, if possible integrated into the circulation of visitors exiting the museum • Bookstore storage - adjacent to the bookstore, but in a peripheral area, this space does not need to interact with the visitors • Cafeteria - branching off of the lobby, do not allow access to the exhibits from here, food+exhibits=bad • Kitchen - adjacent to the cafeteria, peripheral area, needs accessability for food deliveries • Security - strategically positioned near entrance and private staff circulation • Coat room - near entrance, easily accessed by visitors coming and going • Staff changing room - near staff entrance and lounge • Staff lounge - near staff entrance, may act as a hub for staff circulation • Gallery 1 City - first exhibit after leaving the lobby, surrounded by support spaces (storage, IT, etc.) • Gallery 2 Architecture - either after the first exhibit or after a transition room, surrounded by support spaces (storage, IT, etc.) • Gallery 3 Future - either after the second exhibit or after a transition room, surrounded by support spaces (storage, IT, etc.) • Storage area - support space for the galleries, easy access to the galleries, unobstructed movement between storage and galleries • IT room - support space for the galleries, flexible to accomodate for gallery 3’s temporary exhibits • Receiving area - secure area, periphery, destination for any trucks delivering to the museum & archive, needs sufficient

Program • • • • • • • • • • •

•

circulation to the quarantine and galleries Existing chapel - must be covered with a roof Reading room - near the book and documents archives, secure, specialized fire protection system Researcher secured room - near the artifact archives, secure, specialized fire protection system Restoration workshop - near the archives, no foreign objects, no connection with quarantine Admin offices - Near staff lounge, near meeting room Meeting room - near admin facilities, ideal to have a nice view of the city or ruins Lounge/support Security - controlling the access to the archives, quarantine, & restoration workshop Archive area - between quarantine and restoration workshop, adjacent to the vault, limited access, climate controlled Vault - very limited access, extra security, climate controlled Quarantine - between archives and receiving area, secure, climate controlled Documentation/processing room transition space separating archives from restoration workshop and quarantine

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Ruins from Above

While flying a drone over La Recoleccion during my visit to the site, I have come to appreciate the distinct perspective of the ruins through the lens of a drone. Seeing the ruins from this vantage point can present unique opportunities to learn from the ruins’ architecture and history; providing this viewpoint to museum visitors would greatly benefit the experience of the museum. Starting with the silhouette of La Recoleccion’s mass, this form is extruded and raised above the ruins to create a roof; which is supported by the lobby and the archives. This roof has openings which reflect the courtyards and create spotlights of daylight on the ruins. The museum galleries cling to the roof, like the bats who currently inhabit the ruins’ sacristy. The galleries are connected by pathways which create moments to look across the ruins and reflect on the information digested in the preceding gallery.

Ruins from Above BOOKSTORE STORAGE

BOOKSTORE STORAGE

BOOKSTORE

BOOKSTORE SECURITY

SECURITY

COAT ROOM

CAFETERIA

CAFETERIA TICKET BOOTH

TICKET BOOTH

STAFF CHANGING

LOUNGE/SUPPORT

IT ROOM

GALLERY STORAGE

MEETING ROOM ADMIN OFFICES

GALLERY 1 CITY

STAFF LOUNGE

READING ROOM READING ROOM

GALLERY 2 ARCHITECTURE

SECURED RESEARCHER ROOM

ARCHIVE

ARCHIVE VAULT

RESTORATION WORKSHOP

IT ROOM

GALLERY STORAGE

RESTORATION WORKSHOP

GALLERY 3 FUTURE

SECURITY

SECURITY DOCUMENTATION/ PROCESSING ROOM

QUARANTINE

INGRESO

RECEIVING AREA

AVENIDA DE LA RECOLECCION

RECEIVING AREA

QUARANTINE

BAJA

DOCUMENTATION/ PROCESSING ROOM

A Walk in the Park

Walking through La Recoleccion’s church; amongst the shattered remains of the nave’s walls and roof, I saw bricks which once supported the roof, moulding fragments which belonged somewhere much higher, and the shear volume of rubble from the immense walls and roof. Seeing all of this gave me an understanding of how large the monastery once was and how powerful the Santa Marta earthquake was. The procession towards the museum lobby starts at the central entrance to the church nave. At one point in time a concrete staircase was added just inside this entrance to allow people to quickly get to the top of the mountain of rubble; I intend to remove this stair case and replace it with an accessible ramp. After rising to the top of the ramp, an elevated path leads visitors through the space amidst the debris. As the landscape of rubble’s topography ascends and descends, so does the path, but at a lesser intensity; this processional path will parallel the experience of walking through the ruins, but protect the ruins from human impact. After experiencing the landscape of rubble in the church, the path leads visitors into the sacristy, which expresses how La Recoleccion once was. In the courtyard to the West of the sacristy is the lobby of the museum, but it is separated from the entry procession by the sacristy’s walls; in order to link the path with the lobby, a respectful threshold will be cut out of the sacristy wall and mark the entry into the museum.

A Walk in the Park TOILETS!! COAT ROOM

TICKET BOOTH

GALLERY STORAGE

IT ROOM

GALLERY 1 CITY

BOOKSTORE

SECURITY

BOOKSTORE STORAGE

VAULT DOCUMENTATION/ PROCESSING ROOM

ARCHIVE READING ROOM

RESTORATION WORKSHOP

QUARANTINE

SECURED RESEARCHER ROOM BAJA

BAJA

RECEIVING AREA

INGRESO

AVENIDA DE LA RECOLECCION

SECURITY

Do Not Touch

La Recoleccion has suffered from years of deterioration and disrespectful visitors; to preserve the ruins, they must be enclosed from the forces of nature that wear it down over time; this includes wind, rain, direct sunlight, vegetation, and animals. Additionally the actions of previous visitors have proven that people can not be trusted around these ruins, so access will be limited to researchers, preservationists, and others who have a respect for the ruins. In order to preserve La Recoleccion as it is today, the construction of the museum and archives must be limited to the area outside of the ruins and when that is not possible, the construction within the ruins must be minimized. Still seeking to shelter the ruins, the program is divided into two blocks which support an envelope; which spans between the program blocks and over the ruins.

Do Not Touch TOILETS!! QUARANTINE RECEIVING AREA

SECURITY

GALLERY 1 CITY

ARCHIVE

TICKET BOOTH SECURITY

COAT ROOM

BAJA

TOILETS!!

INGRESO

AVENIDA DE LA RECOLECCION

Passive Strategies Analysis

While visiting La Antigua, the weather I experienced was generally comfortable, not too hot or humid; in comparison, the weather in Rhode Island while I was traveling was much colder and dryer; but for the locals in Guatemala the weather was chilly for them. With this consideration in mind, the final results of the analysis may need to be adjusted to shift the comfort zone to be more representative of the average Guatemalanâ&#x20AC;&#x2122;s comfort. The seasons for the region follow a South American system, which defines the rainy season as Winter and the dry season as Summer; May through October is Winter and November through April is Summer. These seasons are differentiated by rainfall and temperature; Winter season is warmer and much rainier while Summer is cooler and less humid. Without any strategies to deal with the climate, the interior comfort of the museum during operating hours (which I consider to be 7:00-21:00) will be comfortable 39.5% of the time throughout the Winter, during the Summer the interior comfort goes down to 35.6% of the time. The architecture in La Antigua responds to this climate primarily through using natural ventilation from patios. Patios are found in most houses and public buildings, where they provide a covered system of circulation and a second window opening for rooms. Opening a streetside and a patio facing window lets natural breezes go through the space and refresh the air. The cross ventilation enabled by patios is important in La Antigua to address the humidity of the climate. Windows are also shaded from excessive sun exposure to prevent rooms from heating up too much. This is achieved through the use of thick walls with the windows set back from the exterior. La Antigua is exposed to large amounts of solar radiation; the only time that the sun is not bearing down on the city is when it is raining; moreover, when it rains in La Antigua, it downpours. Patios

Passive Strategies Analysis directly respond to the sun exposure and rain to make spaces more comfortable to inhabit. In the typical Antiguan patio there is a central area which is generally at street level. During heavy rain storms, the central area of the patio directs the water towards the center, where there is drainage. On the periphery of the patios is an elevated perimeter; this space acts both as circulation and as an exterior programmed space. These spaces are a threshold between the interior and exterior, a semi-exterior; the roof of the buildings project over this border condition to provide shade for the spaces and cover from the rain. The simple strategies used to define a patio create a circulation system which does not need any active strategies, drainage for the site, shade for the walls of the building, and a space to escape to when interior spaces become uncomfortable.

Within the program of a museum and archive, some of the spaces lend themselves to passive climate strategies, while some other are not well suited. Most of the public spaces and administration spaces can use passive strategies; these spaces include the cafeteria, bookstore, offices, staff lounge, meeting room, coat room, security, and ticket booth. These spaces do not contain anything that is sensitive to humidity or temperature, but supplementary strategies may be necessary some spaces, such as in the cafeteria due to its larger capacity of people. Due to the sensitivity of the items kept in the archives and galleries, these spaces will need active strategies to ensure that the climate is easily controlled.

Passive Strategies Strategies

In general, the strategies which are effective in the Summer are also effective during the Winter, but at different efficiencies. Sun shading of windows can make interior spaces comfortable during 40% of the museum’s operating hours in both the Winter and Summer, this prevents harsh light conditions and overheating. High thermal mass can help diminish the interior heat gain during the museum’s operating hours by 16.6% in the Summer and 17.3% in the Winter. Natural ventilation cooling can help lower the interior humidity during the museum’s operating hours by 15.2% in the Summer and 21.5% in the Winter. Internal heat gain is quite effective during the Summer, making spaces more comfortable during 45.7% of the museum’s operating hours; this is especially true for the Summer due to the clear skies and cooler temperature. During the Winter, internal heat gain could be effective for 38.1% of the museum’s operating hours, but in practice this may be much lower due to the sky being overcast 80%-90% of the time in the Winter. A low mass passive solar direct gain strategy is also effective for the Summer months, making spaces comfortable for 17.2% of the museum’s operating hours, but this strategy would not be during the Winter months.

ASSIGNMENT 7: PRELIMINARY DWGS OF FINAL SCHEME CONCEPT

Moving forward with my design I intend to focus my program into two blocks on the East and West side of the ruins, with a spanning roof structure and screening wall which protects the nave, sacristy, and small courtyard. Arranging the building like so aligns it with numerous other ruins of religious structures in the city and can be seen as a destination for tourists to start when they visit La Antigua. The two blocks are formed according to programmatic use and security. The Eastern block is comprised of the museum and other spaces for the public, the Western block is more private and secure due to it housing the archives, vault, and spaces for researchers. When a visitor arrives at the site, they first see the open plaza in front of the entry. Heading under the covered entryway, the visitor will be given a brief preview of the ruins when they see the remains of the arches and detailed stonework which once was part of the nave’s facade. After dropping off their belongings at the coatroom and getting their ticket, the visitor will ascend a flight of stairs and enter the first gallery to learn about the story of La Antigua. While learning about the conquistadors settling the city, the citizen’s strong faith in Catholicism, and the disastrous earthquakes and mudslides which have ravaged the city, the visitors will be able to look out across the city from windows in the center of the gallery. Now being well informed about the city, the visitors will proceed to the next floor to learn about La Antigua’s distinct vernacular buildings and the architecture of the ruins, this learning experience is supplemented by views or La Recoleccion from a unique elevated vantage point. Moving past the mechanical services floor, the visitors will reach the final gallery; this gallery will house temporary exhibits which will focus on the future of La Antigua and the city’s ruins, the two are visually connected by windows which overlook them. After completing the gallery trilogy, the visitor will make their way up to the observation floor; this space includes

RECEIVING

SECURITY

104

103

LOBBY 101

SECURITY 105

COAT ROOM 102

SCALE :

1/16" = 1'-0"

ASSIGNMENT 7: PRELIMINARY DWGS OF FINAL SCHEME BLDG DWGS

an indoor space and an elevated patio, allowing for one to study the ruins of La Recoleccion, look across the expanse of the city, or take in the beauty of the green mountains. Proceeding to the top floor, visitors will find the cafe and bookstore; encouraging visitors to read more about the city while relaxing and enjoying a refreshing chelada.

43'-0"

11'-6"

E.C.

TOILET 2

31'-6"

RECEIVING

SECURITY

104

103

47'-0"

D LOBBY

31'-6"

101

SECURITY 105

COAT ROOM 102

11'-6"

E TOILET 1

E.C.

