Graduate Comprehensive Studio: TRACES

T R A C E S Antigua, Guatemala

DAN SADOWNICZYK

School of Architecture Spring 2019 ARCH 513 Integrative Design Studio Roberto Viola Ochoa

TABLE OF CONTENTS

1 2 3 4 5

INTRODUCTION

CONTEXT SANTA TERESA CONCEPTUAL FRAMEWORK TECHNICAL SOLUTION

APPENDICIES

Kolomba Museum - Peter Zumthor

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

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

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

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

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

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

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

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

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

CONTEXT History

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

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

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

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

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

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

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

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

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

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

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

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

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

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

1600s Period of destruction and reconstruction in Santiago

1527 VolcĂĄn de Agua destroys second capital on slopes

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

1773 Devastating earthquake ruining the capital city

1979 UNESCO designates city as a World Heritage Site

1774 Abandonment of city for new capital in Guatemala City 1940s Verle L. Annis requests La Antigua be a “National Monument�

1830 Introduction of coffee led to growth and renovation of monuments

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

CONTEXT Topography

When examining the topography in La Antigua, one sees why it was placed within the plateau between the mountains and volcanoes. The town was places here because of its protection from the mountains and volcanoes. However, over time when these volcanoes erupted, the capital at the time was affected. La Antigua has very little grade change throughout the city, but has drastic changes around the outside where the mountains and volcanoes are located. Most of the important features of the city are located at its center because of its proximity to the volcanoes. More of the agriculture and poverty areas are located towards the outskirts of the city.

This is because of its proximity to the volcanoes, and having farmable land.

CONTEXT Climate

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

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.

La Antigua is a typical Central American weather, it has a dry and rainy season. The dry season (verano) usually lasts from November until May, while the rainy season (invierno) typically runs from May through November. During the rainy season there are daily showers, which tend to fall in the afternoon.

The latter months of the rainy season are usually the wettest.But the rain fall is largely dependent on how close to the coast you are and what side of a mountain chain you are on.

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

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.

Volcan De Acatenango

ANTIGUA

Volcan De Fuego

Volcan De Agua

context

The climate of La Antigua, Guatemala, is relatively a similar temperature all throughout the year with temperatures ranging from 45 degrees fahrenheit to 90 degrees fahrenheit. This temperate climate goes through seasons, however there is more like a summer and winter season, but based on rain. In the summer it is very dry and hot in the air, however in the winter it will rain just about everyday in the afternoon hours. The locals of the city are used to temperatures such as low seventies degrees fahrenheit as being cold, where in countries such as the United States, this may be seen as warmer temperatures. The locals will dress up in layers if the temperature reaches these degrees.

Adjusting climate consultants settings for a higher comfort zone, it reflected back relative comfort zones. Examining indoor comfort levels during the summer season of the city, forty percent are comfortable and sixy are not. These levels are based upon hours of general operation of the building. With a particular program such as a winery and general working hours, one can argue from 7am to 10pm the building may be open to the public.

Generally speaking, the most comfortable zone falls between 75 degrees fahrenheit and 75 relative humidity.

With a temperate climate, it is no surprise the winter indoor comfort zone is relatively similar to the summer. Again, 75 degrees fahrenheit falls in the comfort zone, but with a lower relative humidity of 70. In the winter it will rain much more which will result in higher levels of humidity.

The sun rises in the east and sets in the west, however it is more vertical than in the U.S for example. This results with the issue of radiation. As it is not too hot in the summer, the radiation can make it feel much hotter. For locals this may not be a huge issue however, since La Antigua is a very tourist based city, there are people coming from all around the country to come and visit. However, the people of Guatemala and most of central america use similar passive strategies to help cool spaces.

context

As it may seem comfortable weather all year round with temperatures not exceeding 90 degrees fahrenheit, the strong sun’s radiation may make it feel much hotter. Many strategies are implemented in the historic city and its architecture. Designing accordingly is key in the city of La Antigua, as it is important to learn from the strategies already implemented through history.

The largest and most prominent passive strategy for the summer is the utilization of courtyards and patios in within buildings and blocks.

The most common and historic use of a patio was a dry patio with little to no vegetation and creating spaces around the common area so that when it becomes hotter, one can simply open their doors and windows and a natural breeze will come through the space and cool it. Spaces may seem compact and small however, by incorporating a courtyard greater increases the comfort. Other patios in within the city are not dry but contain some or a large amount of vegetation, at times becoming a garden.

As beautiful and appealing as they are to look at and walk through, they also immensely help cool the spaces around. The vegetation, depending on the size, can sometimes act as a shading device to cool the inhabitants and the building. Vegetation also can retain water so that during hot days a natural breeze can collect some of the moisture off the vegetation and cool its surroundings. At times there is also a fountain that incorporated in both the vegetated and dry patios which cool the spaces as well.

Overhangs are also utilized to help shade the building and the users. Buildings utilize a roof overhang generally around the entire building, but always surrounding a courtyard or patio for circulation. By having the circulation about ten to twelve feet recessed back, it allows for the possibility of utilizing outdoor space. Outdoor space in the courtyard requires for a deeper roof overhang, therefore more protection from the sun.

The city also holds a lot of buildings where roofs are accessible and if vegetation is introduced, then the buildings will be able to remain at a comfortable

level throughout the summer and rainy season. The sun’s radiation is absorbed by the plants keeping the roof and the building at a cooler temperature during the summer. It is also great for water management during the rainy seasons being able to absorb a lot of the rain and mitigating it away from the building.

In the winter, or rainy season, of La Antigua, there had been counts in the past of flooding due to the location of the city. It is important to stay warm in this season, but to implement strategies of water drainage. By constructing with concrete, it serves as a high embodied energy and can gather heat during the day and keep spaces inside warm throughout the night. The ancient ruins has walls as thick as three feet that would most definitely hold a large amount of embodied energy to help keep the interior spaces warm throughout the cooler season. Learning from Santa Teresa, wine would be stored underground to help keep them at a relatively similar temperature year round as they require a cooler temperature to age. We can see that the cripts were utilized as a strategy of keeping things cooler as the earth also acts similarly as thick concrete walls do.

CONTEXT

City Structure History + Culture 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.

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

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

LA ANTIGUA

Urban Condition and Climate Response

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.

There is a continuous system of tree colonnades that either frame the road on both sides of split the roads into two lanes. These roads are moderately popular and busy during certain times of the days, but most importantly serve as shade.

The sun can become very dreadful during certain times of the year and incorporating trees alongside sidewalks and roads provide shade and help keep people and other objects cool. These greenways also link themselves to other plots of green areas, some of which can be accessible and others that cannot. Most areas are walled up and have vegetation spilling over them and into the sidewalks. On days where there is more moisture and wind it helps keep the city cool. The top two images showcase the green system that interconnect historical sites. From the edge of the city, La Recolecciรณn, faces one of the main streets that have the tree colonnade. The following the street down to the center is another historic site, Santa Teresa. Tourists will use this road to visit the two sites and can with ease due to the trees shading the path.

LA ANTIGUA LANDMARKS

A result of 15th and 16th century Spanish conquest, Antigua is largely comprised of Convents, Churches as Monastery’s. As Catholicism spreads to the native civilizations of Guatemala, Spanish monks and catholic factions settled in Antigua, demanding local forces and funds to maintain and build new facilities for worship throughout the city. Though welcoming of the missionaries and their beliefs, local government was not in support of many of the plans of contruction, as monasteries of the time relied primarily on local government funds and donation.

However, by pressure put on local government by of the Spanish King, the Guatemalans had no choice but to oblige. Because of this, Catholicism is still the primary religion practiced in Guatemala. were placed on Corner Plots of city blocks of the city grid in order to allow for expansion as well as central courtyards. Original intents for building locations were to provide not only proper drainage but also exquisite water supply. Because of this, religious buildings were planned to be placed on the south west slope of the city.

CAPUCHINAS

CATHERDRAL

LA MERCED

LA RECOLECCION

LOS CATALINA

PLAZA MAYOR

SAN DOMINGO

SANTA TERESA

LA ANTIGUA Growth

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

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

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

Once the government no longer cared who stayed the citizens of La Antigua were able to start minimal reconstruction on damaged houses. It wasn’t until the introduction of coffee to the city that growth began to rise again in 1830. Since then the city has grown exponentially including a surge of tourism that began in the later 20th century following the designation of La Antigua as a World Heritage Site

by UNESCO.

1543

1773

2019

Iglesias y Convento de Capushinas

2.2

ARCHITECTURE

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

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

Occasionally in the mid 17th century, wood beams would be carved in more elaborate structures also known as “Mudéjar” or “Artesado” designs.

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

The colonial masons were extremely adept in the use of brick, by implementing clever vaulting, constructing arches without the use of keystones as well as brick used as a core for round columns, entablatures, ornament as well as all other architectural expressions, they were able to use the material to its full potential. Other component of Spanish architecture that the builders brought with them were the patio, Mudéjar details and the Doric and Ionic column orders. However, enough originality existed in Antigua, to dispute any particular source or influence that governed buildings. Because of the abundance of water in the city, public and private fountains were implemented with no restrictions on use, water ran continuously. All blocks of the city had fountains and colonial houses contained some form of a free standing or wall fountain in one or more patio spaces. Each public fountain in Antigua was also equipped with a section dedicated to laundry, so that citizens had easy access to water for washing clothes. The fountain system relied heavily on gravity to distribute water to control tanks in every block, which would then distribute water to private and public fountains by pipes in varying sizes. This system functioned for more than 4 centuries until 1962 when it was replaced by a water pressure system with meters.

However, public as well as private fountains still exist today.

There are a multitude of noteworthy architectural components in residential dwellings as well. Stone based windows as well as stone colonial doorframes are ornamental but create a sense of heaviness that is unmatchable with stucco or plaster. Large colonial kitchens require large chimneys, many of which are still remnant today. The craftsmen of Antigua have continued on their trade, as they are still working today.

Woodcarvers, furniture makers, ironworkers and masons still carry strong traditions and pride. Many of these families still follow the ways of the Spanish, by requiring young family members to begin lengthy apprenticeship at an early age. Antigua’s architecture is unique, because the builders created something new that was of their time, limited with materiality creating the “Barroco antigueño”.

