Roger Acosta Villanueva Po r t f o l i o 2 0 1 8
“The lack of ornaments is a sign of spiritual strength” -Adolf Loos
INFORMATION
ROGER ACOSTA VILLANUEVA Febrary 6th 1989, Lima - PerĂş Willamette Avenue 4112 San Diego, 92117CA Telef: US+1 858 263 5866 | PE +51 973219753 E-mail: roger.acostav@gmail.com
Professional references: Luis Martin Bogdanovich - Principal manager. Department of Cultural Heritage of Lima. +51 997-429069 Augustin Reinhard Burneo - Historical restorer architect: +51 992-726217 Academic references: Jean Pierre Crousse - Member of the South America Project, GSD. Harvard University. Thesis assesor. E-mail: crousse@barclaycrousse.com
Getty Museum by Richard Meier. Los Angeles, CA.
About me: I’m a Peruvian architect with genuine interests in fields such arts, sustainable design and restoration. I’ve recently worked in the restoration’s project of National Congress Museum of Peru (2018), being part of the design’s team and, at the same time, learning about curatorial processes. Graduated from the PUCP, I’ve previously worked developing restoration projects in the Historic Centre of Lima, for the Lima’s City Hall (2017), using multidisciplinary and participatory processes. Historic buildings as “Hospicio Manrique” and “Segura Theater” that were made with local materials, preserving their cultural heritage. Moreover, I have plenty experience working in Peruvian architecture firms as Benavides & Watmough Arch. (2016), Seinfeld Arch. (2015), David Mutal Vermeulen Arch. (2010) and others ones. Where I learned about professional rigor. In a personal field, I try to focus my knowledges towards architecture, territory and landscape, understanding the architecture as an instrument that allows me to understand the functioning of things. Moreover, as the son of a photography professional and a painter, I’ve also been involved in technical and artisan activities from an early age. Overall, I’m a skilled and curious person, worried about how to be constantly learning by doing. This portfolio summarizes some of the projects in which I have had the happiness of being able to participate.
P1
ARCHITECTURAL THESIS: ANDEAN SYSTEM OF AGRO-EDUCATIONAL MARKETS / Final carreer project developed in Chopcca Community, Huancavelica. Perú
P2
CREO PARK / Landscaping project developed for Mario Testino in Villa María del Triunfo, Lima - Perú
P3
MANRIQUE REFUGE / Heritage, Conservation and Recycling project developed for Culture Ministry by hand of Perú Goverment and Lima City Hall.
P4
240 HOUSES IN “SILENCIO” BEACH / Contest project developed with Luis Martín Piccini Acuña Architect in South coast of Peru.
P5
B HOTEL / Heritage, Conservation and Recycling project developed with David Mutal Vermeulen Architect. Barranco, Lima. Peru.
P6
ARTISAN FISHERMEN CENTRE / Contest in “Pescadores” beach. Chorrillos, Lima. Peru.
P7
ARCHITECTURAL RESEARCH / ANDEAN SYSTEM FOR AGRO-EDUCATIONAL MARKETS. Chopcca Community, Huancavelica. Perú
PORTFOLIO TABLE OF CONTENTS 7
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P1
ARCHITECTURAL THESIS: Andean system of agro-educational markets
Classified as: Academic project Building Type: Communal Developed by: Arch. Roger Acosta Villanueva Location: Huancavelica - Peru Date: Feb 2014 - May 2015
In the highlands of Peru, due to the fact that the native communities are grouped by links with territory, there are 2 main problems with alarming numbers: 97% of farmers do not have training on associativity for production and 11% of the agricultural area does not have been cultivated because of lack of infrastructure for irrigation. This makes me think that there is a factor in the productive chain that does not allow farmers in the Peruvian Andes to take that great step towards progress.
Project takes advantage of these opportunities and take as case of study a community located in the Chopcca River to develop a Center of collection, trade and agricultural training that look for the insertion of this rural community into the national production network. To do this, complementing “My Irrigation� program, it seek to reestablish the implied harmony on agricultural practices and the life quality of farmer, proposing at a territorial scale an agrarian economic model and, in local scale, a device that allows organization and consolidation of agricultural links in the territory.