SCALE :

1/16" = 1'-0"

ASSIGNMENT 7: PRELIMINARY DWGS OF FINAL SCHEME BLDG DWGS ROOF

19'-2"

EL +5159'-2" FF

SEVENTH FLOOR

15'-0"

EL +5140'-0" FF

SIXTH FLOOR

17'-0"

EL +5125'-0" FF

FIFTH FLOOR

15'-0"

EL +5108'-0" FF

FOURTH FLOOR

17'-0"

EL +5093'-0" FF

THIRD FLOOR

17'-0"

EL +5076'-0" FF

SECOND FLOOR

17'-0"

EL +5059'-0" FF

GROUND FLOOR

17'-0"

EL +5042'-0" FF

BASEMENT EL +5025-0" FF

ROOF EL +5159'-2" FF

BOOK STORAGE

READING ROOM

CAFE

SEVENTH FLOOR EL +5140'-0" FF RUINS OVERLOOK ROOM

BOOK STORAGE

SIXTH FLOOR EL +5125'-0" FF

GALLERY

FIFTH FLOOR EL +5108'-0" FF ANCILLARY SERVICES

FOURTH FLOOR EL +5093'-0" FF

GALLERY

THIRD FLOOR EL +5076'-0" FF

GALLERY

SECOND FLOOR EL +5059'-0" FF COAT ROOM

LOBBY

SECURITY

GROUND FLOOR EL +5042'-0" FF

BASEMENT

EL +5025-0" FF

ASSIGNMENT 7: PRELIMINARY DWGS OF FINAL SCHEME BLDG DWGS

43'-0"

11'-6"

E.C.

TOILET 2

31'-6"

RECEIVING

SECURITY

104

103

47'-0"

D LOBBY

31'-6"

101

SECURITY 105

COAT ROOM 102

11'-6"

E TOILET 1

100

E.C.

101

102

ASSIGNMENT 7: PRELIMINARY DWGS OF FINAL SCHEME BLDG DWGS

ROOF EL +5159'-2" FF READING ROOM

SEVENTH FLOOR EL +5140'-0" FF MEETING ROOM

ADMINISTRATION

SIXTH FLOOR EL +5125'-0" FF RESTORATION WORKSHOP

FIFTH FLOOR EL +5108'-0" FF STAFF ROOM

SECURE RESEARCH

ARCHIVE

DOCUMENTATION PROCESSING

FOURTH FLOOR EL +5093'-0" FF

THIRD FLOOR EL +5076'-0" FF

ARCHIVE

QUARANTINE

SECOND FLOOR EL +5059'-0" FF

SECURITY

RECEIVING

MECHANICAL

VAULT

GROUND FLOOR EL +5042'-0" FF

BASEMENT

103

EL +5025-0" FF

ASSIGNMENT 7: PRELIMINARY DWGS OF FINAL SCHEME

43'-0"

11'-6"

31'-6"

VAULT 001

47'-0"

31'-6"

MECHANICAL SYSTEMS 002

11'-6"

104

43'-0"

11'-6"

E.C.

TOILET 2

31'-6"

RECEIVING

SECURITY

104

103

47'-0"

D LOBBY

31'-6"

101

SECURITY 105

COAT ROOM 102

11'-6"

E TOILET 1

E.C.

105

ASSIGNMENT 7: PRELIMINARY DWGS OF FINAL SCHEME

43'-0"

11'-6"

E.C.

TOILET 4

31'-6"

DOCUMENTATION PROCESSING 202

47'-0"

QUARANTINE

GALLERY

203

201

31'-6"

11'-6"

E TOILET 3

106

E.C.

43'-0"

11'-6"

E.C.

TOILET 6

31'-6"

GALLERY

302

301

47'-0"

ARCHIVE

31'-6"

11'-6"

E TOILET 5

E.C.

107

ASSIGNMENT 7: PRELIMINARY DWGS OF FINAL SCHEME

43'-0"

11'-6"

E.C.

31'-6"

SECURE RESEARCH 402

ANCILLARY SERVICES 47'-0"

401

STAFF ROOM 403

31'-6"

11'-6"

108

E.C.

43'-0"

11'-6"

E.C.

TOILET 8

31'-6"

RESTORATION WORKSHOP

GALLERY 501

47'-0"

502

31'-6"

11'-6"

E TOILET 7

E.C.

109

ASSIGNMENT 7: PRELIMINARY DWGS OF FINAL SCHEME

43'-0"

11'-6"

E.C.

TOILET 10

RUINS OVERLOOK ROOM

31'-6"

MEETING ROOM

602

603

47'-0"

31'-6"

BOOK STORAGE

ADMINISTRATION

601

604

11'-6"

E TOILET 9

110

E.C.

43'-0"

11'-6"

E.C.

TOILET 12

31'-6"

CAFE 702

READING ROOM 47'-0"

703

READING ROOM

31'-6"

701

11'-6"

E TOILET 11

E.C.

111

ASSIGNMENT 8: STRUCTURE Early Concepts

112

In order to create a structure capable of spanning 350 feet across the ruins I started by researching examples structural systems that could achieve this, and precedents which used these systems. My first instinct was to use a truss to span the ruins and support the roof. Knowing that the truss would need special accommodations for spanning so far, I looked into the Minneapolis Federal Reserve Bank, which has a truss that spans 320 feet. This truss is formed by welding typical size beams together, which produces the required stiffness and strength, but at the cost of being over 30 feet deep. After modeling a similar truss spanning over the ruins, I the structure to be too bulky. Looking for a less visually intrusive system, I started to research catenary cable structures. My first iteration at designing one involved complex curvature, which could distract too much from the ruins. My next iteration simplified it to a beam being supported by a single cable, which would be loaded in order to result in an efficient catenary form.

113

ASSIGNMENT 8: STRUCTURE CONCEPT-1

114

Pleased with the catenary cable structure, I decided to explore the possibility of using columns to reduce the span distance and support the roof. I found that this method had many issues which conflicted about my concept of not damaging or interfering with the ruins. To avoid the columns landing near the ruins or having their foundations impact the ruins, I would have to spread them out far from the nave. This would mean that I am now essentially spanning perpendicularly to the nave, and after moving them far enough from the ruins to prevent any damage to them, the spanning distance would be around 150 feet and require a spanning system which may be more visually obtrusive than my first idea of using big awkward trusses.

115

ASSIGNMENT 8: STRUCTURE CONCEPT-2

116

To learn more about the loads that a catenary structure would apply to my building, I researched Sizaâ&#x20AC;&#x2122;s Portuguese Pavilion to analyze how it addresses the load from itâ&#x20AC;&#x2122;s concrete roof. From his plans, I learned that Siza supported his roof with a sequence of shear walls which resist the force of the roof pulling them inward. Applying this logic to my structural scheme and knowing that I would need a strong lateral bracing system which could resist the sway caused by an earthquake I started to plan out a series of shear walls. My catenary cable system consists of four trusses, the walls which support the outer trusses do not have any fenestration or need for other openings, thus making these walls primary shear walls for the buildings and bearing the load of the trusses. The inner trusses are supported by section of load bearing wall, this wall is punctured by the spaces on each floor, this wall is strengthened by joining it to the parallel wall with beams at every floor, this in a sense forms a rigid concrete Vierendeel truss. Further stability is added to the structure by designating the majority of walls between the outer and inner trusses as shear walls. Now looking to verify the rigidity of the structure, I assembled a rough mock-up to demonstrate how the cables transfer loads into the building. This mock-up was has a chain of paperclips suspended between two pieces of foamcore, which are each attached to a plywood background by two screws. The paperclip chain is loaded with nine equally spaced and evenly weighted collections of washers and nuts; under this load the chain forms a catenary arch. Without any reinforcements, the two pieces of foamcore, which are representative of the buildings, experience a large moment force, which causes them to tip inward. I thought that extending inward the walls which support the trusses would help mitigate this moment. Adding an additional screw to each side of the mock-up, I found that the foamcore resisted the moment and stood more upright. This was

117

ASSIGNMENT 8: STRUCTURE

118

corrected even further when I placed a piece of plastic, which serves as the roof, between the two pieces of foamcore. This roof piece reduced the reduced the moment that the foamcore had to resist by acting as a spreader component; the horizontal component of the force from the chain is transferred directly into this plastic piece, instead of the force using the height of the foamcore as leverage, thus creating shear stress at the connections at the bottom. The forces applied to the ends of the plastic roof piece caused it to bow upwards, if the roof were to be designed with a camber or arch, then it could serve to transmit a horizontal force into the building, which would counteract the horizontal force from the truss cables; designing the roof with this shape would incorporate drainage into the form. To ensure that the roof does not cause the buildings to topple inwards, they would need a foundation which can withstand earthquakes and the various loads in the building. A typical foundation wall with a footing would not be ideal for this situation, so I instead opted to use pilings to support the building. Each floor of the museum and archive are supported by a system of precast concrete beams which rest on corbels in the load bearing concrete walls. These beams span 41 feet between the the corbels, are subjected to some high loads, and would need to be cost effective. Researching with these criteria in mind, I found that concrete double tee beams are capable of spans twice as long as my span, they can be engineered to support heavy loads, and their precast nature allows for quick, economical construction. Given that the load bearing concrete walls are left unconcealed, I decided that the floor structure should be visible to visitors too. Striving to make these beams more interesting, I began to customize them. I started with the section profile of a beam that met my criteria, I rounded the transition from the flanges into the webs to make the beam vaulted, at first I used circular curves to achieve the vaulting but I switched to using elliptical curves to help maintain the beams proportions of the flange depth to the web depth and width. The vaulted quality of

these beams lend themselves to incorporating other architectural elements, the curved surface of the vault is effective at diffusing light, and the webs can behave like the fins of a heat sink able to absorb or radiate heat when needed. Due to the humidity in La Antigua, using the beams as part of a radiant system would introduce issues of condensation, but in a different climate it is possible, this is demonstrated in the Klarchek Information Commons by Solomon Cordwell Buenz.

119

ASSIGNMENT 9: ENVELOPE CONCEPT

120

The characteristics of monolithic load bearing concrete walls addressed many of the issues present in La Antiguaâ&#x20AC;&#x2122;s climate. The high thermal mass of the thick concrete walls help to keep heat out of the buildings, which is important because of the high levels of solar radiation the city experiences. The monolithic quality of the walls seal up the buildings and keeps water out, this is essential due to the daily precipitation during the rainy season. The requirements of the gallery spaces and the archives may require additional insulation in order to mitigate temperature fluctuations; this can be resolved by adding a thin layer of insulation to the inner perimeter of these spaces and coating the insulation with a cement plaster and metal lath to maintain idea that the walls are one solid mass. To prevent further deterioration, I needed to protect the ruins from harsh direct sunlight, eroding rain, harmful vegetation, and the negative effects of bats living within the sacristy. Not wanting to completely conceal the ruins, I needed a solution that was transparent to some degree. I found that glass would not be ideal because of its weight and the amount of substructure to brace it against the wind; furthermore I had no plans on mechanically conditioning the ruins, so a breathable screening system would allow for better natural ventilation of the space. When I learned about metal fabric screening systems, I quickly learned that this material met many of the criteria I had set for sheltering the ruins. Metal fabrics are manufactured in a multitude of materials, weaves, and patterns; this affects light transmission, weight, transparency, flexibility, and perception of the ruins inside. A screen of metal fabric that cuts down the direct sunlight exposure on the ruins and reduces the amount of rain getting into the space would help preserve the ruins and additionally make the ruins less favorable for damaging plants. A screen system of metal fabric is not enough

ROOF

19'-2"

EL +5159'-2" FF

SEVENTH FLOOR

15'-0"

EL +5140'-0" FF

SECOND FLOOR

17'-0"

EL +5059'-0" FF

GROUND FLOOR EL +5042'-0" FF

CHRIS NORCROSS

COMPREHENSIVE STUDIO ARCH 513

SCALE :

1/2" = 1'-0"

DATE :

12/10/2019

WALL SECTION

A3.01

121

RIVER OF TIME

ASSIGNMENT 9: ENVELOPE CONCEPT

122

to keep bats and birds out of the ruins, but it can restrict access to choke points which use ultrasonic repellers which deter bats and birds from entering. An example of metal fabric being used for a similar purpose is the Hill House Box by Carmody Groarke. In this project an enclosure was needed to protect Charles Mackintosh’s Hill House while it undergoes a restoration of the facade. This project required the enclosure to be breathable and unobtrusive, but also screen the house from rain. To accomplish these requirements, Carmody Groarke selected a stainless steel chainmail screen, which was produced in 59 inch wide rolls; on site these rolls were linked together with matching steel rings to create a uniform surface. The supporting steel structure was designed to be capable of withstanding the screen being turned into a sail of ice during a storm with 70mph wind speeds. Learning from Carmody Groarke’s clean implementation of chainmail on the Hill House Box, I decided to use a chainmail screen to enclose La Recoleccion. To strike a bond between the building and the architectural language of La Antigua, I decided that the chainmail should be colored in a hue which complements the city’s distinct color palette. I found that light pinkish purple could harmonize well with the city, the existing color palette, and the surrounding landscape. This color would be applied to the chainmail through powder coating, but the concrete of the buildings would remain light grey or white to indicate the difference of material and purpose between the buildings and the screen.