If it were not for the abandonment at the height of Antigua’s existence and a century of isolation, it would not have remained in its perfect state. There is no other city in the Americas with monumental churches or magnificent and beautiful buildings from the same era. The residual colonial image is clearly visible. Because of this, Antigua is a rare piece of central America’s culture.

ARCHITECTURE TODAY

As remanence of historical structures still define the street scape of Antigua, restorations for old residences adapt to modern times. Most of these residences are vacation homes, hotels and restaurants catering to the boom of tourism in the city.

While some original residences have been restored in the original colonial way, new construction follows what is known as a neo-colonial “Antigua Style”. The adaptation of colorful facades and cobblestone streets standout within the contrast of the ruins.

Not much has been changed about Antigua, its colonial heritage is still the guiding factor. In recent years, as restorations have expanded, even to the most holy of places. There have been concerns about new development being added into existing ruins. As an example, UNESCO mentions the Casa Santo Domingo which is a modern hotel that was built into the ruins of the Santo Domingo church and monastery. Although adaptive re-use is being driven by tourism, there has been a lot of push back though the enforcements of laws and regulations to develop conservation guidelines. Institutions that promote local awareness are for example the Salvemos Antigua “Save Antigua” as well as public education campaigns supported by the Japanese government. In order to start new construction in Antigua, approval of congress is required. UNESCO believes that the implementation of a masterplan as well as definitions and efficient protection of a buffer zone would promote new construction that meets government requirements.

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

SANTA TERESA History

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

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

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

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

SANTA TERESA Formal Organization

The convent complex was designed by José de Porres who also designed the cathedral. De Porres borrowed building strategies from the cathedral project for the construction of Santa Teresa.

Additionally, it is possible that José de Porres was in fact the father of Diego de Porres who served as designer of many other religious structures. José de Porres designed an irregular plan for a convent as it is wider in width and shorter in length than usual.

As a result it resembles a parish church more so than a convent church. Furthermore, the arcades of the cloister were low and the columns heavy in proportion. Additionally, renaissance forms were incorporated into the design including, a door recessed under an arch, large window-niche and two bodies with three streets separated by intercolumns.

Circulation Work Rooms Chapel Support Spaces Outdoor Space

SANTA TERESA

Connection to Urban Condition & Access Edges & Traffic The site of Santa Teresa is located directly in the urban environment of the city. The north and west faces of the building face the streets and both have entrances inside. The location doesn’t hold much lush vegetation, rather more privatized green spaces and courtyards. The east side of Santa Teresa, however, holds an open garden space to the public that compliments the building. Two roads on the east and west sides surrounding the site both have traffic going one direction, and the north facing street provides two lanes going both directions and can become very busy during traffic. The site however provides sidewalks on all sides of the streets creating pedestrians to access the site away from traffic.

Santa Teresa’s west and north facades face the edge of the corresponding streets that create an engaging condition. This edge runs along two streets that can become high in traffic. Vehicular traffic, in general can vary depending on the time of the day.

The diagram indicate the traffic around 5pm. It isn’t a pleasant experience during this time of day, but during slow hours of the day there becomes minimum to no traffic. The north facing facade of the building faces the same street that if one was to follow west, they would reach the other potential site, La Recolección.

SANTA TERESA Views

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

An important element to remember about the site is the history of the disasters that had occurred by volcanoes and earthquakes. From the corner of Santa Teresa, one can clearly see the volcano in the background. It holds its presence and makes sure the visitor doesn’t miss it as well. Promptly standing high over the city, it makes the city feel important.

From standing within the convent it holds its presence in the background. With no roofs in the convent, visitors can wander around spaces a glimpse of the volcano in the distance will almost always be visible. Admiring the historic site, one can always take a break and contemplate looking back at the surrounding landscapes. The lush vegetation and bright blue sky provide beautiful scenic viewsheds.

The most important element, the volcano, holds its ground as the most important feature amongst the natural environment.

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SANTA TERESA Materials

Primary materials of construction were compromised of brick, concrete and stucco. The buildings main structure is made of brick and covered in stucco. The central fountain in the courtyard is comprised of tile and concrete. The use of cobble stone can be seen in more remote areas of the site.

Ceramic tiles were added later as a path material, as means of restoration, however arenâ&#x20AC;&#x2122;t original to the design. The new paths do not directly touch the wall of the building, as there is a vital detail which allows for a 4 -5 inch gap between path and wall, filled with gravel.

4

CONCEPTUAL FRAMEWORK Initial reactions to this architectural intervention were first explored through different ways of interacting with a delicate site such as Santa Teresa.

Learning from the site was a major proponent that was achieved while designing. The site holds many clues to how one should approach an intervention and through renderings and other means of studying it was possible to visualize a response.

CONECPTUAL FRAMEWORK Introduction

Designing in a historical site like Santa Teresa should be done in a respectful manner that reflects back to the city and the people of La Antigua. With disasters like earthquakes destroying buildings within the city and large floods filling peoples homes, the convent of Santa Teresa became the home to many devastated people. With the government giving up on the city and moving to a new location, only a few brave souls stayed back to reclaim and rebuild the broken city. Santa Teresa was reclaimed and recycled having a variety of programs, one of which a winery.

1717 brought about a devastating earthquake that sparked considerations for moving to another location. Rather than acting on those considerations, the city saw a â&#x20AC;&#x153;Golden Periodâ&#x20AC;? of development of structures that were earthquake proof (safer roof vaults and single story housing). 1773, the city was bombarded with a series of earthquakes from May until December completely destroying the entire city and killing many.

January of 1774, the official capital was moved and established in present-day Guatemala City. The citizens of what is now known as La Antigua opposed moving the capital and rebelled against a forced move to the new city. The government of Guatemala decreed it illegal to remain in La Antigua. The old city was ravaged, taking all valuable structure, ornament, and furniture were to be taken and moved to the new capital.

Buildings were to be destroyed so as to be used to build the new structures of Guatemala City. Overall the countryâ&#x20AC;&#x2122;s government ended up causing more destruction than the 1773 earthquake. As the new capital began to grow, the government lost interest in forcing poorer citizens to move from La Antigua.

Reintroducing the winery into the site through the concepts of reflection in a contemporary fashion is what is being implemented in this project. To remain respectful the exterior of the convent and temple are to remain untouched so that it looks the same as it had been for years preserving the history. The interior of the building then can be altered and manipulated in a contemporary fashion, but encapsulating parts of the structure into the new one.

Using the existing structure as a base and building up and around is a reflection of the timeline of the site. The old walls hold all the history of the city and the new construction represents the future. The addition adds the layer of a new life, rather than being stuck in the past where many hardships lay.

Using the existing structure as a base and building up and around is a reflection of the timeline of the site. The old walls hold all the history of the city and the new construction represents the future. The addition adds the layer of a new life, rather than being stuck in the past where many hardships lay.

With a program of a winery, the original one was located in the convent and had used underground cellars to preserve and age the wine. It was stored underground to, in order to keep the wine at a consistent temperature all year round as it ages. As wine cannot be stored in any temperature, therefore keeping it in cellars underground will allow for a cooler temperature. This should be used a precedent or an inspiration to the new addition.

Designing underground, is a reflection back to the history of the people of La Antigua. Replicating similar ideologies of wine storage spaces underground can be utilized for the production and storage of the wine. This design strategy allows for less program to be utilized above grade and therefore trying to leave a large amount of the convent and temple in its original state.

Visitors coming to the site will have an interest in the winery, however they will also like to experience parts of the convent as they once were before.

With spaces such physically connecting to the convent as a way of connecting to the building, a metaphorical connection of creating a separate structure from the site can be utilized as connective space through the way one may progress through a space. A separate building can be proposed behind the temple on the workable site. As a visitor may progress though the temple from the entrance to the back, they will see the ruins as is and experience a rich untouched history encompassed by the walls and their openings. The user will walk on the temple as it once was used, reflecting back to the original program of the space and back to the history of La Antigua. Once the user faces the back of the temple, there sits a brand new contemporary structure.

This structure represents a new future and hope for the people.

It becomes a final destination point, where users can stop and contemplate as the view out to the beautiful gardens located behind the convent.

CONECPTUAL FRAMEWORK Reflection

Exploring the idea of reflection of the history and of the people of La Antigua in Santa Teresa are explicit in these renderings. It is important to always remember the past inorder to continue forward to the future. By exploring architectural forms and views out to the city, one can reflect upon history and move on forward to new and healthier futures.

The second addition comes from the back end of the convent and creating a whole new structure that connects the convent to the gardens and proposing a new patio space. By leaving the entrance untouched, it preserves the history and facade that is notoriously famous.

However once the user enters the space they will be greeted by the new addition that will lead them to a patio and gardens. The patio reflects

These renderings exploit the concept of back to the original patio and is essential in the continuing where the history left off. At times it climate of La Antigua. fells necessary to not intervene in historical sites Concrete is used to mimic the texture and only to restore them to their origins. However, and solidity of the original walls of Santa Teresa. there is a beauty in adding onto a historic building as it gives it new life. The addition adds the layer Large protruding and angulating opening let of the present and the future. Being stuck in natural light in to create special moments on the past may leave buildings to grow stale and the interior. These opening take a contemporary approach to the openings from the original uninteresting for new visitors. structure. Hanging vegetation is introduced as

Leaving the bottom two levels untouched well to give the appearance of an overgrown represents the Santa Teresa from the past and structure that expresses one of the original uses by buildings upwards and adding two extra levels of the building of wine production. The addition on the north building creates the opportunity for of contemporary glass stairs express the future of a future story. However it is always remember the building , by modestly connecting the original and reflect on the past, so by creating a pool building to the new levels. and flooding the central courtyard, occupants above can look down to see the reflection of themselves and of the whole building. The original vaults reflect onto the water as well as the new openings above from the addition. The rendering proposes a cantilever with two large views back to the city and the volcanoes. The user will see the cause of the destruction of the city as another level of reflection. The hardships the people of La Antigua faced were tremendously challenging, but as some people refused to leave their homes the cantilever expresses their dominance and courage.