Picture 00 : Territorial model scale 1/15000. Model and Image by Roger Acosta Villanueva. 9
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Narrative and process: The idea of the project narrative begins as an analysis at a macro-territorial level, where deficiencies and opportunities to solve particular problems are evaluated. In my case, I focused these parameters towards agriculture, water and public investment. From this, the analysis discards place / possibilities, making more and more emphasis on the places where these 3 variables have more opportunities to lead to an architectural space. Thus, the study focuses on the MaraĂąon River basin, where one of the fewest cultivable areas is concentrated due to lack of irrigation, with a high investment opportunity and with a great capacity for association.
Picture 01 left : Architectural mapping, investment goverment plan vs agricultural are without farming. Picture 02 left : Maranon River Basin, aproximation to territory. Regional Scale Images by Roger Acosta Villanueva. 11
Management and control system of territory
PATHS INTERSECTION
Water basin, Choppca Community. This is where the analysis focuses on a community that calls itself “Chopcca Nation” where roads exist and the vertical exchange of agricultural products occurs in a fluid but not efficient way. It is then where the project idea begins to focus on the educational, agricultural and commercial; born the idea of create a “market” where you can learn and train farmers in the area. Picture 03 right : Chopcca River Basin, aproximation to territory. Local Scale. Picture 04 right : Food organized by altitude and kind of production in Chopcca basin. Images by Roger Acosta Villanueva. 12
Implantation concept and strategies.
Picture 05 left: Diagram of communitys and their own paths to share their food. Picture 06 left : Conceptual diagram of intervention. Relation between positive and negative buildings with landscape. Images by Roger Acosta Villanueva. 13
Plot plan project.
Textures, materials and structural system.
The idea of keep preexisting paths responds to an ancestral way to understand relations between empty spaces and full ones. At same time I use previous knowledge about how to refrigerate food, using buried spaces in the andes, this ones are hiden in landscape and the social ones are shown to the community. Creating a kind of recognizable figure in territory .
Picture 07 right : Roof top plan. Building as an intervention that respects the pre-existing and adapts to it. Picture 08 right : Structural Diagram of buildings. Images by Roger Acosta Villanueva. 14
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Transversal Section. I have use local material in order to show respect about local knowledge, material as earth, wood and stone. The way in which I have design the spaces respond to a structural criteria that allows to be self-structural. Being the easiest and the most efficient way to build with earth.ere The roof top it is also made of Ichu, that is a kind of plant that grows up in the andean zone. I have already apply some techniques to develop the structure of the roop top in order to turn it into a functional device that allows me to collect water from the environment, been able to reuse it for the own building.
Picture 09 right: Transversal section esc 1/50. Picture 10 left up: The idea of the social building shown to the community. Picture 11 left down: There is a visual line that allows locate the building in the landscape. Images by Roger Acosta Villanueva.
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Longitudinal Section.
Picture 12 left: Longitudinal Section 1:50. Picture 13 Right : Structural Section 1/25. Images by Roger Acosta Villanueva.
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Picture 14 left: Constructive Section 1:50. Picture 15 left : Structural splices 1/25. Images by Roger Acosta Villanueva. 19
Development of Architectural detail. The architectural detail was thought as a device that comes from the improvement of an ancestral roofing system. Native poblation are used to roofing with Ichu, an important Andean plant, however I took this plant and create a system that allows it to be more efficient in the collection of water. A modular water collector system.
Picture 16 right: Axonometric roof system 1:50. Picture 17 right : Detail 1/1. Images by Roger Acosta Villanueva. 20
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Regional, local and Andean scale.
Last conclusions. The success of the idea of proposing these educational scapes lies in replicability. By combining these factors, I can create a proposal that involves the educational and agro-commercial aspects. This is how PFC creates a model, a kind of prototype on a small scale, that can work at a regional level, linking the differente ecological zones and trying to have more diversity and decentralization. Picture 18 left: Render central space. Picture 19 left :Figure in a regional scale 1/5000. Picture 20 right: Figure system in regional Section 1:15000. Picture 21 right : Figure system replicability Andean scale. Images by Roger Acosta Villanueva.
The model tries to reinterpret the logic with chich our predecessors The Incas, worked their economic system, based on Andean networks and exchange systems. Successful networks that connected Patagonia in Chile to Mexican Andes. 22
P2
CREO PARK: Modular Landscaping games.