123

ASSIGNMENT 10: ACTIVE STRATEGIES ANALYSIS

124

The program of the archives and vault require the air inside these spaces to be maintained within a particular temperature and humidity range to prevent the decay and deterioration of artifacts. In the galleries similar conditions are needed within the display cases and some cooling and dehumidification in the galleries too. The galleries can not be conditioned as a whole like the archives because the majority of people visiting the museum will be accustomed to much warmer interior spaces. Furthermore, there would be a considerable amount of cool air lost to the unconditioned floors adjacent to the galleries when people pass between floors; this is not as much of a concern for the archives due to their much lower occupancy levels. Leaving the galleries unconditioned is not an option because the temperature differential between inside and outside of the display cases would be prone to the formation of condensation of the glass, so the gallery spaces must be conditioned to act as a buffer between the microclimate within the display cases and the exterior Guatemalan climate. Other program areas for the most part need only minor conditioning; the cafe, bookstore, lobby, and admin offices are fine just active ventilation while being passively heated or cooled. The restoration workshop, research room, and reading room will need temporary heating, cooling, and ventilation during working hours, but artifacts are expected to return a climate controlled case or the archives during non working hours. After researching other systems and consulting with an engineer at Arup, it was determined that a variable air volume system to be the only system capable of serving the needs of the program and suitable for the climate. A variable refrigerant flow system is not reliable or consistent enough for conditioning the archives. Radiant systems would form condensation during the humid rainy season. A constant air volume system would be wasteful of energy.

125

ASSIGNMENT 10: ACTIVE STRATEGIES PROGRAM DESIGN

ARCHIVE TOWER

READING ROOM

MEETING ROOM

ADMINISTRATION

RESTORATION WORKSHOP

STAFF ROOM

SECURE RESEARCH

ARCHIVE

DOCUMENTATION PROCESSING

126

ARCHIVE

QUARANTINE

SECURITY

RECIEVING

MECHANICAL

VAULT

MUSEUM TOWER

BOOK STORAGE

READING ROOM

CAFE

RUINS OVERLOOK ROOM

BOOK STORAGE

GALLERY

ANCILLARY SERVICES

GALLERY

COAT ROOM

LOBBY

PASSIVE VENTILATION

127

ACTIVE HEATING, COOLING, & VENTILATION

SECURITY

ASSIGNMENT 10: ACTIVE STRATEGIES SYST. EVALUATION ADMIN, WORKSHOP READING, & MECH.

LOBBY, CAFE, & MECH.

GALLERY CASES & GALLERY SPACES

HEATING

Heating will be needed for the comfort An active system is necessary to Heating will be needed for the comfort An active system is necessary to of occupants occasionally during maintain an appropriate climate for of occupants occasionally during maintain an appropriate climate within Summer. the artifacts. Summer. the display cases. Passive solar heat gain can provide a Passive solar heat gain can provide a majority of needed heat. majority of needed heat. Most occupants will dress accordingly Most occupants will dress accordingly for the weather. for the weather.

COOLING

Cooling will be needed for the Winter An active system is necessary to Cooling will be needed for the Winter months. maintain an appropriate climate for months. High occupancy zones may need the artifacts. High occupancy zones may need additional cooling. additional cooling. Passive ventilation and high thermal Passive ventilation and high thermal mass will address a majority of cooling mass will address a majority of cooling needs. needs.

VENTILATION

SYSTEMS 128

ARCHIVES & VAULT

An active system is necessary to maintain an appropriate climate within the display cases. An active system is necessary to reduce the formation of condensation on the display casesâ&#x20AC;&#x2122; glass.

Natural ventilation will address a An active system is necessary to Natural ventilation will address a An active system is necessary to majority of the ventilation needs. control the humidity in the archives majority of the ventilation needs. control the humidity within the display Workshop may need additional and vault. cases. ventilation to filter particulate in the air. An active system is necessary to provide fresh conditioned air during high occupancy loads. Variable Refrigerant Flow (VRF) System Hybrid VRF-Geothermal Heat Pump System Variable Air Volume (VAV) System Hybrid VAV-Geothermal System

Variable Refrigerant Flow (VRF) System Hybrid VRF-Geothermal Heat Pump System Variable Air Volume (VAV) System Hybrid VAV-Geothermal System

PROS VARIABLE REFRIGERANT FLOW (VRF)

VARIABLE AIR VOLUME (VAV)

GEOTHERMAL BORES

• Small pipes are used to convey water for heating and cooling through the building • Climate can be tuned per each room’s needs • No need for a large air handling unit • Mechanical room can be smaller than an air system and more easily decentralized

CONS • • • •

Can not ventilate Can not change humidity Less precise than VAV systems Limited to a few options for in floor units

• Ventilation is part of the system • Ductwork is bulky • Reliable and precise control of the interior climate • Requires a large mechanical room with fresh air access or • Can filter the air of particulates and other unwanted substances exterior located units • Reduces fan usage, more energy efficient than a CAV system • Fans are noisy and not energy efficient

• Impact on the site is concentrated on a concentrated area • Excessive removal and dispersal of heat into the soil can cause • Can be integrated with the construction of the building’s the system to be less effective foundational piles • The system has a high intial cost • A closed loop system will have a minimal impact on water usage and will not require a location for water discharge

129

ASSIGNMENT 10: ACTIVE STRATEGIES Zone 1: Archives SYST. SELECTION Using a variable air volume system addresses all of the issues other systems have; but it comes at the cost of needing room for ducts and a large air handling unit. To reduce the size of of the mechanical room, I opted to use geothermal heat pumps in order to avoid boilers, chillers, and cooling towers. The primary supply and return ducts are located in a mechanical chase in either building; from the supply duct branch ducts branch off at each level and trifurcate into three subfloor supply ducts with floor supply grills. A single return grill near the mechanical chase allows for the room to be conditioned through the displacement of old air with new air. The mechanical chase is adjacent to the toilet rooms in both buildings, this means that the chase can be utilized for a third duct which exhausts the air from the toilet rooms.

Cooling Air Volume

40,000 CFM

Area of Main Supply & Return Ducts

20 SF

Area of Branch Supply & Return Ducts

35 SF

Area of Fan Room

1,000 SF

Area of Fresh Air Louvers

100 SF

Area of Exhaust Air Louvers

80 SF

130

Zone 2: Museum Cooling Air Volume

40,000 CFM

Area of Main Supply & Return Ducts

20 SF

Area of Branch Supply & Return Ducts

35 SF

Area of Fan Room

1,000 SF

Area of Fresh Air Louvers

100 SF

Area of Exhaust Air Louvers

80 SF

131

Appendix

132

Appendix 1: History

133

134

Urban

135

136

Architecture

137

Santa Teresa

138

On June 22nd, 1675, Real Cédula 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 from la Orden del Señor San José de Carmelitas Descalzas 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 aother series of earthquakes that occured on February 4th, 1751 which left the temple damaged once again. 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 in the design including, a door recessed under an arch, large window-niche and two bodies with three streets separated by inter-columns.

139

La Recoleccion

140

141

Architecture of Antigua

142

Amarillo Tridentino

Rojo Concepcion

Amarillo la Merced

Ocre

Amarillo Pensativo

Celeste Santiago

Amarillo Jocotenango

Celeste Colonial

Rojo Santo Domingo

143

Santa Teresa

144

Following the abandonment of the city the monastery was occupied by poor families. However this use changed again throughout the buildings history following colonial rule in Guatemala. For example, during the second half of the 19th century the courtyard was used to dry coffee beans. 1940s - December 2007 the monastery was occupied by a jail of men from the Palace of the City For a time, In the departments of the monastery functioned as the center of production of aguardiente from La Antigua as well as the production of “Gran Frabrica de Vinos de Fresas y Aguas Gaseosas” from Sres. Rossbach y Co. (Castañeda, 1907, 129) Restoration 1980 Consolidation of the temple wall in the confessionals area 1981 Extraction of interior filling of the Temple 1983 New wooden door placed to access the Temple 1986 Cleaning and gravel removal 1991 Restoration of lanterns and vaults on top floor of convent 1992 Replenishment of materials in buttresses of the south wall, crack injection of temple wall, replenishment of material in north wall of presbytery 2001 Consolidation of vaults in sacristy and facade 2002 Cleaning of walls in cloister area 2008 Release of walled bays, release of elements in walls, cleaning of the cloister 2010 Release and cleaning of arches and moldings of the central cloister, release of block pumice enclosures placed for more than 50 years that monastery was occupied by men’s prison 2011-2012 Consolidation and restructuring of walls 2013-2014 Archaeological research 2015- 2016 Archaeological research work, integration, consolidation in southern patio areas, integration of LED lighting, floor, arcades and capitals of columns of central cloister.

145

La Recolección

146

147

History of La Antigua, Guatemala Guatemala was originally settled in the valley of Almolonga. Currently this city is known as Ciudad Vieja. The capital was moved a few miles north following a mudslide that took the life of the governor of the city in 1541. Founded as Santiago de los Caballeros de Guatemala in 1543 in the Valley of Panchoy. Juan Bautista Antonelli was a military architect, who planned the city. The city was planned on a north-south east-west axis. The 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. Thus, Antigua became the first planned city in the Americas. Access to water was the most important aspect of deciding the new location. Drainage and access to water were key elements for the city when the location of Antigua was ultimately chosen. However due to the water table being so high heavy construction posed an issue for the city. Every house had access to plumbing before the earthquake of 1773. Additionally, plumbing was added after it was made illegal to drain sewage into the streets of the city. The courtyard became the location of cesspools to combat the problems with sewage.

148

The conditions and characteristics of the Panchoy Valley were favorable for the implementation of a settlement. 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. Antigua was constantly one of the poorest new world settlements controlled by Spain. Ultimately, this was a result of the lack of gold and mineral resources in Guatemala. However

the soil in this region of Central America served well for agricultural practices. Therefore, the main economic structure of the city revolved around the agriculture. The city council, known as the ayuntamiento were in charge of approving all building projects in the city. The Ayuntamiento was constantly against the construction of new religious institutions once the city had grown to the extents of the original plan. Mainly this hesitation toward new religious construction was because it would likely lead to the impoverishment of the local population. Additionally, to make matter more complicated all building projects required permission from the king of Spain resulting in long delays for the construction of buildings. This included the construction of projects that were not expressly permitted by the city council. Between 1775 and 1778 the city government issued a series of decrees that required the complete abandonment of Antigua. In these decrees the relocation of the capital to present day Guatemala City was issued. Additionally, the city was to be razed with all materials from the city forced to be moved to the new capital. As a result, many of the decorative elements in the city were relocated. The moving of the stone and brick used as the main building materials in the city was forced through decree; however due to the complexities of the task were never fully carried out. This resulted in the modern day ruins that are present across Antigua. With the relocation of the capital and the lack of government in Antigua the historic colonial architecture fell into further disrepair. Ultimately this was perpetuated by local people taking materials to be used for their own construction. Following the moving of the capital, the vernacular use of overhangs and wooden timber roofs were replaced with parapets and built from corrugated iron. As an effort to preserve the city and prevent further destruction, in 1944 the Government of Guatemala officially made Antigua a national monument. With this new status, renovations in Antigua allowed for Interior alterations to be completed, however the exteriors of the buildings must remain in the colonial state in which they were built.

149

150

Sites

La Recoleccion Santa Teresa Las Catalinas

Las Capuchinas

La Concepcion

Plaza Mayor

Santa Clara

151

Santa Teresa

152

153

Santa Teresa Today

154

155

La Recolecciรณn

156

157

La Recolección Today

158

159

City Surroundings The people of La Antigua very devote and faithful. This quality of the people is reflected by the cityâ&#x20AC;&#x2122;s numerous churches. In the vicinity of the sites, there are 14 churches. Some of these churches, like La Recoleccion and Santa Teresa are in ruins, others like Iglesia de la Merced are still in use today.