CONECPTUAL FRAMEWORK Cellar

Preserving and not disrupting history is a concept studied in these renderings. Exploring previous programs and uses of architecture help to inform new ways of design and paying respect to the original structures.

Users would experience nothing else like this in La Antigua. Cooler and darker spaces achieve a different type of mood and ambiance than the open structures above. Occupants would be able to witness all the wine production processes and storage areas in areas that they

These renderings take a different ap- belong, underground. proach than the previous concept. The concept expressed in these renderings are about not destroying or alternating the design of Santa Teresa from the exterior. It brings us back to one of the original uses of the building, which was wine production. The wine was stored in cellars underground, in order to keep the wine at a continuous temperature all year. Wine cannot be stored and preserved in any temperature, therefore the easiest way is to have cellars underground, where it is much cooler. Following that ideology, this concept reflects wine production by proposing program spaces all underground. This allows for the ground level to be preserved to its natural state and not alternating the history Santa Tersa holds.

The wine production was done in the north building where the large courtyard is located, however this proposal of program is under the temple and partially under the original location. The design decision to do this was to show that strong connection between the two spaces. Also the facade of the temple is very beautiful and historic to help attract users through and down the space then continue their journey to the northern structure, where naturally above ground there are not direct connections between the two. Programs now are split from above ground to underground. The top portion becomes an open museum and allows users to wonder and discover the historic building, while underground showcases the new proposed programs.

CONECPTUAL FRAMEWORK Connections

The concept of connectivity can be utilized when referencing the history of Santa Teresa and the people of La Antigua that courageously stayed in the city after the disastrous volcanic eruptions. Building masses are used respectfully to the original structure inorder to preserve and not distract as much from the exterior, but still have moments of contemporary visions that express the future of the site.

This concept takes an approach that contains similar ideologies from the previous two concepts mentioned. The main idea from theses renderings is connection. It is important to reflect on the history and and these bridge like structures do this by expressing connectivity. The sternness of staying in La Antigua after the disasters had connected the people closer together and became independent from the government.

These bridges would connect different types of program that would be located in a mixture of the old structures and new ones.

Inorder to respect the history and the structure, any new levels created would become very modest in size, trying no to design aggressively above the structure. Instead, utilizing original spaces for new program and only adding a maximum of one level above the original structure. The central courtyard would not be disrupted, but by only the crossing bridges. Users would experience the courtyard in a different manner, a more contemporary one where the bridges cast rhythmic patterns on the original architecture.

A contemporary addition is proposed behind the temple and also connecting to it over the sacristy spaces creating a whole new structure that connects the convent to the gardens and

proposing a new patio space. By leaving the entrance untouched, it preserves the history and facade that is notoriously famous. However once the user enters the space they will be greeted by the new addition that will lead them to a patio and gardens. The patio reflects back to the original patio and is essential in the climate of La Antigua. A bridge from the back of the covenant cantilevers over the gardens in the back, allowing users to stop and contemplate for a second and appreciate the views. The bridge then takes a turn and connects directly to the new space behind the temple. This bridge is important as it starts at the old structure expressing the past and the walk through allows for a pause at the view of the volcano, as it represents the cause of the hardships the city has faced, and the final destination is at the new addition. This addition represents the future and all the history it will obtain in a respected city such as La Antigua.

CONECPTUAL FRAMEWORK Interior vs Exterior: Pause

Moments of introducing the natural environment to a visitor’s experience can accentuate their journey. These moments play on the users senses and heightening one more than another, in order to take a break from the same one being used.

This is achievable by natural light and viewsheds.

Herzog de Meuron’s Dominus winery plays with light at certain spaces and circulation, where users can pause for a brief moment. These moments are created in a harmonious manner that doesn’t become distracting, but contemplative. The facade of stone stacked stone allow for a type of light to enter that is angelic and allows for users to use some senses that they had left behind entering the space.

This lighting effect is made up of a unique composition of walls, or more as a “skin” in this case. It is not like a traditional masonry design where masonry is stacked and morted together to create a wall. Herzog de Meuron uses a cage-like mesh that holds together organic stones and stacking them to create a wall.

With this contemporary way of designing allows for a beautiful effect fragmentation of light entering the interior space. Herzog de Meuron is able to create such a dense and heavy sitting building feel so porous on the inside.

A grand road welcomes visitors to the site and immediately, the building, establishes its presence in the natural environment. With the building being such a solid structure, voids showcase a transparency and give a glimpse to the rest of the site and grape fields. The orthogonal and organized manner of the winery and the grape fields contrast the natural environment. The large hills give the site a sense of protection and the organic manner of vegetation balances the rigidity of the architecture.

With the hectic nature of tourism, one can get lost in the attractions a building has to offer. With the integration of a winery in Santa Teresa, it can attract and distract a lot of visitors to the productions and processes, however designing in a historic city, such as Antigua, one must be reminded of the historic background. In between spaces and circulation allow for openings out to the sky, returning the visitors senses that were taken during the interior experiences. With light shining down, it gives visitors the opportunity to pause and reflect on the didactic and rich culture the original convent held. Views back to the courtyard and volcanoes create these moments.

By creating these moments of viewsheds and flood of transcending light create a contrasting ambience from those of the interior spaces. The less lit spaces in the interior mute the visual experience where the brightly lit spaces of contemplation and views exhibit a different emotional experience. The light draws attention to the architecture, enhancing the colors, forms and textures. The aged material of the walls are enhanced and put the user in space that allows a historic experience. Using smoothed concrete for the additional architectural spaces show another contrast of new to old. It becomes a story of the past to the future, one where the original walls are rough and rigid, like the history that it holds, and the smooth concrete is polished and firm standing structure of the city, ready to take on any challenges it may face.

CONECPTUAL FRAMEWORK Visitor Experience: Sense

The visitor experience is extremely important with a program of a winery. Questions arise of how a space should be explored and perceived.

The general topic of sense become evident in the visitor experience. Wine tasting rooms should be a space of heightened taste and smell senses and architecture can help users reach this state.

The Grow Out Cellar is a new wine cellar that is located next to an old and historic cellar in Neustift, Italy. The Architects, Bergmeisterwolf architekten, integrated this addition that would be an extension for wine production. The majority of the building is underground, with only a contemporary funnel-shaped polygonal tower, protrudes up and out mimicking the mountains surrounding. Monks started producing wine from the fields near the Isarco river valley, and many farms had followed the monks same footsteps and create their own winerys. This is one of those historic winerys that the architects had designed an addition to.

The historic and traditions of the monks had been inspirations to the architecture where a focus on production and storage was emphasized.

These underground spaces become key spaces for an exemplary wine experience. Through the minimum amount of natural light entering spaces, users are mainly consisting of solid walls surrounding them, eliminating the sense of sight.

By eliminating the sense of sight, sense of smell and taste and touch become heightened. Wine is a delicate and treasured alcohol that deserves much respect when tasting and architecture can help users to taste wine in a respective manner.

The Grow Out Cellar holds minimal spaces emulated by fluorescent lights perfect for wine tasting. Users hold maximum focus and minimum distractions.

Texture also plays an important role in the interior experience. The architect chose to use a smooth plaster finish that would also add to the level of simplicity and dullness that the space required. By eliminating any obtrusive and distracting textures, users can more easily focus on the wine tasting experience. Colors are also muted as the concrete and plaster are a dull white/grey tone, but contrasted with the earthy and timid wood tone s of the tables and benches introduced. This earth tone is emphasized more with the help of fluorescent lighting which bounce color off the walls and floors. Users know that they are completely underground, but feel comfortable and safe being so.

These renderings take a different approach than the previous concept. The concept expressed in these renderings are about not destroying or alternating the design of Santa Teresa from the exterior. It brings us back to one of the original uses of the building, which was wine production. The wine was stored in cellars underground, in order to keep the wine at a continuous temperature all year. Wine cannot be stored and preserved in any temperature, therefore the easiest way is to have cellars underground, where it is much cooler.

Following that ideology, this concept reflects wine production by proposing program spaces all underground. This allows for the ground level to be preserved to its natural state and not alternating the history Santa Tersa holds.

The wine production was done in the north building where the large courtyard is located, however this proposal of program is under the temple and partially under the original location.

The design decision to do this was to show that strong connection between the two spaces. Also the facade of the temple is very beautiful and historic to help attract users through and down

the space then continue their journey to the northern structure, where naturally above ground there are not direct connections between the two. Programs now are split from above ground to underground. The top portion becomes an open museum and allows users to wonder and discover the historic building, while underground showcases the new proposed programs.

Users would experience nothing else like this in La Antigua. Cooler and darker spaces achieve a different type of mood and ambiance than the open structures above. Occupants would be able to witness all the wine production processes and storage areas in areas that they belong, underground.

CONECPTUAL FRAMEWORK Unity

Expressive elements in the model reflect back to the people of La Antigua and pay respect to all the disasters and hardships people went through in history. Seeking refuge in the convent and temple, the people can progress through the temple with elements that will lead them down to the future made up of the past.

This concept takes an approach that contains similar ideologies from the previous two concepts mentioned. The main idea from theses renderings is connection. It is important to reflect on the history and and these bridge like structures do this by expressing connectivity.

The sternness of staying in La Antigua after the disasters had connected the people closer together and became independent from the government. These bridges would connect different types of program that would be located in a mixture of the old structures and new ones.

Inorder to respect the history and the structure, any new levels created would become very modest in size, trying no to design aggressively above the structure. Instead, utilizing original spaces for new program and only adding a maximum of one level above the original structure. The central courtyard would not be disrupted, but by only the crossing bridges. Users would experience the courtyard in a different manner, a more contemporary one where the bridges cast rhythmic patterns on the original architecture.