Classified as: Professional Experience Building Type: Public Space. Developed by: Arch. Cynthia Seinfeld, Arch. Roger Acosta Villanueva. Location: Villa MarĂa del Triunfo - Lima, Peru. Date: Jul 2015
The project commissioned by Mario testino, born from the context neccesities, where it is expected to have a space where the children’s place can be safe from surrounding vandalism and ganging. Through a reused and modular structure, concentric rings of old water rings are proposed , where different activities and spaces for children can stimulate their imaginative capacity. The idea of a structure that shelt and confines a space, begins as a need to keep infants inside. At the same time a unique character of the infrastructure is proposed, making this intervention a unique, flexible
and perforated object. Able to become a game, creating spaces and protecting the smallest children from abroad. The design is focused on a central space and several subcenters that revolve around trees. The central space has an amphitheater where children can enjoy a show proposed by themselves. In the same way, subcenters are proposed that surround the trees designed to give some privacy when imagining their recreational situations
Picture 22 right: Villa Maria del triunfo. Desert of Lima Picture 23 right :Project proposal image. Images by Roger Acosta Villanueva. 23
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Picture 24 left: Plan 1/100. Intervention idea of building as a “Halo� that have games inside and protect children, creating different playful spaces. Picture 25 right : Sections 1/100. The idea of modularity structure that at the same time becomes a playful space. Images by Roger Acosta Villanueva. 25
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P3
MANRIQUE REFUGE: Heritage, Conservation and Recycling project.
Classified as: Professional Experience. Building Type: Heritage building Developed by: General manager: Luis Martin Bogdanovich Mendoza. Historical restorer archtect: Reinhard Augustin Burneo. Artist curator : Olga Lamas Mendoza. Structural engineers: Cesa Huapaya, Erika Vicente.
Location: Historic centre of Lima, Peru. Date: Jul 2017 - Mar 2018. The restoration project, expansion and anhancement of the Bartolome Manrique Hospice is a project that, in addition to seek the recovery and ensure the permanence of the heritage building, also seeks give it use and activities that inject life and prominence with cultural facilities as a service to the common people; likewise, the adaptation and introduction of new systems and equipment that facilitate these functions are indispensable within the project, having taken special care and the hiest consideration with architectural heritage.
The architectural project have multicultural and office uses for his intallations. The first floor which was made of rammed earth, have commercial uses that open to the plaza. The inner courtyard, have coffee shops that serve to the government office program. On the sides we can found stairs that allow people go up to the expo galleries that exhibit the paintings of Pancho Fierro. In this case, second floor was made of wood covered with plaster, which is mandatory due to the weight that the walls of the first floor must support.
Picture 26 right: Roof top of Hospicio Manrique. Skylights. Image by Roger Acosta Villanueva. 27
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Location map. Manrique Refugee, was a place where wives of warmen went to learn how to contribute to the society, because they could not marry again in that time. This place is not far away from the central plaza of Lima and it have a plaza in front of called “ French plaza”, probably to be near to political environment.The Manrique Refugee was an important building, key piece of the urban development of the history of Lima. With his intervention, we are returning a invaluable space and architectural piece to the people and over all, preserving the constructive knowledge of the ancient city.
Picture 27 left: Rest room. Eventually going to have the Lima’s new gallery of art. Image by Roger Acosta Villanueva. Picture 28 left: Project location. Historic centre of lima, Peru. Image by Roger Acosta Villanueva 29
Floor plan 1 & 2.
Picture 29 right: First floor made of rammed earth . Esc 1/50
Picture 30 : Second floor made of bambo structure. Esc 1/50.