160

Given La Antiguaâ&#x20AC;&#x2122;s long history, there is a need for many museums to preserve the cityâ&#x20AC;&#x2122;s history and retell it to new generations. Some of the museums are oriented around the remains of churches that were destroyed in past earthquakes, some others are focused on textiles or colonial art.

The economy of La Antigua is supported by tourism. This economy is works well because the numerous historic buildings and ruins throughout the city. To support the tourism industry, there are dozens of hotels, restaurants, shops, cafĂŠs, and bars dispersed around the city.

There are few parks in La Antigua, the most notable is Parque Central, which is the size of an whole city block. Even though the city has few parks around the city center, the surrounding mountains and volcanoes are covered in lush forests, which provides the city and the people a connection to nature.

161

People of Guatemala The population of Guatemala is composed of a diverse collection of people from many ethnicities and backgrounds. The country has been inhabited dating backing 14,000 years, with most settlements later becoming part of the Maya civilization. When the Spanish conquistadors arrived in present day Guatemala in 1524, Lieutenant Pedro de Alvrado and his small army conquered the region. The influx of Europeans dramatically changed the cultures and lifestyles of the local people. The Spaniards introduced the Guatemalans to Catholicism and the Spanish language. The blending of Europeans with the indigenous population created a new ethnic groups.

162

Today roughly half of Guatemalaâ&#x20AC;&#x2122;s population live in poverty and an eighth live in extreme poverty. Rural areas in the country have limited access to health services and education, and suffer from higher rates of malnutrition, and infant & maternal mortality.

Geography of Guatemala Guatemala is part of the Ring of Fire that encircles the Pacific Ocean; as a result, the region experiences lots of seismic and volcanic activity. In the south of Guatemala are the highlands, which is formed by the decline of the Sierra Madre mountains. The highlands experience and cooler climate than the rest of the country. The mountains and seismic activity causes many landslides, which are a constant risk to towns and cities. The numerous volcanoes in the country are in various states of activity, of the 37 volcanoes in Guatemala, 3 are active, the rest are dormant or extinct.

163

Vernacular Architecture of Antigua

164

165

Geography of Antigua

166

The city is nestled between mountains to the west, north, and east. In addition to the numerous mountains that make up the cities surroundings, volcanoes also have a large impact on the city. Situated due south from Antigua is the Volcán de Agua. The Volcán de Agua is extinct and poises not threat to the city today. In addition to the Volcán de Agua, two more volcanoes are located to the south of Guatemala including Volcán de Fuego and Acetango. The Volcán de Fuego was very active throughout the course of Antigua’s history. However the effects of volcanic eruptions only resulted in ash to cover parts of the city and no considerable damage ever occurred. This is primarily a result of the wind patterns in the area blowing the ash to the north west as opposed to the north east and towards the city. As a result of Antigua being located in a valley, the city is within a floodplain. As a result, the city has suffered from a series of floods during its time as a colonial settlement. The three main floods and mudslides occurred in 1652, 1689, and 1762. These mudslides proved destructive to the architecture of the city in addition to many of the people who lived in Antigua. In addition to being commonly affected by volcanic eruptions and floods earthquakes are common. Five major earthquakes occurred throughout the 18th century. On September 29th, 1717 the earthquake of San Miguel led to large scale destruction of many of the buildings in the city. Furthermore the earthquake occurring on July 29th 1773 was the final step in the complete relocation of the city. With the earthquake that occurred in 1773 the main water system in the city had become unusable. During the summer of 1773 the City’s Captain General ordered that the city be moved with the new capital of Guatemala being established in 1774.

167

168

Appendix 1: Climate

169

Overall Five Climate Zones 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. Dry climates are usually hot and sunny, with little precipitation. Temperate climates and Continental climates are often combined as they can overlap. Both climate types experience all four seasons, but continental temperatures have more extreme averages than the temperate climates. The New England part of America is considered Temperate. 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. 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. 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.

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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. 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) Antigua -1,533m (5,000ft) La Aurora-1,509m (4,950ft) The city of Aurora where the airport is located has a similar elevation to Antigua thus very similar climate conditions. “Located within the tropics and with elevations ranging between sea level and more than 13,000 feet (4,000 metres), Guatemala experiences a diversity of climates. Below 3,000 feet (900 metres) in elevation, average monthly temperatures range between 70 and 80 °F (21 and 27 °C) throughout the year; between 3,000 and 5,000 feet (900 and 1,500 metres), temperatures range between 60 and 70 °F (16 and 21 °C); and from 6,000 to 9,000 feet (1,500 to 2,700 metres), they range between 50 and 60 °F (10 and 16 °C). Above 9,000 feet, temperatures are marginal for crops, but the grazing of animals is possible.” 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.

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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.

In La Antigua the wind speed there 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. The wind direction there is usually from South to North. So the North facade of the building is going to suffer a large number wind load, that need us to pay attention to it. But in some way, the wind is a gift from nature in La Antigua, if it is not very strong, like it is in autumn and summer, because it gives us a method to use breezes to comfort people in the hot and wet weather. We can follow the direction of the wind to create buildingsâ&#x20AC;&#x2122;s openings. Breezes in high humidity allow people to feel cooler because of evaporation from their skin. This is why ceiling fans make people feel cooler. Breezes also replace indoor air with fresh, keeping humidity levels from building up as people exhale both moisture and heat.

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The solar radiation is very high in La Antigua, especially from November to May. The strong sun radiation cause the high temperature there, which when the sun radiation is high, the temperature will be high at the same time. For example, the average direct normal solar radiation in February is about 170 Btu/sq.ft per day which is the highest in a year. And the lowest sun radiation happens in May which is 70 Btu/sq.ft per day.

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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. Mornings are often sunny, but eventually give way to clouds and rain. 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. For a week or two in July and/or August, there can be breaks in the rain. Known as canĂcula, this period aligns well with summer vacation in the U.S., and offers travelers a good chance to enjoy nice weather during their vacation â&#x20AC;&#x201D; making this one of the best times to visit La Antigua. Buildings in hot-humid climates need to be different from those in hot-dry climates. Heavy buildings can moderate the temperature in dry areas. In places where the climate alternates between dry and wet seasons, heavy buildings are comfortable in the dry season, but during the rainy season are damaged by mold growth caused by condensation. Buildings in humid climates are also subject to more intense attack by insects, and materials rust and decay much more quickly than in other environments.

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In La Antigua, the humidity is very high. For example, the lowest point of the year, which only happens at an extreme, is March at 41% humidity. Yet the comfort point is still between 75% and 80%. If we compare this to the high in the same month is 90%. Throughout a day in March the humidity changes drastically but as the day reaches its peak at noon the humidity is at it lowest point. Opposite to this, the highest humidity levels are seen in the months of June and September. Both of these months see a low of 65% humidity which changes the dynamic of the month. These two months are a part of the rainy season for La Antigua. Even still, the comfort levels still remain between 75% and 80% which is very high to be a comfort level. At night the highs can be close to 98% humidity. Most commonly the humidity levels will reach 94.4% at midnight.

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Appendix 1: Vegetation

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INFLUENCE OF THE CLIMATE IN GUATEMALA Guatemala is a small country located at the beginning of the Central American passage between the North and South American continents. The country has a wide variety of climate types that vary from smaller areas of dry arid to tropical rainforest. An ultimate deciding factor in Guatemalaâ&#x20AC;&#x2122;s climate is the spine of the Sierra Madre Mountain range that originates in southern Mexico. This barrier condition is responsible for the divisions of two extremes of climate in the northern and southern regions of Guatemala. The northern regions are primarily tropical with the majority of rainforest vegetation. The southern regions are more subtropical and savanna which is home to more moderate and less adaptive species of vegetation. Direct boundaries of climate types in Guatemala are seen in close relationship to forest types spread throughout the country. Below the Sierra Madre is the soole location of the savannah, while the lowlands and valleys of the mountain range is home to the montane and cloud forests. Scattered at the higher elevations are the dry scrub regions in which there is low diversity of vegetation. Far above the Sierra Madre is the tropical rain and humid forests that are land locked from the Caribbean Sea and retain high moisture and over growth is common.

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In conjuction with the climate and forest types of Guatemala is the agricultural industry. The labor community of the country supports a great amount of the countryâ&#x20AC;&#x2122;s income with 12% of their GDP being supported by agriculture. Most agriulture begins at the lowlands of the Sierra MAdre in the middle of the country passing through the capital Guatemala CIty. It exponentially increases farther south due to fertile soil from the volcanoes that dot the Sierra Madre and coast. There are patterns that are repeated through various conditions of natural and man-made forces.

LA ANTIGUA

Forests of Guatemala

Insutry and Agriculture

LA ANTIGUA LA ANTIGUA

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AVACADO Avocado: (Least Concern) Avocado, Persea americana, is an evergreen tree in the family Lauraceae which grown for its nutritious fruit, the avocado. The avocado tree is large and dome shaped with oval or elliptical leaves arranged in a spiral on the tips of branches. The leaves have a red pigmentation when they first emerge and turn green as they mature. Avocado trees produce clusters of small, green-yellow flowers at the end of twigs and a large, fleshy, pear-shaped fruit with a single large seed.

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The fruits can be purple to green in color with smooth or warty skin depending on variety. The flesh of the fruit is yellow-green in color and has the consistency of butter. Each fruit contains one large seed. Avocado trees grown from seed can take 4â&#x20AC;&#x201C;6 years to produce fruit whereas grafted plants may produce fruit within 1â&#x20AC;&#x201C;2 years. The tree can reach a height of 20 m (65.6 ft) and originated in the rainforests of Central America.

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CARIBBEAN PINE Caribbean Pine: (Least Concern) Caribbean pine is an evergreen coniferous species of tree that grows to mature heights of 65 to 100 feet (20 - 35 m) with a single, round, slender, erect trunk up to 20 to 40 inches (50 - 100 cm) in diameter, measured at breast height. Mature trees form an irregular crown with a crown depth comprising 25 to 33% of tree height.

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First-order branches slender and ascending, later ascending to drooping, inner bark is colored red-brown, rough textured, scaly, and fissuring into irregularly square plates. Foliar units in dense, irregularly spaced tufts. This species is native to the Caribbean â&#x20AC;&#x201D; in western Cuba, Pinar del Rio and Isla de la Juventud; in Mexico, southern Quintana Roo; in northern Guatemala; in Belize; in Honduras including Islas de la BahĂa; and in El Salvador.

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DICKINSON’S LADY SLIPPER Dickinson’s Lady Slipper: (Endangered) It ranges from Southern Chiapas State, Mexico into Guatemala inhabiting open grassy slopes with shallow seeps on south facing hills in juniper woodlands at elevations of 1,000 to 1,450 meters. It is a small puberulent orchid with only cauline leaves in an upright stem, which are clasping, elliptic to lanceolate, parallel-veined and plicate. The plant begins to bloom at 20 to 25 cm tall and may reach 42 cm. The plant may be colonial, propagating through rhizomes, but is often seen as a single stem.

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The flowers are 2.5 to 3 cm and bright yellow. They open on a terminal raceme of one to eight flowers from bottom to top. Each flower is subtended by a leaflike bract. There are three sepals, the lower two of which are fused, and they are petal-like. There are three petals, the lower of which is a balloon-shaped lip. The lip is semi-transparent with bright yellow net-like lines, and with a more-or-less puckered mouth and enrolled margins. The flowers are reported to be self-pollinating. Dickinson’s lady’s slipper prefers warm to cool temperatures and blooms in late spring and summer. This orchid has a reputation for being extremely difficult to cultivate.

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FICUS MAXIMA Ficus Maxima: (Least Concern) Ficus maxima is a tree which ranges from 5–30 m (16–98 ft) tall. Leaves vary in shape from long and narrow to more oval and range from 6–24 (cm) (2–9 in) long and from 2.5–12 cm (0.98–4.72 in) wide. F. maxima is monoecious; each tree bears functional male and female flowers. The figs are borne singly and are 1–2 cm (0.39–0.79 in) in diameter (sometimes up to 2.5 cm [1 in]).

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Individuals may reach heights of 30 m (98 ft). Like all figs it has an obligate mutualism with fig wasps; F. maxima is only pollinated by the fig wasp Tetrapus americanus, and T. americanus only reproduces in its flowers. F. maxima fruit and leaves are important food resources for a variety of birds and mammals. It is used in several herbal medicines across its range.

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FLAT-LEAVED VANILLA Flat-Leaved Vanilla: (Least Concern) Flat-leaved vanilla is a species of climbing orchid native to the neotropics. With its roots firmly anchored in the soil, the plant develops from its apical bud, forming a long vine that can reach up to 30 meters. It will climb up trees or other structures, using its fleshy aerial roots for support. The inflorescence is composed of a cluster of 15 to 20 white, yellow or greenish flowers. Flowering is very brief, with each flower blooming only for a single day. The flowers have a slight fragrance; however, the scent is not that of vanilla essence, which is derived from the cured seed. Flowering takes place during the dry season, between March and June, in Mexico.