A contemporary addition is proposed behind the temple and also connecting to it over the sacristy spaces creating a whole new structure that connects the convent to the gardens and proposing a new patio space. By

leaving the entrance untouched, it preserves the history and facade that is notoriously famous. However once the user enters the space they will be greeted by the new addition that will lead them to a patio and gardens. The patio reflects back to the original patio and is essential in the climate of La Antigua. A bridge from the back of the covenant cantilevers over the gardens in the back, allowing users to stop and contemplate for a second and appreciate the views. The bridge then takes a turn and connects directly to the new space behind the temple. This bridge is important as it starts at the old structure expressing the past and the walk through allows for a pause at the view of the volcano, as it represents the cause of the hardships the city has faced, and the final destination is at the new addition. This addition represents the future and all the history it will obtain in a respected city such as La Antigua.

CONCEPTUAL FRAMEWORK Program

The program of this project will have a focus on wine production, however will have other accompanied spaces.

Initially, the program is divided into three sections, the workers area, visitor’s area, and production area. the worker’s area called for office space with a small kitchen and a locker room or changing room. the visitor’s area has more a focus on the emmities that dont have direct connection to the wine process. the gallery, tasting room, and private room are the most important spaces to focus on. the private room will host special parties or occasions such as weddings. in the production area, these are all the corresponding spaces that have a different role or part in the process of wine making, all the way from delivery to bottling.

CONCEPTUAL FRAMEWORK Schemes

After exploring how the intervention and site may clash and the internal experiences could become present through drawings, it was then necessary to find these interrelations through massings with a rough understanding of area needed for each programmatic element. Early ideas of connection and visitor experience had resulted in studies of finding a way split the program through a public and private means. the program called for wine making spaces, gallery spaces, and a private room, with all working spaces for the building. it would be interesting for visitors to see a part of the process of the wine making, therefore early studies show a clear combination of public spaces, such as the gallery, and the production working together. however, this was difficult to achieve with the main concept of juxtaposition of old and new to continue. with limited floor space, the back of the temple seemed like a very viable area to build on. there was the possibility of building much higher on the ruins but this may have felt over powering and as if the ruins are being crushed by the addition.

After a few interactions, ultimately the best option was to think of the design almost as two seperate buildings that would connect through the ruins. The site would be seen as a brand new intervention behind the temple and on the convent would hold a different type of intervention at every level. the addition would have a juxtaposition of old and new, where the building form and materials are a contemporary take on the existing conditions and ways of construction.

CONCEPTUAL FRAMEWORK Seperation & Unity

The separation of program was the most efficient way of intervening in this particular site. a portion of the site currently is unavailable by the public and is frankly a waste of space that could be transformed into something very interesting and beneficial to the city and the people. behind the temple consists of an open space as well as a small ruins that have begun to become overgrown by vegetation. by designing with intentions of placing all the wine production spaces behind the temple, it then creates an additional engaging entrance to the ruins. currently the back of the temple holds no attractive elements, boarded up by a gate. with a wine production behind the temple visitors are able to visit the ruins or simply come for the wine if one so chooses. by organizing the building like this, makes the programmatic spaces work together much easier and doesnâ&#x20AC;&#x2122;t require much movement or confusion. the building also becomes much more engaging with the visitors and the production, however still providing positive levels of privacy and respect for the workers.

This organization is formed in a way that creates an engaging entrance and creating a two new courtyards, one of which consists of the existing ruins. By recessing the building from the existing wall separating the private residency and the site, it creates a straight threshold all the way to the entrance to the temple with moments of pause and reflections on the way, referring back to the early concept renderings. the main entrance to the production area consists of a dry courtyard that is accessible to the public as well as loading for wine production. depending on the time of day visitors may experience grapes or other elements delivered to the building as a start their journey. the visitor may enter the building and be greeted with a small wine tasting space with open windows that view out to the storeroom, where wine can be seen being bottled. continuing on the threshold holds a moment of another courtyard however this one is heavily vegetated with the small existing ruins combination. this courtyard juxtaposes the main large dry courtyard of the convent. Surrounded by the building, certain levels have access to view the vegetated courtyard and operable windows to be consumed by fresh air.

La Antigua traditionally used dry courtyard as an element in their architecture and eventually started to create some with vegetation that would allow for cooler adjacent spaces and well as creating a beautiful moment.

PRIVATE PUBLIC SEMI-PRIVATE/PRODUCTION

LEVEL -1

LEVEL 0

LEVEL 1

LEVEL 2

CONCEPTUAL FRAMEWORK Juxtapositions

Intervening in ruins is a delicate process and there is always a different approach from one individual to another. the Kolumba Museum by Zumthor is able to create a harmonious relationship from the existing to the new through organization, forms, material he chose to use. all similar in a sense, however achieved in a contemporary fashion that looks like the two, old and new, belong and are connected. inspired by Zumthor and his decisions, this project for La Antigua, creates a juxtaposition itself between the existing and new.

Earlier approaches had a clear juxtaposition between old and new by using the original ruins a foundation to the addition that will sit above. After several approaches and design studies, it was clear that the addition needed to be visually delicate enough, however relating back to the ruins to not over power. with the amount of area needed it was impossible to make the addition visually delicate sitting above two short stories of ruins. by sinking and fitting half the program within the existing walls of the second level of the ruins, the addition seemed to fit and made to visually belong. the addition sitting above does not overpower the ruins, creating a dysfunctional architecture, however sits comfortably above the ruins. the forms created through a precast concrete paneling system learned from the ruins and exaggerate the existing exterior windows. sinking the program down to the existing walls of the second level then created a clear and concise juxtaposition and process of intervening at every level. the ground level with the open dry courtyard of the convent is an approach of being untouched and leaving the ruins alone to how they are currently. the second level is an adaptive reuse approach and taking these empty rooms and giving them more purpose by introducing program. these juxtaposed spaces create a relationship to the visitor and the ruins and then become more interesting. finally, the top level is the brand new addition that is designed to fit with the existing. it uses the existing ruins as structural support. visitors are then able to experience a new experience at each level, engaging them at any moment.

North Elevation

East Elevation

South Elevation

CONCEPTUAL FRAMEWORK Wine

The wine production is an important program that is unique to Santa Teresa because it was once used for wine production.

The convent and temple were always being reused for different programs after the earthquakes and cities abandonment. since wine was previously made at this site, a new facility would be ideal to speak back to its history.

The production of the wine is a very precise and controlled process, therefore the design had to be successful. The programmatic spaces needed to produce and bottle wine are a loading and delivery area, tankroom, cellar, and storeroom. the loading area is self explanatory, it is where the grapes and other fruit are delivered first. the tank room is where the full process of the wine is made and put into tanks that are insulated. the tanks have features that will hold a consistent temperature in the tank to make sure the grapes are fermented and processed in a controlled environment. the cellar is is where the wine will be stored to age. after the wine is collected from the tanks they are poured into barrels and stored. finally, the storeroom is the final room in the wine production process where the wine, from the cellar, is poured and bottled and will sit and age until ready to be sold or consumed.

The organization of these spaces was important and are kept very close to each other so that the wine wonâ&#x20AC;&#x2122;t need to be transported too much or too far for comfort. on the ground level, behind the temple, the first courtyard by the entrance holds a freight elevator where trucks will be able to pull in with the grapes and other fruit and brought down to the basement level of the building. this courtyard that the drop off occurs is also open to the public so that visitors will be able to see and experience the first step of producing the wine. the main production spaces are located below grade due to the earth ability maintain a more constant temperature than above grade. wine requires a very controlled area and in most instances this process occurs underground or is stored underground. the grapes are brought below grade and straight to the tank room where the second step of the winemaking is. right adjacent is the cellar so that the wine can easily and quickly be transported. the wine is then transported back up the freight elevator to the storeroom. the space is located on the ground level because it is the last step of the production process and can be seen by visitors by the entrance. the main entrance for the wine production also holds a very small wine

tasting room to get the visitor interested and excited for their visit. the final room, wine tasting, occurs at the very top level of the building. this space holds the same qualities and concepts from the early renderings of how one may experience a wine tasting. windows are not visible by eye level , however are still operable and allow for natural light to enter the space. the top level also consists of small courtyard garden spaces that allow for more light and ventilation. the outdoor elements cause no distractions to the visitors senses of taste and smell.

CONCEPTUAL FRAMEWORK Passive Strategies

The program of a winery requires a very controlled environment, but the building will hold other programs that will benefit from some of the passive strategies already implemented by the city. Generally speaking the worker’s area and visitors areas might need simple strategies such as cross ventilation and overhangs of roofs. The idea of the courtyard or patio can be in tangent to spaces such as the administration offices, locker/ changing rooms, reception, private room, gallery, and shop. Spaces such as the kitchen or storage spaces may require a combination of passive and mechanical strategies. In the summer the private room would benefit from shade from the sun and natural ventilation. However, in the winter, when temperatures drops and may rain heavily, mechanical systems may be needed to keep a relative comfort level as this space will be utilized for events such as weddings.

The production program spaces will require more controlled environments as it holds rooms where wine needs to be kept at a similar temperature year round. However, learning from how Santa Teresa was used prior, wine would be stored underground where temperature can stay relatively similar year round regardless of season. The thick walls will also be able to hold a large amount of embodied energy making sure the indoor space stays cool. The storeroom may be able to have a combination of passive and mechanical strategies as it is just where the wine will be sold. The wine tasting room might also be able to use a combination of strategies. In the summer, where radiation becomes an issue roof overhangs can help keep the building cool as well.

By introducing green roof terraces all the spaces underneath as well as the building will remain much cooler in the summer as well as help with water management during the winter. Some roof terraces in La Antigua had vegetation growing which is very beneficial. The sun’s radiation is absorbed by the plants and keep program underneath cooler. This strategy combined with many other strategies such as the courtyard or patio can create a very comfortable space without using mechanical systems.

This is one of the nicest climates where the temperature doesn’t fall too low or get too high therefore for a large portion of the year, it will be comfortable indoors.

The downfall is the serious nature of the radiation from the sun in the summer season and the amount of rain that can accumulate in the winter. After running climate consultant, many passive strategies were suggested in creating spaces comfortable year round. In the summer months, spaces and the building would benefit from overhangs and louvers to block the sun’s strong rays. Any glazing located on the south should have an overhang, and on the west and east sides would benefit from vertical louvers. It is important to block out the sun during the day but letting in morning and afternoon light to brighten the spaces.