Image by Roger Acosta Villanueva, drawed by design team of Emilima
Image by Roger Acosta Villanueva, drawed by design team of Emilima 30
Picture 31 left: Sections and facade. Esc 1/100. Design team of Emilima. Images by Roger Acosta Villanueva 31
Picture 32 left: Interior facade. Patio. Picture 33 right: Facade intervention rendering. Images by design team of Emilima. 32
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Picture 34 left: Patio render. Image by design team of Emilima. Picture 35 right: Sections and facade 1/100. Design team of Emilima. 34
Picture 36 left: Low- key photography ,skylight detail. Picture 37 left: Detail of frame. Image by Roger Acosta Villanueva
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Picture 38 right: Low- key photography ,skylight detail. Picture 39 left: Detail of rooftop. Architectural elements. Image by Roger Acosta Villanueva
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P4
240 HOUSES IN “EL SILENCIO” BEACH: Multifamily Housing
Classified as: Contest Building Type: Housing Developed by: Arch. Luis Martin Piccini, Arch. Josep Cargol Noguer, Arch. Carmen Rivas Lombardi. Location: KM44 “El Silencio” beach - Lima, Peru. Date: Jan 2012 - Mar 2012.
The project starts from the urban scale to the scale of the house with a continuous strategy where the space concept of relation between “ Crack-Road” is the generator of the spatialities of the building. From the urban-crack to the crack-path that develop the distribution of the houses, this concept is repeated in the different scales of the project. The building is a coastal edge with urban breaks that allow not to cancel the view from the rear space towards the sea, creating a dynamic between the space of the sea and the green space proposed behind the building.
The idea of the double landscape born where the location starts in the sea and ends up building a green urban area in the back part. Managing to integrate both existing parks in the urban plan. The building is in the middle of the sea and the park, making that all rooms have pleasant views for the user. This integration is used and a network of stairs is proposed through the existing passages through the buildings.
Picture 40 right: Detail Master plan, developed by design team of Arch. Luis Martin Piccini. 37
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Picture 41 left: Master plan render. Picture 42 right: Models esc:1/100 & 1/500 Picture 43 right: Sections esc 1/200. Spatial distribution of houses. Images developed by design team of Arch. Luis Martin Piccini 40
Picture 44 left: Typical floorplan. Structural frames that make distribution of houses. Images developed by design team of Arch. Luis Martin Piccini 41
Picture 45 right: Models esc:1/100 & 1/500. Images developed by design team of Arch. Luis Martin Piccini 42
P5
B HOTEL: Heritage, Conservation and Recycling project.
Classified as: Profesional training Building Type: Heritage building Architects in charge: Arch. David Mutal Vermeulen, Arch.Juan Pablo Elsous. Location: Barranco - Lima, Peru. Date: Dec 2008 - May 2009
In Mutal Studio, I could be part of the design team and had the opportunity to help to conceptualize different type of projects, from housing to heritage. At the same time I could have the experience of being part of the design team in the contest for the Memory Museum of Lima (LUM 2009). As part of my experience in heritage, the “Hotel Boutique B� project was developed in Barranco district. The work was an enriching experience because there was a previous knowledge about the history of the infrastructure that compromi-
sed any eventual design achivement. I made with Arch. Juan Pablo Elsous the architectural survey of the house, the work in scale models and development of the plans. In this project I could participate looking for coordination of specialists, checking the correct development of the infrastructure in the field. Likewise, I could learn about history of the materials with that they built in periods before the comtemporary society. In all, it was an amazing experience beeing part of this team.
Picture 46 right: Principal facade. Arch. David Mutal Vermeulen. 43
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Location map.
Picture 47 left: Project location, Barranco. Lima- PerĂş. Picture 48 left: Project facade. San Martin Ave. Image developed by design team of Arch. David Mutal Vermeulen 45
Floor plan 1 & 2.
Picture 49 right: First floor and architectural program distribution. Image developed by design team of Arch. David Mutal Vermeulen Picture 50 right: Second floor and architectural program distribution. Image developed by design team of Arch. David Mutal Vermeulen 46
Picture 51 left: Interior facade. Restoration in process. Picture 52 right: Interior stairs. Image by Arch. David Mutal Vermeulen 47
Picture 53 right: Sections and architectural details. Image developed by design team of Arch. David Mutal Vermeulen 48
Picture 54 left: Interior facade. Green wall. Picture 55 left: Facade detail. Image developed by Arch. David Mutal Vermeulen
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Picture 56 right: Interior stairs. Picture 57 right: Interior stairs. Image developed by Arch. David Mutal Vermeulen
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P6
ARTISAN FISHERMEN CENTRE: Contest in “ Pescadores” beach
Classified as: Contest Building Type: Community centre Developed by: Arch. Luis Rodriguez, Arch. David Labarthe , Arch. Pablo Muñoz Unzeta. Location: Chorrillos, Lima - Perú Date: Set 2015 - Nov 2015
Project was designed from the incredible idea of having a dock and an artisanal fishing market into a capital city. A great oportunity to plan an invaluable space for the pederastrians and association fishermen. That is why it is composed of two major elements that reflecs the association necessity, program and the artisanal nature of the activity that bring us together. On one hand we have the great plaza, a multiporpose public space of the greatest possible
extension and with a great variety of uses, whose main virtue is its capacity for transformation and adaptability, as well as the possibility of gathering. On the other hand, the dock building has an artisan nature similar to those structures used dialy by fishermen, it have the most important uses of the program and at the same time it has a great versatility that transforms it according to the hours of the day, stations and events.