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The leaves are alternate and oval, thick and glossy with a pointed end. They are three times longer than their width and approximately 15 cm long. Although it is referred to as a bean, the fruit of the vanilla plant is actually a capsular seed pod, 15 to 23 cm long. The fruits, which take about 5 months to mature, can only be produced by plants that are over three meters tall. Each pod contains thousands of tiny seeds that are only about 0,25 mm in size.

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HUITO Huito: (Least Concern) These trees normally grow up to a height ranging between 10 meters and 33 meters. The trees have a dense crown. The branches and foliage spread generously around these trees. The lower branches of the trees grow mostly in a horizontal way. The diameter of the trunk is approximately 15 to 30 inches. The bark of the tree is thick and smooth. The leaves are deciduous, lanceolate to oblong, oppositely located and have short petioles. They are plenty in number and mostly concentrated at the apex of the branches. The leaves are around 4 to 13 inches in length and 1 ½ to 5 ¼ inches in width. They have a whitish prominent midrib and an overall glossy dark green coloration. The leaves can occasionally have tooth-like edges. The flowers bloom from May to September. The flowers are red, yellow or white colored and have a tubular shape. The diameter of each of the flowers is around 4 centimeters. Each of the flowers has five petals. They grow in terminal clusters near the base of the leaves. The flowers are pollinated by bees. The fruits develop between September and April and take about a year’s time to mature. The fruits are globose, ovoid shaped berries having a length of around 9 to 15 centimeters and width of around 7 to 9 centimeters. The fruits weigh anywhere between 150 grams to 400 grams. The fruits have a hollow tube-like structure at the apex and are tapering near the stem end. The fruits have a thin, leathery, yellowish-brown skin covering a pulp around 1 to 2 centimeters thick.

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The pulp is soft and rubbery, yellowish-brown in color and has a musky odor. The juice of the pulp is known as ‘Genepine’ which is an important coloring ingredient. The central cavity holds around 300 seeds which are enclosed in mucilaginous membranes. The seeds are circular, flat and have a yellowish-brown coloration. They have a length of around 1 centimeter to 1.25 centimeters and are arranged in rows. The fruits have an acidic to sub-acidic flavor and are edible only when they are overripe.

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ILAMA FRUIT TREE Ilama Fruit Tree: (Least Concern) The tree may be spreading or erect, to 25 ft (7.5 m), often branching from the ground. It has aromatic, pale brownish-gray, furrowed bark and glossy, thin, elliptic to obovate or oblanceolate leaves, 2 to 6 in (5-15 cm) long. There are 1 or 2 leaflike, nearly circular, glabrous bracts, 1 to 1 3/8 in (2.5 3.5 cm) long, clasping the base of the flowering branchlets. The new foliage is reddish or coppery. Solitary, long-stalked, maroon flowers, which open to the base, have small rusty hairy sepals, narrow, blunt, minutely hairy outer petals, and stamen-like, pollen bearing inner petals. The fruit is conical, heart-shaped, or ovoid globose, about 6 in (15 cm) long; may weigh as much as 2 Ibs (0.9 kg). Generally, the fruit is studded with pronounced, triangular protuberances, though fruits on the same tree may vary from rough to fairly smooth. The rind, pale-green to deeppink or purplish, is coated with a dense, velvety gray-white bloom. It is about 1/4 in (6 mm) thick, leathery, fairly soft and granular. In green types, the flesh is white and sweet; in the pink types, it is pink-tinged near the rind and around the seeds, all-pink or even deep-rose, and tart in flavor.

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It is somewhat fibrous but smooth and custardy near the rind; varies from dryish to fairly juicy, and contains 25 to 80 hard, smooth, brown, cylindrical seeds, 3/4 in (2 cm) long, 3/8 in (1 cm) wide, each enclosed in a close-fitting membrane easily slipped off when split. The ilama is strictly tropical; grows naturally not higher than 2,000 ft (610 m) in Mexico; is cultivated up to 5,000 ft (1,524 m) in El Salvador; up to 5,900 ft (1,800 m) in Guatemala. It seems to do best where there is a long dry season followed by plentiful rainfall. In areas where rainfall is scant, the tree is irrigated.

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JUNIPER Juniper: (Endangered) Juniperus standleyi is a species of juniper native to Guatemala and the adjacent extreme southeast of Mexico (Volcán Tacaná in Chiapas), where it occurs at high altitudes of 3,000–4,250 m. Juniperus standleyi is an evergreen coniferous shrub or small to mediumsized tree growing to 5–15 m (rarely 20 m) tall. The leaves are of two forms, juvenile needlelike leaves 5–7 mm long on seedlings and occasionally (regrowth after browsing damage) on adult plants, and adult scale-leaves 1–1.5 mm long on older plants; they are arranged in decussate opposite pairs or whorls of three.

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The cones are globose, berry-like, 6–9 mm diameter, Blue-black with a thin pale waxy coating, and contain three to six seeds; they are mature in about 18 months. The male cones are 1.5–2 mm long and shed their pollen in spring. It is dioecious with male and female cones on separate plants.

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NETLEAF OAK Netleaf Oak: (Least Concern) Quercus polymorpha, the Mexican white oak, Monterrey oak or netleaf white oak, is a North American species of oak. It is widespread in Mexico, Guatemala, and Honduras, and known from a single population in the United States (about 30 km north of the Río Grande in Val Verde County, Texas) but widely planted as an ornamental. Quercus polymorpha is a subevergreen tree up to 20 meters (67 feet) tall. Bark is gray or brown. Leaves are elliptical or egg-shaped, up to 15 cm (6 inches) long, unlobed or with a few shallow rounded lobes.

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A medium-sized oak to 40 feet tall and a trunk to 2 feet in diameter, with a broad, rounded crown. Naturally occurring only in one known U.S. population, near the Devil’s River in Val Verde county, but more common in Mexico. Now planted widely as a landscape tree. Simple, alternate, 2” to 5” long, highly variable, but often with several shallow lobes or teeth towards the tip. Leaves are thick, leathery, and semievergreen, with distinct raised veins on the yellowish underside. New leaves in spring are peach-colored and in colder climates the leaves are late-deciduous and turn yellow-brown. Male and female flowers borne in spring on the same tree, the male flowers on catkins up to 4” long, the female flowers less conspicuous. An acorn, maturing in one year, up to 1” long and enclosed one-half by the acorn cup. Dark to light gray, developing scales and flaky plates, then shallow fissures on older trunks. Primarily used as a landscape tree in the nursery trade, and often sold as ‘Monterrey oak.’

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SMOOTH-BARK MEXICAN PINE Smooth-Bark Mexican Pine: (Least Concern) This beautiful pine is distinguished by long, pendulous needles that form a graceful, open evergreen conifer. The slender needles are up to 12 inches long in groups (fascicles) of five. In its native environment, smooth-bark Mexican pine is considered fast growing and can reach more than 120 feet tall and about 60 feet wide. In southern Georgia, trees have reached heights of 32 feet and widths of 25 feet in 10 years. Trees have a pyramidal form when young, becoming flat-topped with age.

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As indicated by its common name, bark on young trees is smooth and red- to greybrown. As the tree matures, its bark becomes dark, thick, and scaly. Two-inch pollen cones form in February or March at the bases of shoots and turn from yellow to brown with time. Seed cones also form on interior branches and are oval, often asymmetrical, and curved at the base, growing to a length of 3â&#x20AC;&#x201C;6 or more inches. Cones mature in their second year. The species is extremely variable in its characteristics.

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SPOTTED-CORALROOT ORCHID Spotted Coralroot Orchid: (Least Concern) Corallorhiza maculata attains a height of 10 to 60 centimeters. The yellowish-brown to reddish-brown and reddish-purple scape emerges from a small coral-shaped rhizome. The leaves are reduced to sheaths surrounding a simple scape (stalk of the inflorescence), yellow-green (sometimes green), yellowishtan to reddish purple and in some plants an extremely dark-purple bordering on “black.” The inflorescence is a lax to dense raceme of few to numerous flowers. The three sepals and two lateral petals are generally spreading to slightly recurved. The flowers are variously colored, usually reddish to purplish or pure yellow-green, with the petals commonly spotted with purple, the lip is generally white with reddish-purple spots; occasionally there are plants with flowers where the lips are white without the purple spots. The fruit is a capsule. Corallorhiza maculata is a mycoheterotroph; it lacks chlorophyll and obtains energy by parasitizing the mycelium of fungi in the family Russulaceae. The rhizome and lower stem are often knotted into branched coral shapes. The stem is usually red or brown in color, but occasionally comes in a light yellow or cream color. There are no leaves and no photosynthetic green tissues. The stems bear dark red scales and intricate orchid flowers.

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Corallorhiza maculata flowers are small and emerge regularly from all sides of the stem. The sepals are dark red or brown tinged with purple, long and pointed. The side petals are reddish, and the lip petal is bright clean white with deep red spots. It is usually scalloped along its edges and 7–10 mm (9⁄32–13⁄32 in). In some varieties, the lip may be plain white without spots.

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SWEET-SCENTED LYCASTE Sweet-Scented Lycaste: (Least Concern)

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Lycaste aromatica (The Sweet-Scented Lycaste) is the most popular flowering plant. It grows on branches with moss, in damp limestone cliffs and in tropical semi-deciduous forests or warm oak forests along streams. It has ovate pseudobulbs, deciduous lanceolate leaves and erect flowered spikes about 5.9 inches long. Flower are yellow-orange and fragrant, about 2.8 inches wide. The flowering period extends from late Spring through-Summer. It is a terrestrial orchid growing on mossy branches.

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WHITE SAPOTE White Sapote: (Least Concern) White sapote trees range from 15 to 20 ft (4.5-6 m) up to 30 to 60 ft (9-18 m) in height. They have light-gray, thick, warty bark and often develop long, drooping branches. The leaves, mostly evergreen are alternate, palmately compound, with 3 to 7 lanceolate leaflets, smooth or hairy on the underside. The odorless flowers, small and greenish-yellow, are 4- or 5-parted, and borne in terminal and axillary panicles. They are hermaphrodite or occasionally unisexual because of aborted stigmas. The fruit is round, oval or ovoid, symmetrical or irregular, more or less distinctly 5-lobed; 2 1/2 to 4 1/2 in (6.25-11.25 cm) wide and up to 4 3/4 in (12 cm) in length; with thin green, yellowish or golden skin coated with a very thin bloom, tender but inedible; and creamy-white or yellow flesh glinting with many tiny, conspicuous, yellow oil glands. The flavor is sweet with a hint or more of bitterness and sometimes distinctly resinous. There may be 1 to 6 plump, oval, hard, white seeds, 1 to 2 in (2.5-5 cm) long and 1/2 to 1 in (1.25-2.5 cm) thick, but often some seeds are under-developed (aborted) and very thin. The kernels are bitter and narcotic.

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C. edulis has leaves that are usually composed of 5 leaflets, glabrous to slightly pubescent on the underside, and 5-parted flowers. The fruit is somewhat apple-like externally, generally smooth, symmetrical and 2 1/2 to 3 in (6.25-7.5 cm) wide. C. sapota is very similar but the leaves usually have only 3, somewhat smaller, leaflets. The woolly-leaved white sapote usually has 5 leaflets, larger and thicker than those of C. edulis and velvety-white on the underside, and all the parts of the flowers are in 4â&#x20AC;&#x2122;s. The fruits are usually 4 to 4 1/2 in (10-11.25 cm) wide, ovoid, irregular and knobby, with rough, pitted skin, and there are often gritty particles in the flesh.

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DENSITY AND PARKS

Within and around the area of Antigua there are a variety of species of flora and the density of them. Generally speaking, from the center of the city to the outskirts vegetation gradually increases in size. Some sorts of vegetation was placed with human intention, whereas other areas that may seem to look 01213450 like parks from an aerial view, could more plausibly be untouched land. Antigua is an interesting location as it combines a multitude of flora species from all sites of the neighboring mountains and hills.