Windows implemented should all be operable to be able to create a cross ventilation, bringing in a breeze to keep the air moving indoors. The rooms should also be oriented where the prevailing winds are coming from so that air can ventilate regularly though the space. This technique alongside a long distance, ventilation will be able to create a stronger breeze to help remove as much heat as possible from the building. A long floor plan is ideal in a temperate climate as cross ventilation is present much more than a cross ventilation between a short distance.

Patios, no surprise, are a great way to keep spaces cool throughout the summer. Lush or dry courtyards are implemented already throughout the city as spaces that allow for air natural air to be ventilated through the spaces and letting heat to rise and out of the building. A patio combined with vegetation is much stronger as the plants absorb water and be beneficial in the winter where it can rain heavily, but also great in the summer. In the winter the plants are a great strategy for water management and in the summer the plants retain water and when a breeze sweeps by the air becomes even cooler. This air ventilating through adjacent spaces can be a great option for obtaining comfort levels.

The type of material used also plays a factor in passive cooling and heating. A light colored material is key in a temperate climate as it will not absorb as much heat as a darker material. This is especially important for the roof, if the roof reflects the sunlight, the building will remain cooler and reduce the amount of heat transferred to the spaces inside. Lightweight construction on slab on grade are great in temperate climates as well.

CONCEPTUAL FRAMEWORK Passive Strategies

The design of this project has continued to learn from the context of the city, the site, and the climate. Due to the particular conditions existing buildings and structures utilize passive strategies of cooling and keeping temperatures consistent within spaces. The design of this winery is no different in the basic principles. By utilizing these strategies, the use of mechanical systems can be reduced significantly.

The design consists of several courtyards, each with different qualities, some more traditional than others. The original courtyard of the convent is to remain as is, a dry surface with a fountain in the center, that allows for air to be slightly cooler around. After examining and exploring other courtyards in the city, vegetated courtyards have become very popular as well as a strategic way to cool the surrounding spaces. A fully vegetated courtyard is located behind the temple that engulfs the existing ruins. This space is not only a successful space for visitors to visually enjoy, but it also cools the spaces around when windows are open. Those two courtyard juxtapose each other in the design and both are used in successful manners.

There are three much smaller open courtyards on the top level of the production side, where the wine tasting is located. These three, small but effective, areas help with cooling and allow for more natural light to enter the space.

These courtyards alone are only effective to users that are outside to them, therefore to utilize their full potential, the building must have ways of cross ventilation. The addition is made up of a precast paneling system with operable windows and can be opened to allow for fresh air to flow into the space, cool, then release the hot air. Creating cross breezes are very important in climates such as the one in Guatemala.

5

TECHNICAL SOLUTIONS

TECHNICAL SOLUTIONS Structure

The structure of the design must have been done through several aspects in mind. One idea to be kept in mind was to keep a level of similarity so that the additions the ruins adjacent and above have with each other. This would be tricky to accomplish if it was completed with similar building methods that was once used, therefore the design needed to adapt to more modern construction. Inorder to make sure the ruins will not be damaged there needs to be much lighter load above them. The plausible solution was steel frame construction and inorder to save time and keep the entire project consistent, the same construction would be implemented behind the temple. Heavier steel elements would start at the bottom of the structure and lighter elements would be used towards the top to lighten the load and for an easier distribution of loads.

Inorder to make sure that the building is sitting firmly on top of the ruins, a similar building method is used to the Kolumba Museum by Peter Zumthor. At every so often feet steel piles are driven down the original walls of the ruins and past the foundation and finally filled with concrete to act as a new foundation to the addition. This method helps strengthen the original ruins as well as helping the addition sit firmly and confidently. The part of the design that floats above the temple consists of four concrete and steel columns that drive down the temple. The very end connects to the original temple wall and clasps onto it.

Another important factor that was important to address was the stability of the structure, since the site has multiple instances of earthquakes. The building would be stabilized by bracing on all ends of the buildings. This would help with the building remaining intact and as still as possible in the case of an earthquake. The adjacent building, behind the temple, also does not touch the ruins.

SCALE :

TECHNICAL SOLUTIONS Structure Build-up

TECHNICAL SOLUTIONS Mechanical

For spaces that are fully public and donâ&#x20AC;&#x2122;t have direct correlation with the wine production side of the design will follow the same conventional system. One space that seems to be maintained more heavily than others is the private space, where big events such as weddings may occur. During times of the year where temperatures are at their highest and individuals come in fully dressed might experience some discomfort. The private room will have to be ventilated and cooled more than other spaces.

70

70

60

60

50

50

40

40

80

70

70

60

60

50

50

40

40

WET-BULB TEMPERATURE DEG. F 80

80

70

70

60

60

50

50

40

40

80

DEW POINT TEMPERATURE, DEG. F

80

WET-BULB TEMPERATURE DEG. F 80

DEW POINT TEMPERATURE, DEG. F

WET-BULB TEMPERATURE DEG. F 80

DEW POINT TEMPERATURE, DEG. F

DEW POINT TEMPERATURE, DEG. F

The climate of Guatemala is a very temperate one and for most of the year buildings can be cooled through passive strategies mentioned earlier. However, there are instances in the year where there are heavy amounts of rain and someone from the country might feel too cold. In this project, there WET-BULB TEMPERATUREsome are moments where mechanical systems are necessary, DEG. F 80 programs require more attention than others. In the spaces of the wine production there needs to be a more controlled environment for the wine to ferment and or be kept fresh and consistent. In the addition located behind the temple will 70 require a conventional system. This system will be comprised of a closed loop geothermal water to air. This will deal with the heating and cooling of the spaces, therefore for ventilation reasons, an ERV system neems necessary.60 The reason for this particular system is due to the fact that most of the production areas are located underground, where the earth already helps 50 keep the space at a constant temperature and because the 40 tanks where the wien is being produced or fermented in already has some insulative properties. The geothermal closed loop system is the most effective system for this instance because it is using the earthâ&#x20AC;&#x2122;s energy to help maintain the building and returning back to it. As there is no perfect mechanical system, geothermal and ERV combination removes the need for an air handling unit.

70

60

50

40

30

30

30

30

20

20

20

20

10 0

10 0

10 0

10 0

1

Bore Field with Geothermal Wells

2

Supply Manifold

3

Return Manifold

4

Heat Exchanger

5

Water to Air Heat Pump

6 ERV

TECHNICAL SOLUTIONS Mechanical

LEVEL 0

LEVEL 2

LEVEL -1

LEVEL 1

TECHNICAL SOLUTIONS Building Envelope

When designing the building envelope it was important to stay true to the material of the original structure.

However, all constructed out of heavy materials, made up of rubble, rock, and mortar, the same could not have been done to the addition as it would damage the ruins some more. To lighten the load steel is used and the facade is then made up of precast concrete panels that are an exaggeration of the shape of the original windows of the ruins. Concrete is used to pay homage to the original material by creating a mortar/stonelike texture. The goal isnâ&#x20AC;&#x2122;t mimic from the existing ruins, but to create a juxtaposing contemporary addition that learns from the ruins.

Operable windows are in each concrete panel to allow for ventilation of the spaces. In a climate such as in Guatemala, windows are all operable to create comfortable spaces during hot or humid days. Water is collected off the roof and brought down the facade to a drainage system.

4

APPENDENCIES

18'-2"

10'

10'-6" 10'-6" 11'-6"

12'

11' 13'

27' 36'

10'-6" 12'

15'

18'-11"

15'-7"

12'

17'-11"

13'-9"

11'-8"

10'

12'-7"

17'-5"

10'

10'

18'-7"

18'-10"

18'-10"

22'-10"

22'-10"

19'-2"

17'-2"

19'-2"

13'-5"

9'

14'-2"

CELLAR

19'-8"

/

//

/ //

//

12'-5"

TANKROOM

LOADING

15'-4" 15'-4"

TRACES : LA ANTIGUA GUATEMALA

SANTA TERESA

SCALE :

DAN SADOWNICZYK

COMPREHENSIVE STUDIO ARCH 513

DATE :

1 8"

= 1'-0"

LEVEL -1

A1-01

1RA. CALLE ORIENTE 18'-2"

10'-0"

10'-6" 12'-1" 11'-6"

12'-0"

11'-2" 11'-0"

13'-0"

11'-4" 27'-0" 36'-0"

11'-1"

10'-6"

12'-0" 10'-6" 12'-0"

15'-0"

18'-11"

15'-7"

12'-0"

17'-11" 13'-9" 11'-8"

10'-3"

10'-0"

8'-0" 8'-0"

PRIVATE PROPERTY

//

/ //

17'-5"

4TA. AVENIDA NORTE

8'-0"

12'-7"

/

//

10'-0" 10'-0" 18'-7" 11'-3"

TASTE

PATIO

STORE

/

//

/ //

8'-4"

//

7'-0" 5'-5" 7'-0" 8'-4"

STOREROOM

7'-0" 8'-4"

18'-10"

TRACES : LA ANTIGUA GUATEMALA

SANTA TERESA

18'-10"

45'-8"

7'-0"

17'-2"

SCALE :

DAN SADOWNICZYK

COMPREHENSIVE STUDIO ARCH 513

DATE :

1 8"

12'-2"

7'-0"

6'-5"

= 1'-0" LEVEL 0

19'-2"

A1-02

8'-2"

10'

10'

10'-6" 11'-6"

12'

13'

11' 13'

12'

24'

10'-6" 15'

14' 12'

18'-11"

15'-7"

12'

17'-11"

PRIVATE

13'-9" 11'-8"

10'-3"

SECURITY

8'

10'

KITCHEN

8'

12'-7" 8'

//

//

/

/

17'-5"

//

10' 10' 18'-7"

GALLERY

18'-10"

18'-10"

7'

12'-4"

7'

12'-4"

7'

17'-2"

7'

12'-2"

7'

6'-6"

11'-4"

LOCKER

19'-2"

LOCKER

/

//

/ //

8'-4"

//

7' 5'-5"

CAFE

7'

OFFICE

8'-4" 7' 8'-4"