Picture 58 right: Urban proposal. City as a shared space. Image developed by design team of Arch. Luis Rodriguez Rivero. 51
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Axonometric develpment of uses. The architectural program of uses develops several possibilities in which the building can be used. Basically the building is transformed depending on its use during the day. In the mornings it becomes completely a building that develops activities of commerce, in the afternoons it develops sports and social activities, at night it proposes to be a place of meeting for the associates and people interested in the sea-culture and society. Above all, the building was proposed as a bridge building that connect urban area with the sea, attracting a public out of the ordinary for the develpment of th new market and fishermen port.
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Picture 59 left: Urban proposal. City as a shared space. Picture 60 right: Axonometric diagram of different spatial dynamics. Picture 61 right. Atmosphere renderings. Images developed by design team of Arch. Luis Rodriguez Rivero
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Section and axonometric structure.
Picture 62 left: Section and axonometrix solution for structural system. Picture 63 left: Section that reveals building ‘s skin proposal Picture 64 right. Program and distribution of uses. Images developed by design team of Arch. Luis Rodriguez Rivero
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P7
ARCHITECTURAL RESEARCH: Andean system for agro-educational markets
Classified as: Academic research Developed by: Arch. Roger Acosta Villanueva Location: Huancavelica - Peru Date: Jul 2014 - Dic 2015 Issue Link: QR CODE
As part of the PUCP final project, together with Arch. Jean Pierre Crousse, Arch. Oscar Malaspina and Arch Nicolas Moser a publication was worked on for more than one year in order to be able to illustrate our thesis research in a methodological way. In particular, my research look for a synergy between new technologies and ancestral knowledge of territorial management. A project that opts for a position of use and control of
natural resources in a vertical way, due to this a much more diversified trade is achieved as well as the joint work as well as the joined work of the different communities with specific abilities and potentialities. This research was one of my best experiences due to fact that I traveled to huancavelica and I could be part of an Andean family for at least one week, I could meet Eugenio Crispin, who showed me their culture, language and food.
Picture 65 right: Research cover developed by artist Alicia Ugaz. 57
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“Is it possible think to about a project that in a project that brings together farmers to diversify and improve their production?�
Picture 66 left: Section one cover, thinking about how to get better farmer situation. Picture 67 right: Pages of section one that talks about posibilities of how to get better production. Images by Roger Acosta Villanueva. 59
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“Is it possible to think about a project that mixes traditional architecture with contemporary architecture?�
Picture 68 left: Section two cover, thinking about how to mix traditional and contemporary architecture to develop new types of it. Picture 69 right: Pages of section two that talks about technologies of production. Images by Roger Acosta Villanueva. 61
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“Is it possible to about a project that takes advantage of the biodiversity of the altitudinal floors?�
Picture 70 left: Section three cover, thinking about how to use ancestral solutions. Picture 71 right: Pages of section three that talks about analysis of data . Images by Roger Acosta Villanueva. 63
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“Importance of the thesis and conclusions�
Picture 72 left: Conclude section. Ancient instrument to carry on agricultural production.. Images by Roger Acosta Villanueva. 65
INFORMATION
Roger Acosta Villanueva Febrary 6th 1989, Lima - PerĂş Willamette Avenue 4112 San Diego, 92117CA Telef: US+1 858 263 5866 | PE +51 973219753 E-mail: roger.acostav@gmail.com
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