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URBAN BLOCK AND COURTYARDS

256

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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Appendix 1: Wine Production

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WINE PRODUCTION PROCESS

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ARCH 513 Section 1 Assignment 1: Research Jessie Brown, Emily Galante, Jessica Karpeichik September 6, 2019

ASSIGNMENT 1: WINE PRODUCTION PROCESS; HARVESTING

COLOR TEXTURE TIME

HAND VS. MACHINE

GATHERING

When harvesting grapes in the beginning stages of wine making, three main processes occur; observation, picking, and gathering. Before picking the grapes, they must have the right texture and color, and the time of day and year must be right. Right after being at their most firm state, grapes will start to soften very slightly. It is at this slight softening moment that the grapes are most ripe. Green grapes should appear to be more of a yellow-green color, while red grapes become either a red or purple color, depending on the specific type of grape. All grape types should have a thin, white coat around them. Chardonnay and Pinot Noir ripen on the early end of harvest season, while grapes for Cabernet Sauvignon, Merlot and Sangiovese ripen at the end of harvest season. Harvest season is dependent on where in the world the grapes are being grown. In the Northern Hemisphere, harvest season falls between late July and early October, but in the Southern Hemisphere, it falls between late January and early April. Around the equator, harvest season is typically more in line with that of the Southern Hemisphere, as all harvest seasons occur towards the end of warmer months, transitioning into cooler ones. Picking of grapes can be done either by hand or machine. While the machine is the more modern and efficient way of picking, many believe that many grapes & juices are lost due to the aggressiveness of the machine. When grapes become damaged, they have the potential to brown and grow bacteria. Cutting by hand allows for more precision, avoids potential loss, and ensures quality. It also keeps parts of the stem intact, which will sometimes be used later in fermentation. Some specific grapes, like Pinot Noir, are more delicate and the preservation of its skin is vital for the final product. While the debate of hand versus machine typically revolves around quality, it can also depend on the vineyardâ&#x20AC;&#x2122;s size and distribution. Larger vineyards which distribute more wine will often use machinery to maximize efficiency, while smaller or higher-end vineyards stay with tradition. The final step in harvesting before moving to process the grapes is gathering. All of the picked grapes are placed into larger bins and transported to be pressed and processed.

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ASSIGNMENT 1: WINE PRODUCTION PROCESS; PREPERATION

262

Traditionally, once the grapes were sorted, they were placed into a vat and stomped on by the feet of men and women that worked at the winery. However, currently, most wineries choose to do this process mechanically. The tool that is primarily used is the hydraulic wine press. These presses either stomp or trod the grapes into must. Must is freshly pressed grape juice that still has all of the skins, seeds, and solids within it. The must is necessary for making red wine, but not for white wine. When making white wine it is necessary to remove the skins, seeds, and solids, to prevent unwanted color and tannins. Tannins are a textural element that makes wine taste dry. The hydraulic wine press is a vertical presser with a single-piston connected to a pressing plate. This process is used to crush the juice out of the grapes. Once the juice is squeezed out, it collects in the plate under the stainless steel cage and basin. The remains of the grapes are then gathered at the bottom of the basin. These remains are then disposed of appropriately.

KEY 1. Stainless Steel Cage 2. Stainless Steel Basin 3. 90 mm diameter Piston 4. Pressing Plate 5. Electrical Control Box 6. Relief Valve

ASSIGNMENT 1: WINE PRODUCTION PROCESS; FERMENTATION Fermentation Temperature Red Wine 70° F - 85° F (20° C - 30° C) KEY

White Wine 45° F - 60° F (7° C - 16° C)

1. Cooling Heating Jackets 2. Variable Capacity Lid Package 3. 50 cm Round Door 4. Sample Valve 5. Ladder Rack 6. Sealable Stainless Steel Lid with latches 7. Sample Valve (in back) 8. Galvanized Iron Hoops 9. Lower Stainless Steel Sash Door (in back) 10. Forklift Pallet Jack 11. Discharge Tube

Average Temperature in Antigua 67° F (19° C)

5 8

1 3

In-stock Wine Tank 12,000 L 8,000 L 8,000 L 6,000 L 4,000 L 2,000 L 1,000 L 800 L 600 L 500 L 400 L 300 L 200 L 100 L 55 Gallon

4 Stainless Steel Tank

VCT Sloped Bottom Tank VCT Sloped Bottom Tank Closed Top Sloped Bottom Tank VCT Sloped Bottom Tank VCT Sloped Bottom Tank VCT Sloped Bottom Tank L Variable Capacity Wine/ Fermenting Tank L Variable Capacity Wine/ Fermenting Tank L Variable Capacity Wine/ Fermenting Tank L Variable Capacity Wine/ Fermenting Tank L Variable Capacity Wine/ Fermenting Tank L Variable Capacity Wine/ Fermenting Tank L Variable Capacity Wine/ Fermenting Tank L Variable Capacity Wine/ Fermenting Tank Stainless Steel Drum

Oak Vat

Oak Vats 4,000 L 3,000 L 2,500 L 2,000 L 1,000 L

Garbellotto Oak Vat Garbellotto Oak Vat Garbellotto Oak Vat Garbellotto Oak Vat Garbellotto Experience Oak Vat

4,000 L 3,000 L 2,500 L 2,000 L 1,000 L

Garbellotto O Garbellotto Oak 4,000 Vat L 4,000 L Garbellotto A Garbellotto Oak Vat 3,000 L Garbellotto O Garbellotto Oak Vat Garbellotto A Garbellotto Oak 3,000 Vat L 2,500 L Garbellotto Experience Oak Vat Garbellotto O 2,500 L Garbellotto A 2,000 L Garbellotto O 2,000 L Garbellotto A 1,500 L Garbellotto O Garbellotto A 1,000 L Garbellotto O Garbellotto A 750 L Garbellotto O Garbellotto A

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In-stock Wine Tank 12,000 L 8,000 L 8,000 L 6,000 L 4,000 L 2,000 L 1,000 L 800 L 600 L 500 L 400 L 300 L 200 L 100 L 55 Gallon

These two containers share similar purposes but contrast in many ways. There are pros and cons to using both types of tanks, but overall either method is utilized because of its tradition or technology. Starting with materiality, wood in the oak vat is porous so there the beverage has a minimal amount of oxygen that is allowed to flow through the barrel. The steel tank’s materiality is rigid, therefore the wine in the tank does not have the possibility of leaking oxygen. Regarding cleanliness, steel is easy to keep clean after disposing of the liquid, but the oak vats are not easily cleaned. The barrels have to be sanitized thoroughly so there is no leftover bacteria from the bath made prior. Temperature is very important in the fermentation process. Oak vats are utilized because of its ability to retain heat, while the steel tanks do not retain heat well. When using the steel tanks it is important to control the environment in which it is made and stored, so the internal temperature of the tank is correct. The overall flavor of the wine differs based on where it is stored and fermented. The oak vats decrease tannins and help its wine reach its optimal fruitiness. If it is aged in oak barrels for many years the wine can develop nuttyOak flavors. Casks The steel tanks are typically used Oval white wines, but can beRound for zesty used for red 4,000 L Garbellotto Oval Casks 7,000 L Garbellotto O as well. The tanks limit the wines’ exposure to 3,000 L Garbellotto Oval Casks 7,000 L Garbellotto A oxygen which keeps the wine fresher. Another 2,500 L Garbellotto Oval Casks 6,000 L Garbellotto O thing to consider when choosing oak or steel, 2,000 L Garbellotto Oval Casks 6,000 L Garbellotto A is that oak vats could potentially leak time, 5,000over L Garbellotto O while the steel vats will not. 5,000 L Garbellotto A Oak Vats

ASSIGNMENT 1: WINE PRODUCTION PROCESS; BOTTLING AND AGING The bottling system shown is a 3-tier, efficient, the self-leveling system that is used to rinse, fill, and seal bottles. This process tends to be done by a machine so it will not have to be done manually. The bottles are placed on the conveyor belt and are separately lifted onto a steel plate. This plate is continuously circling around is then transferred to the rinsing system. The bottles are slowly flipped over and rinsed inside. Then they are moved down the conveyor belt and are then filled with the wine. After filling the bottles, they can then be sealed with a cork or screw top and then transition to another conveyor belt to be shipped out or to continue aging. After Bottling there is the aging process. Some wineries will continue to age their bottles, while others will ship them out right away. Storage of wine is very important, and has to be kept in a contained environment. The humidity and temperature is critical to the aging of the wine. Typically, the bottles are stored in cellars, due to their cool temperature and moderate humidity. The humidity it crucial to storing the wine, wine must be kept in an area with 50 percent to 70 percent humidity. If the humidity is higher than 70 percent, it can cause mold and degradation of the labels and glue. If the humidity is below 50 percent, the corks will dry out and will cause a loss of wine in the bottles, and potentially degrade the wine.

Humidy

Red Wine 50% - 70%

White Wine 50% - 70%

Antigua 62% - 91%

KEY 1. Rinsing System 2. Filling Monoblock 3. Corker System 4. EVO Valves 5. Group Fillers 6. Electrical Control Box

4,5 Typical EVO Valve

264

for

3 Typical Corker Valve

ASSIGNMENT 1: RED WINE VS. WHITE WINE VS. ORANGE WINE PICK

PICK

HARVEST

PRESS FOR JUICE

FERMENT

SETTLE & SEPARATE SKINS

RACKING

FERMENT

BOTTLING & AGING

RACKING

BOTTLING & AGING

PRESS FOR JUICE

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Quality grapes do not grow well in La Antigua, Guatemala due to its geographical location & moisture levels. They are imported in from the more eastern region of Zacapa where the air is drier. Still, the lack of grapes has led those in La Antigua to use oranges to produce wine. The general process of wine making does not vary much between grapes and oranges, but small differences yield great variation for the final product. Each start with the process of harvesting; grapes being cut by machine or hand and oranges being picked also either by machine or hand. Each are then gathered and brought to be pressed for juice. Red grapes keep their skins in order to give the wine its color. Oranges and white grapes are treated the same way, where only the juice then moves to be further processed while the skin and seeds are removed. This difference also adds the step of settling to the process for white grapes and oranges, allowing particles to form sediment to be separated at the bottom of the first tank it is in. Extra sugar is added to the orange juice mixture because it does not naturally contain as much as grapes do. All then move on to fermentation, where the sugar is transformed into alcohol. Primary fermentation is when about 70% of fermentation occurs, typically lasting three to five days, then moving on to secondary fermentation, when the rest of it occurs, lasting one to three weeks. Once fermentation is complete, the liquid from the steel fermentation tanks is transferred again to oak barrels for red grapes where sediments are then removed, and it can sit and to either oak barrels or straight to bottling for white grapes and oranges. These can be sent right to the bottling stage because the sediments are separated earlier on. White wine does not require the same aging that red wine typically does, so it can then be bottled, corked and distributed. Red wine does require aging to reach its highest potential, so once it is bottled and corked, it is put into storage in a controlled climate allowing proper aging before its time for distribution.

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Appendix 1: Archival Process

267

ASSIGNMENT #1: ARCHIVAL PROCESS Archives are defined by the National Archives as, “collections of documents or ‘records’ which have been selected for permanent preservation because of their value as evidence or as a source for historical or other research. Records are created by the activities of organizations and people; they serve an active purpose whilst in current use and some of them are later selected and preserved as part of an archival collection.” Archival material takes a variety of forms, including: documents, photographs, and scrolls. These require proper care in the way they are handled, maintained, and stored. They are carefully curated and conserved by professionals who maintain the collections commonly found in museums or archive facilities. These collections are found in a range of institutions, such as libraries, museums, religious organizations, schools, etc. Archives are important because they hold value to specific

268

Conservation: The profession devoted to the preservation of cultural property for the future. Conservation activities include examination, documentation, treatment, and preventive care, supported by research and education. Conservator: A professional whose primary occupation is the practice of conservation and who, through specialized education, knowledge, training, and experience, formulates and implements all the activities of conservation in accordance with an ethical code such as the AIC Code of Ethics and Guidelines for Practice. Preservation: The protection of cultural property through activities that minimize chemical and physical deterioration and damage and that prevent loss of informational content. The primary goal of preservation is to prolong the existence of cultural property. -Treatment -Examination -Documentation http://www.nationalarchives.gov.uk/documents/ a r c h i v e s /a r c h i v e - p r i n c i p l e s - a n d - p ra c t i c e - a n -Stabilization introduction-to-archives-for-non-archivists.pdf -Restoration

DEFINITION: “An archive is an accumulation of historical records or the physical place they are located. Archives contain primary source documents that have accumulated over the course of an individual or organization’s lifetime, and are kept to show the function of that person or organization.”