TRACES : LA ANTIGUA GUATEMALA

SANTA TERESA

SCALE :

DAN SADOWNICZYK

COMPREHENSIVE STUDIO ARCH 513

DATE :

1 8"

= 1'-0" LEVEL 1

A1-03

8'-2"

10'

10'

9'-6"

10'-6"

12'-1"

9'-6"

11'-2"

10'-6"

11'-4"

9'-6"

10'-6"

11'-1"

12'

9'-6"

10'-6"

13'-1"

9'-6"

10'-6"

9'-6"

10'-6"

18'-11"

17'-11" 13'-9" 10'-3"

8' 8' 8'

//

//

/

/

8'

//

8'-10" 7'-3" 8' 5'-5" 10'-7" 7' 9' 18'-10"

18'-10"

7'

12'-4"

7'

12'-4"

7'

17'-2"

7'

12'-2"

7'

6'-5"

19'-2"

8' 8' 11'-4" 8' /

//

/ //

8'-4"

//

8' BAR

7'

8'

5'-5" 8' 7'

WINETASTING

8' 8'-4" 8'-1" 7'

8' 8'-4"

TRACES : LA ANTIGUA GUATEMALA

SANTA TERESA

SCALE :

DAN SADOWNICZYK

COMPREHENSIVE STUDIO ARCH 513

DATE :

1 8"

= 1'-0" LEVEL 2

A1-04

TRACES : LA ANTIGUA GUATEMALA

SANTA TERESA

SCALE :

DAN SADOWNICZYK

COMPREHENSIVE STUDIO ARCH 513

ROOF DATE :

ROOF 043'-0"

LEVEL_2 26'-6"

LEVEL_1 12'10"

LEVEL_0 000'-0"

ROOF 043'-0"

LEVEL_2 26'-6"

LEVEL_1 12'10"

LEVEL_0 000'-0"

ROOF 043'-0"

LEVEL_2 26'-6"

LEVEL_1 12'10"

LEVEL_0 000'-0"

TRACES : LA ANTIGUA GUATEMALA

SANTA TERESA

SCALE :

DAN SADOWNICZYK

COMPREHENSIVE STUDIO ARCH 513

ELEVATIONS DATE :

A2-01

ROOF 043'-0"

LEVEL_2 28'-4"

LEVEL_1 14'-9"

LEVEL_0 000'-0"

ROOF 043'-0"

LEVEL_2 28'-4"

LEVEL_1 14'-9"

LEVEL_0 000'-0"

ROOF 043'-0"

LEVEL_2 28'-4"

LEVEL_1 14'-9"

LEVEL_0 000'-0"

TRACES : LA ANTIGUA GUATEMALA

SANTA TERESA

SCALE :

DAN SADOWNICZYK

COMPREHENSIVE STUDIO ARCH 513

ELEVATIONS PRODUCTION DATE :

A2-02

ROOF 043'-0"

LEVEL_2 28'-4"

LEVEL_1 14'-9"

LEVEL_0 000'-0"

LEVEL_-1 14'-9"

TRACES : LA ANTIGUA GUATEMALA

SANTA TERESA

SCALE :

DAN SADOWNICZYK

COMPREHENSIVE STUDIO ARCH 513

DATE :

SECTIONS

A2-03

8

7

4 12

ROOF 043'-0"

3

2 1

1

3

4

5

2 3 4

14'-8"

5 6 7 8

6

9

LEVEL_2 28'-4"

8

9

10

7

10

11 12 13

13'-7"

14 15

16

LEVEL_1 14'-9"

roof construction: bed of gravel on drainage layer rigid-foam insulation water membrane sealing layer reinforced concrete roof water membrane sealant sheet-aluminum covering precast concrete facade element rigid-foam insulation textile blind, manually operated gypsum plasterboard dry wall lining structural anchors for suspension of element facade 4" HSS steel column anchor plate 8" concrete flooring, polished 3" corrugated metal decking 12" I-beam 10" beam welded steel flange synthetic-resin-based concrete on asphalt drainage channel with metal grating 18" I-beam 16" beam welded steel flange continuous drainboard concrete footing filter fabric stone drainage bed perforated drainage pipe 4" concrete slab-on-grade, polished poly. vapor barrier 4" granular fill

14'-9"

LEVEL_0 000'-0"

11 12

13

14'-9"

LEVEL_-1 -14'-9"

16

14

15

TRACES : LA ANTIGUA GUATEMALA

SANTA TERESA

SCALE :

DAN SADOWNICZYK

COMPREHENSIVE STUDIO ARCH 513

DATE :

3 8"=1'-0"

WALL SECTION THROUGH PRODUCTION

A3-01

3

2 1

3

1 4

2 3 4

5

5 6 7 8

16'-6"

9 10

roof construction: bed of gravel on drainage layer rigid-foam insulation water membrane sealing layer reinforced concrete roof water membrane sealant sheet-aluminum covering precast concrete facade element rigid-foam insulation textile blind, manually operated gypsum plasterboard dry wall lining structural anchors for suspension of element facade 4" HSS steel column anchor plate 8" concrete flooring, polished 3" corrugated metal decking 12" I-beam 10" beam welded steel flange

6

8

9

10 7

13'-8"

12'-10"

TRACES : LA ANTIGUA GUATEMALA

SANTA TERESA

SCALE :

DAN SADOWNICZYK

COMPREHENSIVE STUDIO ARCH 513

DATE :

1/2"=1'-0"

WALL SECTION THROUGH PRODUCTION

A3-02

TRACES : LA ANTIGUA GUATEMALA

SANTA TERESA

SCALE :

DAN SADOWNICZYK

COMPREHENSIVE STUDIO ARCH 513

DATE :

NTS

AXON WALL SECTION THROUGH PRODUCTION

A3-03

18'-2"

10'

10'-6" 10'-6" 11'-6"

12'

11' 13'

27' 36'

10'-6" 12'

15'

18'-11"

15'-7"

12'

17'-11"

13'-9"

11'-8"

10'

12'-7"

17'-5"

10'

10'

18'-7"

18'-10"

18'-10"

22'-10"

22'-10"

19'-2"

17'-2"

13'-5"

19'-2"

9'

14'-3"

19'-8"

/

//

/ //

//

12'-5"

15'-4"

15'-4"

TRACES : LA ANTIGUA GUATEMALA

SANTA TERESA

SCALE :

DAN SADOWNICZYK

COMPREHENSIVE STUDIO ARCH 513

STRUCTURE FOUNDATION DATE :

S1-01

18'-2"

10'

10'-6" 10'-6" 11'-6"

12'

11' 13'

27' 36'

10'-6" 12'

15'

18'-11"

15'-7"

12'

17'-11"

13'-9"

11'-8"

10'

12'-7"

17'-5"

10'

10'

18'-7"

18'-10"

18'-10"

22'-10"

22'-10"

19'-2"

17'-2"

13'-5"

19'-2"

9'

14'-2" 19'-8" 12'-5" 15'-4" 15'-4"

TRACES : LA ANTIGUA GUATEMALA

SANTA TERESA

SCALE :

DAN SADOWNICZYK

COMPREHENSIVE STUDIO ARCH 513

STRUCTURE LEVEL -1 DATE :

S1-02

18'-2"

10'-0"

10'-6" 12'-1" 11'-6"

12'-0"

11'-2" 11'-0"

13'-0"

11'-4" 27'-0" 36'-0"

11'-1"

10'-6"

12'-0" 10'-6" 12'-0"

15'-0"

18'-11"

15'-7"

12'-0"

17'-11" 13'-9" 11'-8"

10'-3"

10'-0"

8'-0" 8'-0" 8'-0"

12'-7" 17'-5" 10'-0" 10'-0" 18'-7"

11'-3"

/

//

/ //

8'-4" 7'-0" 5'-5" 7'-0" 8'-4" 7'-0" 8'-4"

18'-10"

TRACES : LA ANTIGUA GUATEMALA

SANTA TERESA

18'-10"

45'-8"

7'-0"

17'-2"

12'-2"

7'-0"

6'-5"

19'-2"

SCALE :

DAN SADOWNICZYK

COMPREHENSIVE STUDIO ARCH 513

STRUCTURE LEVEL 0 DATE :

S1-03

8'-2"

10'

10'

10'-6" 11'-6"

12'

13'

11' 13'

24'

10'-6" 15'

14' 12'

12'

18'-11"

15'-7"

12'

17'-11" 13'-9" 11'-8"

10'-3" 8'

10' 8'

12'-7" 8'

17'-5" 10' 10' 18'-7"

18'-10"

18'-10"

7'

12'-4"

7'

12'-4"

7'

17'-2"

7'

12'-2"

7'

6'-6"

19'-2"

11'-4" 8'-4" 7' 5'-5" 7' 8'-4" 7' 8'-4"

TRACES : LA ANTIGUA GUATEMALA

SANTA TERESA

SCALE :

DAN SADOWNICZYK

COMPREHENSIVE STUDIO ARCH 513

STRUCTURE LEVEL 1 DATE :

S1-04

8'-2"

10'

10'

9'-6"

10'-6"

12'-1"

9'-6"

11'-2"

10'-6"

11'-4"

9'-6"

10'-6"

11'-1"

12'

9'-6"

10'-6"

13'-1"

9'-6"

10'-6"

9'-6"

10'-6"

18'-11"

17'-11" 13'-9" 10'-3"

8' 8' 8' 8' 8'-10" 7'-3" 8' 5'-5" 10'-7" 7' 9' 18'-10"

18'-10"

7'

12'-4"

7'

12'-4"

7'

17'-2"

7'

12'-2"

7'

6'-5"

19'-2"

8' 8' 11'-4" 8' 8'

8'-4"

7'

8'

5'-5" 8' 7'

8' 8'-4" 8'-1" 7'

8' 8'-4"

TRACES : LA ANTIGUA GUATEMALA

SANTA TERESA

SCALE :

DAN SADOWNICZYK

COMPREHENSIVE STUDIO ARCH 513

STRUCTURE LEVEL 2 DATE :

S1-05

TRACES : LA ANTIGUA GUATEMALA

SANTA TERESA

DAN SADOWNICZYK

COMPREHENSIVE STUDIO ARCH 513

SCALE :