SCOPE

people or organizations. The historical value is not only critical to telling an objectâ&#x20AC;&#x2122;s story, but is also important to understanding a piece of history. As archives are so valuable, the way they are handled and stored is a rigid process. From needing cool, dry conditions, with little light, to needing specialized fire protection, storing archives is a complex process. There is a fine line between curating, collecting, and hoarding. The purpose and mission of the institution must be carefully considered. The Randolph County Historical Museum in West Virginia, should not have on display a jar of walnuts from Texas. Some collections, such as the Jacob Raider Marcus Center for the American Jewish Archives, focus on curating, conserving, and storing artifacts. Other institutions, like the White Chapel Art Gallery, do not have a permanent collection at all, instead focusing their resources on exhibiting traveling installations. All institutions have a statement that delineates the artifacts they are interested in and a purpose for their collection, this mission statement guides what is accessioned into the museumâ&#x20AC;&#x2122;s care. Caring and storing artifacts is expensive. Following the mission statement allows the institution to focus their limited resources.

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STANDARDS WHO MAKES THE RULES? Collections care is highly regulated, prescribing standards that protect collections from deterioration. Who creates the policies and standards of artifact care? When an archaeological artifact is discovered, who decides what happens to it? Some organizations, like UNESCO are renowned for their cultural protection, but what do they actually do? There are many authorities on collections management. Many nations have their own standards for how collections are cared forthese artifacts, after all, represent a nation’s pride in their culture and history. In nations such as Israel and Egypt, the government allocates resources to the Antiquities Authority. This government department is responsible for the conservation of national heritage; any digging or renovations, even on private land, requires a prior archaeological survey. Similarly, in Antigua, Guatemala, the government regulatory agency for conservation and restoration is the National Council for the Protection of LA Antigua Guatemala. Through its operations and policies on national, municipal, private property and real estate NCPAG aspires to conserve national heritage and generate revenue through heritage tourism.

270

In the United States, on the other hand, if found on private property, it belongs to the land owner. The Department of the Interior has developed the National Parks Service Museum Handbook, which gives detailed instructions on the archival and conservation process; this handbook is the standard for all collections located on government land. Another well respected authority is the Canadian Conservation Institute, which is operated by the Department of Canadian Heritage. As the NPS reminds the Museum Handbook reader, due to the variety of materials and environments, “you should [...] evaluate the nature of the materials in the collection, the space in which they are housed,

and your local climate. Do this in consultation with your regional curator, a conservator or other expert in museum environments” (NPS 4:26). La Antigua is protected by UNESCO, an international organization with the mission to “build peace through international cooperation”. They protect cultural heritage as a means to reinforce the identity of communities facing civil unrest and economic instability. An advocate for culture and development, UNESCO works with communities to create policies and legal framework. AN ARTIFACT’S LIFE While there are many authorities on what is to be done with objects of cultural and historical significance, there are many commonalities. To ensure the care of a collection, the process of accepting, handling, and storing artifacts is carefully monitored and recorded. Accessions: Before an artifact can be entered into the collection, it must first be evaluated. Does it fit the scope of the collection? Is it in good condition? A condition report is performed, photographic documentation is taken, an accession number assigned, and finding aid created. Quarantine: Once accessioned, it is prudent to quarantine the item in an environmentally sealed space. This protects the collection from contracting infestations. Only after ensuring the artifact is healthy can it move on to storage. Storage: Artifacts must be stored in specifically designated storage areas. These spaces are organized so that it is clear what is in the collection and these artifacts can easily be accessed. The environments in these spaces are regulated and monitored. These spaces have very limited contact with people. Anytime an artifact is moved in or out of storage a condition report is performed. Exhibition: Items on exhibit tell a narrative

Accession

Storage

Exhibition

which entice people to visit and make donations. On display items are very vulnerable to damage as they are exposed to increased volumes of people and lighting. Circulation: Sometimes artifacts travel to other institutions on loan so new populations can enjoy the narratives. These transitions are carefully planned with legal contracts, insurance, and documentation. The artifacts are packed and transported by specially trained handlers. Researchers: Some collections provide a space for researchers to examine the collection. Appointments are made in advance and the researcher is monitored by an archivist. Like storage and exhibition space, the research area has certain environmental settings, and minimal amounts of items are allowed into the space. Security concerns include theft and damage from handling.

Reading Room

Conservation

Deaccession

Conservation: When artifacts have noted damage or decay, they are sent to the conservation lab. The amount of restoration and repair is an ethical debate, but minimally, trained conservationists ensure the artifact is stabilized. Deaccessions: When an object is removed from a collection. This may be due to funding issues or good will initiatives. Is it a painting Nazis stole during WWII? Are there human remains that should be returned under NAGPRA?

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IDEAL STORAGE CONDITIONS STORAGE ENVIRONMENT What do all artifacts have in common? They must be carefully stored. The goal of a curated collection is to conserve and preserve artifacts for posterity. To ensure the artifacts are not deteriorating, specific environmental conditions are required for collections in storage as well as on exhibit. Not only are the artifacts carefully observed and documented as they enter and leave storage, but the temperature and humidity are monitored as well. According to the NPS, where the comfort of people is a factor, ideal temperature for exhibits storage and research spaces are between 59-77Â° and the relative humidity is between 45-55%. Generally, the cooler the better for the preservation of artifacts. Stability is extremely important, as fluctuations in relative humidity and temperature result in damage. Maintain temperatures by removing all electronics from the storage area. To conserve energy costs, seasonal temperature drift may occur, however, it should take place over weeks/ months. The relative humidity should fluctuate no more than 5% from the set point. Light sources create additional heat as well as UV radiation which results in fading of pigments. Ideally storage areas have no windows. Minimally they require UV film and window treatments. Curated artifacts vary in materiality and stability. Such variations result in specific needs and susceptibilities. Best practice organizes the collection so artifacts with similar needs are stored together. The papers are stored in a separate room from the archaeological artifacts, which is in a different space than photographic negatives (which are extremely flammable). This organization also helps in locating artifacts within the collection.

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STORAGE FURNITURE Artifacts, depending on their size, are stored in archival quality, acid free folders, boxes, and sleeves. Letter sized documents fit in the files and may be stored upright in archival boxes. The

Looting

Fire

Emergency Preparedness Drill- APOYO

Similar artifacts are stored together in a dedicated storage area

Cool and dry environment

Lighting is motion operated and non-excessive

Operable shelves conserve space

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boxes are then stored on shelves or cabinets. Large documents are typically stored in a flat file cabinet. Storing objects in folders that are fit to the size of the drawer prevents the artifacts from shifting and becoming damaged. Large paper items are only rolled for storage when storing them flat is not an option. Framed objects are stored vertically on sliding storage racks or on cushioned frame racks. The furniture, and thus storage space required, depends on the type and size of the collection. Archival suppliers such as Gaylord or Hollinger have online catalogs which include the dimensions of these products. Archival record storage cartons- 12”x15”x10” Textile box- 18”x40”x6” Document Case- 5”x12”x 10” RISK MANAGEMENT As a steward of resources held in public trust, museums must develop a risk management plan. Everything that might cause the collection to be harmed is considered and measures taken to avoid such events from happening. Museums comply with codes and regulations applicable to their facilities and operations. Factors considered include: site security, pests, insurance, and visitor rules. The archive is designed with fire prevention in mind. Automatic fire detection and alarm systems are required as well as fire suppression systems. These systems are checked annually. Clean agent systems suppress fires using gases, protecting artifacts from water and chemical damage. Dedicated storage spaces for collections are separated by fire rated assemblies and are separate from collections processing and preparations. Mechanical systems are required to maintain the collections at the appropriate constant temperature and relative humidity. Ideally, the air that is supplied to the collection is filtered, removing harmful particulate and gaseous pollutants. The National Archives and Records Administration filters gases at levels ranging from 1-12.5 parts per billion. These systems must not produce condensation that could infiltrate and damage collections. Extremely valuable items may need additional security to prevent theft. Such items may be stored in vaults.

TYPES OF ARTIFACTS Artifacts have been collected throughout history for numerous reasons, from the historical to the personal, with the intent of preserving these objects for posterity. Most museums categorize their artifacts into two major categories; organic (made from animal or plants such as fur, leather, etc) and inorganic (nonliving materials such as metals and stones). These classifications relate to how the object is then cleaned, processed, cataloged, and stored. Common types of artifacts include: - Pottery - Arrowheads - Tools - Vases - Weapons - Jewelry Before artifacts can be stored or placed on - Clothing display, they must be processed. One of the first - Coins/currency steps is to clean the artifact, removing dirt and stains. A delicate process, it is easy for an artifact to become damaged at this stage, therefore, it is performed by a professional conservationist Generally, chemicals are not used as cleaning agents due to the potential damage it can cause. Textiles are vacuumed/ brushed with a special museum vacuum with a HEPA filter.

MEDIUM

LIGHT

GOLD COINS

As with all archives, temperatures and humidity levels must remain consistent (roughly between 68Â° F and 72Â° F) in all collection spaces. Metal materials can withstand a larger range in temperature than paper products, resulting in metal artifacts being stored in separate rooms with their own climate control.

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Along with the negative affects of temperature, lighting also can damage artifacts beyond repair. In an ideal situation, artifacts should be stored in complete darkness, each in their own storage container to ensure that different artifacts will not damage our touch one another. https://www.mola.org.uk/type-series-medieval-potteryarchaeological-services

CLAY POTTERY

MEDIUM TEMP.

(68-

ARROW HEADS

PAINTINGS

LOW LIGHT LEVELS

MEDIUM TEMP.

(68-

Before paintings can be stored they should be cleaned. Depending on the condition and medium the painting may be cleaned in different ways. A microfiber cloth is used to remove dust, or a wood polish can be used to avoid rusting. After the artwork is properly cleaned it should be wrapped for storage. Specialists are consulted to determine the best solution for these preparations. Paintings must be examined for loose or flaking paint, if this is found, conservationists may treat the artwork to stop further flaking or archivists will make deliberately store the damaged painting on its own. All paintings should be dusted every four to six months to maintain their condition.

ARTWORK STORED VERTICALLY

When storing artwork some experts use a special board called crescent board, which is an acid-free material that is used to separate boards when being stacked in storage, leaving space for the art to breathe. Professionals test all artwork to ensure the work is acid-free, including the framing material that was used. If artwork does contain acid it will cause it to age faster and decrease both the quality and value of the work. All materials that come into contact with artifacts must be acidfree.

RACKS FOR ART STORAGE

CRESCENT BOARD FOR SEPARATING ART

REPAIR DAMAGED FRAME

https://www.rackline.com/tag/artwork-storage/

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https://postalheritage.wordpress.com/2014/05/30/ auditing-the-stamp-artwork-collection/

The ideal temperature for artwork (and also furniture and fabrics) is 70Â° F to 72Â° F. The favored relative humidity is 50%. If a painting that was in storage is moved to an exhibit, it must first be examined to ensure that it is safe for the artwork to withstand being on display. The hanging features on the back of the work must be tested to ensure they are strong enough to support the painting. There have been instances where this has been overlooked and paintings have fallen once on display, further damaging the work. Additionally, the location of the artwork must be carefully considered. There needs to be little or no natural sunlight to protect from discoloration or fading of pigments. Any windows must be covered with a UV film.

PHOTOGRAPHS The category of photographs is more extensive than just printed images on paper; it includes negatives and slides. Similar to other paper artifacts, they are susceptible to decay and become increasingly fragile after time. One point that conservationists stress about photo archives is that there needs to be an understanding of what a photograph is and how it is composed. Most photographs consists of a final image material, a binder layer, and a primary support. The final image that is seen is typically silver, platinum, or dyes/pigments. The binding layer is transparent, and the final image material is applied to a primary support such as paper, glass, metal or plastic. Depending on the type of materials that compose the image, different conservation and storage techniques may be utilized. Negatives need to be stored in a much cooler environment than paper materials, the ideal conditions are 30%-40% relative humidity and temperatures below 65Â° F. Whereas photos should be stored in an environment of 68Â° F to 72Â° F. For storage, prints should be matted with acid-free museum board for protection. Conservationists ensure that no adhesives touch the prints. Much like other collections, photographs and prints are becoming increasingly digitalized. When some prints are too damaged to be maintained there is a new process called electrostatic copying, which is used to transfer unstable documents onto permanent paper. Most damage that comes to photographs is from poor handling, dirty hands, not using gloves. Improper storage and light damage can also destroy photographs.

LOW LIGHT LEVELS

MEDIUM TEMP.

276

https://www.loc.gov/preservation/care/photo.html h t t p s : / / w w w. n a t i o n a l g e o g r a p h i c . c o m / p h o t o g r a p h y / proof/2017/07/archive-of-the-national-police-guatemala/ BLITHEWOLD ARCHIVES

(68-

30%+/- HUMIDITY

BOOKS The process of archiving books is more extensive and complicated than other artifacts. This is due to the fact that books are a combination of paper which consist of text or images and are bound together. There are many parts of a book that could deteriorate at different rates. CAN BE STACKED MEDIUM

LIGHT

MEDIUM TEMP.

(68-

Book collections need to be cleaned regularly to remove dust and dirt and to monitor their condition. The cleaning/treatment process can range from minimal to extensive work. In attempts to conserve a book, a conservator performs chemical, structural, and cosmetic treatments on the pages and bindings. Cleaning can include: washing, mending and guarding of pages, re-sewing, re-backing, repairing or even replacing bindings.

Since books throughout history have been made and bound with a variety of materials, such as papyrus, skins, and cotton, specialists have attempted to find the best ways to preserve every type of book material. One example is the leather bound book. In the past, they were often oiled to improve their feel and appearance. Unfortunately this technique resulted in stains, making the leather sticky, and degraded the paper. Since some books have images, there is sometimes consultations between book conservationists and photography consultants in hopes to correctly preserve/repair/ enhance an image or photograph found within. Unlike other archival materials, books can be stored together. Some books will even have their own acid-free box or storage container, custom made to match the dimensions of their bindings. This adds support to maintaining the current shape and condition of the book. Additionally this helps in keeping out dust, light, and mold.

EXAMPLE OF DAMAGED BOOK

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REPAIRING BOOK

PAPER MATERIALS A large portion of any archival collection is its paper materials. This includes: newspapers, scrolls, manuscripts, pamphlets, government documents, death certificates, and more. There needs to be humidity and temperature control in the archival storage for all paper materials, high temperatures or humidity can cause paper to decay, discolor, change shape, and more. The temperature range should be between 40Â°F and 70Â°F, with 50% relative humidity. Paper materials also need protection from light. Too much exposure to UV radiation can damage paper archives; the ideal storage condition should be minimal light or complete darkness.

LOW LIGHT LEVELS

Depending on the year that a newspaper was printed can determine the treatment and storage for said print. Newspapers printed after 1840 are likely to be highly acidic; meaning that is more likely to turn yellow and brittle. The preferred way to save these prints is to scan them for a digital copy. News-clippings that contain photos may require more treatment than other paper materials. In such cases, the protocol for photographs is then followed. The ideal storage condition for paper materials is to separate them from other paper using buffer sheets (made of polyester) and placing them in a folder.

EXAMPLES CLIPPINGS

NEWSPAPER

MEDIUM TEMP.

(68-

30%+/- HUMIDITY

EXAMPLES

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https://www.nedcc.org/preservation101/ session-1/1what-is-preservation

h t t p s : / / w w w. g o o g l e . c o m /

OLDEST TORAH SCROLL

PAPER

DIGITAL - AUDIO & VIDEOGRAPHY

LOW LIGHT LEVELS

MEDIUM TEMP.

(68-

30%+/- HUMIDITY

Technology has been growing at a rapid pace these last few decades. As a result, the way media is being recorded is constantly changing. From film rolls, to CDâ&#x20AC;&#x2122;s, to now being able to record things on cell phones or drones, the format that videos and audio are being recoded and stored is becoming smaller and smaller. For example, previously, an entire room may have been required to contain the film from a speech. The same data could now be converted to fit on a single flash drive or take up part of an external hard-drive. The future of archives is moving to become digital for numerous reasons. One main point is that is allows the information to be kept at its current state, the digital copy will not deteriorate or become damaged from being handled because it will be viewed electronically from then on. Another point is that it allows for the records to be more accessible. Having a digital collection not only allows for remote access to the information, but it allows for more than one person to be using a specific archive at a time.

FILM CANISTERS

CASSETTE TAPE RECORDINGS

FLOPPY DISK

For future generations this seems to be the way that collections will be viewed and stored. This allows considerably less physical space to be required for collections. This does not mean, however, that physical archival materials will stop being preserved. They will still go through the archival process, but may be kept in storage untouched for longer than they once had been.

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ASSIGNMENT 1: A DANGER TO COLLECTIONS DANGEROUS PEOPLE One of the largest dangers to a collection is people. Collections hire staff to patrol the galleries and attend researchers, ensuring people do not intentionally harm the artifacts through inappropriate behavior. Being told not to touch something automatically makes some peopleâ&#x20AC;&#x2122;s fingers itch, but the oil on your skin leaves a residue on artifacts that will damage them in the long term. Artifacts should always be handled with archival gloves. There is some debate about whether gloves should be used by researchers with paper documents or frequent hand-washing would be more appropriate, but the best approach is to not touch the object at all if not necessary. Some collections include sacrificial artifacts of lesser significance that are used for educational purposes. These, visitors are allowed to touch.

Drink in gallery

Design stumble into painting

Before entering the collection, visitors must store their coats, bags, and comestibles in available lockers. Food and beverages are strictly prohibited as they not only release additional humidity, but they may also spill onto the collection. Excessive baggage may result in bumping against works unwittingly damaging them in the process. Many institutions allow visitors to take photos, however there is a strict no-flash policy. Over time flash photography fades pigments, just like exposure to light. Some of the dangers people pose to artifacts are difficult to prevent. People naturally release additional amounts of heat and moisture into the air by their mere presence. Sometimes collections are damaged due to the way they are exhibited. It is important to avoid tripping hazards, a museum in Taiwan unfortunately found out the hard way. DANGEROUS ORGANISMS

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People are not the only living things that pose a threat to collections. Bugs, rodents,

High Relative Humidity resulting in mold growth

Stolen from the Munch Museum

and mold may make there home in the stacks. Pests permanently damage collections, staining and corroding the artifacts. To prevent such problems, avoid food and drinks in the site, quarantine incoming objects, and seal all possible entry points. Pests are often attracted to damp conditions, an infestation may indicate the environmental storage conditions are not right. The temperature and relative humidity should be low. Regulating the relative humidity is especially important to prevent microorganism growth. TECHNOLOGICAL SOLUTION Collections are increasingly becoming digitized, allowing the public to readily access them while the actual artifact stays protected in storage. Due to this process, the RWU Archive no longer collects newspaper articles. Researchers easily â&#x20AC;&#x153;searchâ&#x20AC;? these documents.

Artifact

protected

with

Trained collections staff (enough help to safely handle)

cloths Lifting from base (most stable part)

Gloves protect artifact from oils

Preplanned path

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ARCHIVAL PRECEDENTS THE SMITHSONIAN INSTITUTE

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Established in 1846 for “Increasing and diffusion of Knowledge among men”, the Smithsonian Institute is a campus of 11 federally funded museums, galleries and research facilities, mainly located on the National Mall in Washington D.C.. In 2018, nearly 29 Million people visited the Smithsonian. Comprised of an estimated 155 million objects, works of art and other specimen, with around 6,000 federal employees, 7,000 on site volunteers and 11,00 digital volunteers in 2018, the Smithsonian is one of the largest institutions in the world. ARCHIVE The Archival Office of the Smithsonian is Located adjacent to the National Mall on Maryland Avenue. Here the Reference, Rights & Reproduction, Records Management, Preservation as well as Digital Curatorial departments are housed. This archive holds primarily paper documents, audio/ video / film as well as digital documents i.e. websites, emails, CAD drawings and social media. When a researcher requires an artifact or archival materials for research from the institute this process requires a request be made with the Reference Team via the website at least a week prior to the Viewing date, in order to acquire the piece. SUPPORT CENTER The Smithsonian’s off-site storage facility also known as the “Support Center” lies across the Anacostia River in Suitland, Maryland. It is comprised of 5 large storage ‘pods’, each the size of a football field, and a large Research wing comprised of offices and a laboratory complex. These two programs are divided by what is called “the Street”, a 20-ft. wide x 28ft. tall circulation corridor. This is where most large artifacts are stored as well as a large percentage of the National Museum of Natural History’s collection, which makes up 90 percent of the Smithsonian’s total archival collection.

WASHINGTON D.C.

SUITLAND, MARYLAND Smithsonian Master Plan

Archival Storage

Map of Washington

Reference Team

Viewing Area

Reading Room

‘Street’

RESEARCH ‘WING’ STREET

STORAGE ‘POD’

Interior of ‘Pod’

Interior

Support Center Aerial View

Archival Storage in Research Wing

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ARCHIVAL PRECEDENTS THE SMITHSONIAN INSTITUTE PROCEDURES

1. Procurement 2. Assessment (Evaluating current housing & Conditionyearly) 3. Risk Management ( Freezing -18째 F or Rehousing) 4. Environment Control -Paper : 35- 65째 F & 30-50% RH -Photography : 52째 F & 30% RH -Film : 25째 F & 30% RH 5. Pest Management -Cleaning Schedule - Vacuuming Floors and shelves of mobile storage shelving - Observing pest trends based on collections -Pheromone Glue Strips to trap insects 6.Light -UV light filter cover over head florescent lights in collection spaces 7. Response and Recovery of Emergency Disaster -Response Team is comprised of : Emergency Coordinator, Recovery Coordinator, Conservator and Emergency Registrar Staff

Process

Recovery of Bat Collection

Special Storage for damaged Negative

Botany Library Storage Failure

In 2011 the Smithsonian suffered damages from the Virginia Earthquake resulting in damage to structure as well as Archival objects. Most significantly: column cracking, brace buckling, failed anchor bolts as well as loss of fluid preserved specimen of a bat collection whose Jars fell off the shelves and library shelving failing in the Natural History Museum.

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Source: www.si.ed www.siarchives.si.edu

THE SMITHSONIAN INSTITUTE Source: www.si.ed www.siarchives.si.edu

Engineers Inspecting Damages

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Support Center Structural Failures

ARCHIVAL PRECEDENTS CHINA RESOURCE ARCHIVES LIBRARY Designed by Studio Link, the China Resource Archives Library is located on the campus of Xiaojingwan University in Shenzhen, China. This building is primarily an archive for the China Resource Group holding all its digital and physical records in a subterranean vault built into the hillside. There are also Gallery Spaces and Lecture Hall on top, to serve the campus program and the community. With five levels of archival storage and room for future offices, the layout of the storage facility is efficiently layed out with adjacencies of archive to reading rooms, group discussion areas as well as printing rooms. The Stacked program of the building, allows for Public access up top and complete privacy below. Source: www.archdaily.com/917411/chinaresources-archives-library-studio-link-arc

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Site Plan

Terrain

Program

-1st Floor Plan

1st Floor Plan

University Approach

Aerial View

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Site Section

-7th Floor Plan

Terrace View

ARCHIVAL PRECEDENTS ROGER WILLIAMS UNIVERSITY

INTERVIEW WITH HEAD ARCHIVIST HEIDI BENEDICT

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To further solidify our research, we decided to meet with RWU’s head archivist Heidi Benedict on the second floor of the main library. Her primary objective is to procure documents and pieces related to university history and interests. Throughout our interview she gave us many insights into the life of an archivist. She is assisted by a Cataloger as well as a student intern. When a new piece comes into the office, she fills out a report on the donation, The artifact then is digitally documented before it is finally stored into the main archive. The archive holds commencement photos, university documents, Paintings, books, plaques as well as other items donated by former faculty. The actual archive is relatively small and lacking flexible storage options for different size storage boxes, as all rolling shelves are depth size for books and not boxes. No Lateral Storage spaces result in paintings and larger documents to be layed out and stacked on tables across the room in order to compensate, compromising valuable processing space for pieces to be sorted properly. A lack of proper storage results in the organization of pieces lacking to make up for space. For example: Benedict conveyed to us, that instead of archiving CDs by content or subject, they have to do it by Year. Towards the back of the storage space there was something alarming: a large collection of old books adjacent to a wall of windows, with no proper UV protection. Besides an abundance of light and lack of proper blinds, the room is also suffering from water damage due to leaking windows. The fire protection system has recently been undated in the space to a FM-200 Extinguishing System. The Air Temperature is held between 67 -72° F at 65% Humidity. The Office and Archive are directly connected so when the archive opens, cold air is lost. The office is locked 24/7 with only Benedict having a key. In order to prevent flood damage, the rolling

shelves are offset 4 inches from the ground, and the bottom shelves are elevated for protection. Benedict recommends locating the Archives on lower levels for ease of access and transportation, however she also stresses flood protection. The presence of Sinks is also stressed in order to maintain clean hands when in contact with archival pieces. However, these should be located outside of the storage area. “Less Process - More Product” is the motto.

Rolling Shelves

Lack of Storage Space

Book Depth Rolling Shelves

Blind-less Windows

Florescent Lighting

Water damage at Windows

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Fire Protection System and Water Filter