DATE :

NTS

STRUCTURE AXON

S1-06

18'-2"

10'

10'-6" 10'-6" 11'-6"

12'

11' 13'

27' 36'

10'-6" 12'

15'

18'-11"

15'-7"

12'

17'-11"

13'-9"

11'-8"

10'

12'-7"

17'-5"

10'

10'

18'-7"

18'-10"

18'-10"

22'-10"

22'-10"

19'-2"

17'-2"

19'-2"

13'-5"

9'

14'-2" 19'-8"

/

//

/ //

//

12'-5" 15'-4" 15'-4"

TRACES : LA ANTIGUA GUATEMALA

SANTA TERESA

SCALE :

DAN SADOWNICZYK

COMPREHENSIVE STUDIO ARCH 513

DATE :

LEVEL 0

1RA. CALLE ORIENTE 18'-2"

10'-0"

10'-6" 12'-1" 11'-6"

12'-0"

11'-2" 11'-0"

13'-0"

11'-4" 27'-0" 36'-0"

11'-1"

10'-6"

12'-0" 10'-6" 12'-0"

15'-0"

18'-11"

15'-7"

12'-0"

17'-11" 13'-9" 11'-8"

10'-3"

10'-0"

8'-0" 8'-0"

PRIVATE PROPERTY

//

/ //

17'-5"

4TA. AVENIDA NORTE

8'-0"

12'-7"

/

//

10'-0" 10'-0" 18'-7" 11'-3"

PATIO /

//

/ //

8'-4"

//

7'-0" 5'-5" 7'-0" 8'-4" 7'-0" 8'-4"

18'-10"

TRACES : LA ANTIGUA GUATEMALA

SANTA TERESA

18'-10"

45'-8"

7'-0"

17'-2"

12'-2"

7'-0"

6'-5"

SCALE :

DAN SADOWNICZYK

COMPREHENSIVE STUDIO ARCH 513

DATE :

LEVEL 0

19'-2"

8'-2"

10'

10'

10'-6" 11'-6"

12'

13'

11' 13'

24'

10'-6" 15'

14' 12'

12'

18'-11"

15'-7"

12'

17'-11" 13'-9" 11'-8"

10'-3" 8'

10' 8'

12'-7" 8'

//

//

/

/

17'-5"

//

10' 10' 18'-7"

18'-10"

18'-10"

7'

12'-4"

7'

12'-4"

7'

17'-2"

7'

12'-2"

7'

6'-6"

19'-2"

11'-4"

/

//

/ //

8'-4"

//

7' 5'-5" 7' 8'-4" 7' 8'-4"

TRACES : LA ANTIGUA GUATEMALA

SANTA TERESA

SCALE :

DAN SADOWNICZYK

COMPREHENSIVE STUDIO ARCH 513

DATE :

LEVEL 0

8'-2"

10'

10'

9'-6"

10'-6"

12'-1"

9'-6"

11'-2"

10'-6"

11'-4"

9'-6"

10'-6"

11'-1"

12'

9'-6"

10'-6"

13'-1"

9'-6"

10'-6"

9'-6"

10'-6"

18'-11"

17'-11" 13'-9" 10'-3"

8' 8' 8'

//

//

/

/

8'

//

8'-10" 7'-3" 8' 5'-5" 10'-7" 7' 9' 18'-10"

18'-10"

7'

12'-4"

7'

12'-4"

7'

17'-2"

7'

12'-2"

7'

6'-5"

19'-2"

8' 8' 11'-4" 8' /

//

/ //

8'-4"

//

8'

7'

8'

5'-5" 8' 7'

8' 8'-4" 8'-1" 7'

8' 8'-4"

TRACES : LA ANTIGUA GUATEMALA

SANTA TERESA

SCALE :

DAN SADOWNICZYK

COMPREHENSIVE STUDIO ARCH 513

DATE :

LEVEL 0

CONCEPT A â&#x20AC;&#x153;Reflectionâ&#x20AC;?

Exploring the idea of reflection of the history and of the people of La Antigua in Santa Teresa are explicit in these renderings. It is important to always remember the past inorder to continue forward to the future. By exploring architectural forms and views out to the city, one can reflect upon history and move on forward to new and healthier futures.

The second addition comes from the back end of the convent and creating a whole new structure that connects the convent to the gardens and proposing a new patio space. By leaving the entrance untouched, it preserves the history and facade that is notoriously famous.

However once the user enters the space they will be greeted by the new addition that will lead them to a patio and gardens. The patio reflects These renderings exploit the concept of back to the original patio and is essential in the continuing where the history left off. At times it climate of La Antigua. fells necessary to not intervene in historical sites Concrete is used to mimic the texture and only to restore them to their origins. However, and solidity of the original walls of Santa Teresa. there is a beauty in adding onto a historic building as it gives it new life. The addition adds the layer Large protruding and angulating opening let of the present and the future. Being stuck in natural light in to create special moments on the past may leave buildings to grow stale and the interior. These opening take a contemporary approach to the openings from the original uninteresting for new visitors. structure. Hanging vegetation is introduced as Leaving the bottom two levels untouched well to give the appearance of an overgrown represents the Santa Teresa from the past and structure that expresses one of the original uses by buildings upwards and adding two extra levels of the building of wine production. The addition on the north building creates the opportunity for of contemporary glass stairs express the future of a future story. However it is always remember the building , by modestly connecting the original and reflect on the past, so by creating a pool building to the new levels. and flooding the central courtyard, occupants above can look down to see the reflection of themselves and of the whole building. The original vaults reflect onto the water as well as the new openings above from the addition. The rendering proposes a cantilever with two large views back to the city and the volcanoes. The user will see the cause of the destruction of the city as another level of reflection. The hardships the people of La Antigua faced were tremendously challenging, but as some people refused to leave their homes the cantilever expresses their dominance and courage.

CONCEPT B â&#x20AC;&#x153;Cellarâ&#x20AC;?

Preserving and not disrupting history is a concept studied in these renderings. Exploring previous programs and uses of architecture help to inform new ways of design and paying respect to the original structures.

Users would experience nothing else like this in La Antigua. Cooler and darker spaces achieve a different type of mood and ambiance than the open structures above. Occupants would be able to witness all the wine production processes and storage areas in areas that they These renderings take a different ap- belong, underground. proach than the previous concept. The concept expressed in these renderings are about not destroying or alternating the design of Santa Teresa from the exterior. It brings us back to one of the original uses of the building, which was wine production. The wine was stored in cellars underground, in order to keep the wine at a continuous temperature all year. Wine cannot be stored and preserved in any temperature, therefore the easiest way is to have cellars underground, where it is much cooler. Following that ideology, this concept reflects wine production by proposing program spaces all underground. This allows for the ground level to be preserved to its natural state and not alternating the history Santa Tersa holds.

The wine production was done in the north building where the large courtyard is located, however this proposal of program is under the temple and partially under the original location. The design decision to do this was to show that strong connection between the two spaces. Also the facade of the temple is very beautiful and historic to help attract users through and down the space then continue their journey to the northern structure, where naturally above ground there are not direct connections between the two. Programs now are split from above ground to underground. The top portion becomes an open museum and allows users to wonder and discover the historic building, while underground showcases the new proposed programs.

CONCEPT C â&#x20AC;&#x153;Connectionsâ&#x20AC;?

The concept of connectivity can be utilized when referencing the history of Santa Teresa and the people of La Antigua that courageously stayed in the city after the disastrous volcanic eruptions. Building masses are used respectfully to the original structure inorder to preserve and not distract as much from the exterior, but still have moments of contemporary visions that express the future of the site.

This concept takes an approach that contains similar ideologies from the previous two concepts mentioned. The main idea from theses renderings is connection. It is important to reflect on the history and and these bridge like structures do this by expressing connectivity. The sternness of staying in La Antigua after the disasters had connected the people closer together and became independent from the government.

These bridges would connect different types of program that would be located in a mixture of the old structures and new ones.

Inorder to respect the history and the structure, any new levels created would become very modest in size, trying no to design aggressively above the structure. Instead, utilizing original spaces for new program and only adding a maximum of one level above the original structure. The central courtyard would not be disrupted, but by only the crossing bridges. Users would experience the courtyard in a different manner, a more contemporary one where the bridges cast rhythmic patterns on the original architecture.

A contemporary addition is proposed behind the temple and also connecting to it over the sacristy spaces creating a whole new structure that connects the convent to the gardens and

proposing a new patio space. By leaving the entrance untouched, it preserves the history and facade that is notoriously famous. However once the user enters the space they will be greeted by the new addition that will lead them to a patio and gardens. The patio reflects back to the original patio and is essential in the climate of La Antigua. A bridge from the back of the covenant cantilevers over the gardens in the back, allowing users to stop and contemplate for a second and appreciate the views. The bridge then takes a turn and connects directly to the new space behind the temple. This bridge is important as it starts at the old structure expressing the past and the walk through allows for a pause at the view of the volcano, as it represents the cause of the hardships the city has faced, and the final destination is at the new addition. This addition represents the future and all the history it will obtain in a respected city such as La Antigua.

EXT TO INT Dominus Herzog de Meuron

Moments of introducing the natural environment to a visitor’s experience can accentuate their journey. These moments play on the users senses and heightening one more than another, in order to take a break from the same one being used.

This is achievable by natural light and viewsheds.

Herzog de Meuron’s Dominus winery plays with light at certain spaces and circulation, where users can pause for a brief moment. These moments are created in a harmonious manner that doesn’t become distracting, but contemplative. The facade of stone stacked stone allow for a type of light to enter that is angelic and allows for users to use some senses that they had left behind entering the space.

This lighting effect is made up of a unique composition of walls, or more as a “skin” in this case. It is not like a traditional masonry design where masonry is stacked and morted together to create a wall. Herzog de Meuron uses a cage-like mesh that holds together organic stones and stacking them to create a wall.

With this contemporary way of designing allows for a beautiful effect fragmentation of light entering the interior space. Herzog de Meuron is able to create such a dense and heavy sitting building feel so porous on the inside.

A grand road welcomes visitors to the site and immediately, the building, establishes its presence in the natural environment. With the building being such a solid structure, voids showcase a transparency and give a glimpse to the rest of the site and grape fields. The orthogonal and organized manner of the winery and the grape fields contrast the natural environment. The large hills give the site a sense of protection and the organic manner of vegetation balances the rigidity of the architecture.

EXT TO INT â&#x20AC;&#x153;Pauseâ&#x20AC;?

With the hectic nature of tourism, one can get lost in the attractions a building has to offer. With the integration of a winery in Santa Teresa, it can attract and distract a lot of visitors to the productions and processes, however designing in a historic city, such as Antigua, one must be reminded of the historic background. In between spaces and circulation allow for openings out to the sky, returning the visitors senses that were taken during the interior experiences. With light shining down, it gives visitors the opportunity to pause and reflect on the didactic and rich culture the original convent held. Views back to the courtyard and volcanoes create these moments.

By creating these moments of viewsheds and flood of transcending light create a contrasting ambience from those of the interior spaces. The less lit spaces in the interior mute the visual experience where the brightly lit spaces of contemplation and views exhibit a different emotional experience. The light draws attention to the architecture, enhancing the colors, forms and textures. The aged material of the walls are enhanced and put the user in space that allows a historic experience. Using smoothed concrete for the additional architectural spaces show another contrast of new to old. It becomes a story of the past to the future, one where the original walls are rough and rigid, like the history that it holds, and the smooth concrete is polished and firm standing structure of the city, ready to take on any challenges it may face.

VISITOR EXP Grow Out Cellar bergmeisterwolf architekten

The visitor experience is extremely important with a program of a winery. Questions arise of how a space should be explored and perceived.

The general topic of sense become evident in the visitor experience. Wine tasting rooms should be a space of heightened taste and smell senses and architecture can help users reach this state.

The Grow Out Cellar is a new wine cellar that is located next to an old and historic cellar in Neustift, Italy. The Architects, Bergmeisterwolf architekten, integrated this addition that would be an extension for wine production. The majority of the building is underground, with only a contemporary funnel-shaped polygonal tower, protrudes up and out mimicking the mountains surrounding. Monks started producing wine from the fields near the Isarco river valley, and many farms had followed the monks same footsteps and create their own winerys. This is one of those historic winerys that the architects had designed an addition to.

The historic and traditions of the monks had been inspirations to the architecture where a focus on production and storage was emphasized.

These underground spaces become key spaces for an exemplary wine experience. Through the minimum amount of natural light entering spaces, users are mainly consisting of solid walls surrounding them, eliminating the sense of sight.

By eliminating the sense of sight, sense of smell and taste and touch become heightened. Wine is a delicate and treasured alcohol that deserves much respect when tasting and architecture can help users to taste wine in a respective manner.

The Grow Out Cellar holds minimal spaces emulated by fluorescent lights perfect for wine tasting. Users hold maximum focus and minimum distractions.

Texture also plays an important role in the interior experience. The architect chose to use a smooth plaster finish that would also add to the level of simplicity and dullness that the space required. By eliminating any obtrusive and distracting textures, users can more easily focus on the wine tasting experience. Colors are also muted as the concrete and plaster are a dull white/grey tone, but contrasted with the earthy and timid wood tone s of the tables and benches introduced. This earth tone is emphasized more with the help of fluorescent lighting which bounce color off the walls and floors. Users know that they are completely underground, but feel comfortable and safe being so.

VISITOR EXP â&#x20AC;&#x153;Senseâ&#x20AC;?

These renderings take a different approach than the previous concept. The concept expressed in these renderings are about not destroying or alternating the design of Santa Teresa from the exterior. It brings us back to one of the original uses of the building, which was wine production. The wine was stored in cellars underground, in order to keep the wine at a continuous temperature all year. Wine cannot be stored and preserved in any temperature, therefore the easiest way is to have cellars underground, where it is much cooler. Following that ideology, this concept reflects wine production by proposing program spaces all underground. This allows for the ground level to be preserved to its natural state and not alternating the history Santa Tersa holds.

The wine production was done in the north building where the large courtyard is located, however this proposal of program is under the temple and partially under the original location. The design decision to do this was to show that strong connection between the two spaces. Also the facade of the temple is very beautiful and historic to help attract users through and down the space then continue their journey to the northern structure, where naturally above ground there are not direct connections between the two. Programs now are split from above ground to underground. The top portion becomes an open museum and allows users to wonder and discover the historic building, while underground showcases the new proposed programs.

Users would experience nothing else like this in La Antigua. Cooler and darker spaces achieve a different type of mood and ambiance than the open structures above. Occupants would be able to witness all the wine production processes and storage areas in areas that they belong, underground.

MODEL â&#x20AC;&#x153;Unityâ&#x20AC;?

Expressive elements in the model reflect back to the people of La Antigua and pay respect to all the disasters and hardships people went through in history. Seeking refuge in the convent and temple, the people can progress through the temple with elements that will lead them down to the future made up of the past.

This concept takes an approach that contains similar ideologies from the previous two concepts mentioned. The main idea from theses renderings is connection. It is important to reflect on the history and and these bridge like structures do this by expressing connectivity.

The sternness of staying in La Antigua after the disasters had connected the people closer together and became independent from the government. These bridges would connect different types of program that would be located in a mixture of the old structures and new ones.

Inorder to respect the history and the structure, any new levels created would become very modest in size, trying no to design aggressively above the structure. Instead, utilizing original spaces for new program and only adding a maximum of one level above the original structure. The central courtyard would not be disrupted, but by only the crossing bridges. Users would experience the courtyard in a different manner, a more contemporary one where the bridges cast rhythmic patterns on the original architecture.

A contemporary addition is proposed behind the temple and also connecting to it over the sacristy spaces creating a whole new structure that connects the convent to the gardens and proposing a new patio space. By

leaving the entrance untouched, it preserves the history and facade that is notoriously famous. However once the user enters the space they will be greeted by the new addition that will lead them to a patio and gardens. The patio reflects back to the original patio and is essential in the climate of La Antigua. A bridge from the back of the covenant cantilevers over the gardens in the back, allowing users to stop and contemplate for a second and appreciate the views. The bridge then takes a turn and connects directly to the new space behind the temple. This bridge is important as it starts at the old structure expressing the past and the walk through allows for a pause at the view of the volcano, as it represents the cause of the hardships the city has faced, and the final destination is at the new addition. This addition represents the future and all the history it will obtain in a respected city such as La Antigua.

INTRODUCTION Designing in a historical site like Santa Teresa should be done in a respectful manner that reflects back to the city and the people of La Antigua. With disasters like earthquakes destroying buildings within the city and large floods filling peoples homes, the convent of Santa Teresa became the home to many devastated people. With the government giving up on the city and moving to a new location, only a few brave souls stayed back to reclaim and rebuild the broken city. Santa Teresa was reclaimed and recycled having a variety of programs, one of which a winery.

1717 brought about a devastating earthquake that sparked considerations for moving to another location. Rather than acting on those considerations, the city saw a â&#x20AC;&#x153;Golden Periodâ&#x20AC;? of development of structures that were earthquake proof (safer roof vaults and single story housing). 1773, the city was bombarded with a series of earthquakes from May until December completely destroying the entire city and killing many.

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

Overall the countryâ&#x20AC;&#x2122;s government ended up causing more destruction than the 1773 earthquake. As the new capital began to grow, the government lost interest in forcing poorer citizens to move from La Antigua.

Reintroducing the winery into the site through the concepts of reflection in a contemporary fashion is what is being implemented in this project. To remain respectful the exterior of the convent and temple are to remain untouched so that it looks the same as it had been for years preserving the history. The interior of the building then can be altered and manipulated in a contemporary fashion, but encapsulating parts of the structure into the new one. Using the existing

Using the existing structure as a base and building up and around is a reflection of the timeline of the site.

The old walls hold all the history of the city and the new construction represents the future. The addition adds the layer of a new life, rather than being stuck in the past where many hardships lay.

With a program of a winery, the original one was located in the convent and had used underground cellars to preserve and age the wine. It was stored underground to, in order to keep the wine at a consistent temperature all year round as it ages. As wine cannot be stored in any temperature, therefore keeping it in cellars underground will allow for a cooler temperature. This should be used a precedent or an inspiration to the new addition. Designing underground, is a reflection back to the history of the people of La Antigua. Replicating similar ideologies of wine storage spaces underground can be utilized for the production and storage of the wine. This design strategy allows for less program to be utilized above grade and therefore trying to leave a large amount of the convent and temple in its original state. Visitors coming to the site will have an interest in the winery, however they will also like to experience parts of the convent as they once were before.

With spaces such physically connecting to the convent as a way of connecting to the building, a metaphorical connection of creating a separate structure from the site can be utilized as connective space through the way one may progress through a space. A separate building can be proposed behind the temple on the workable site. As a visitor may progress though the temple from the entrance to the back, they will see the ruins as is and experience a rich untouched history encompassed by the walls and their openings. The user will walk on the temple as it once was used, reflecting back to the original program of the space and back to the history of La Antigua.

Once the user faces the back of the temple, there sits a brand new contemporary structure. This structure represents a new future and hope for the people. It becomes a final destination point, where users can stop and contemplate as the view out to the beautiful gardens located behind the convent.

Scheme a

VISITOR’S AREA

PRODUCTION AREA

WORKERS’S AREA

PRODUCTION AREA

a

a

3 5

4

2 b

11 1

12 10

15

15

13

13

Level 0

a

Level 1

a

a

6

14

7

9

16

b 8

15

Level 2

Level 3

a

1 2 3 4

Administrative Offices Locker/Changing rooms Kitchen (for workers only) Reception/lobby

5 6 7 8 9 10 11 12

Security Tasting room Tasting room-support Private room Main kitchen Storage Gallery Shop

13 14 15 16

Loading+receiving area Tank room â&#x20AC;&#x2DC;Barriqueâ&#x20AC;&#x2122; Cellar Storeroom

Scheme c

aa

bb

Scheme b

VISITOR’S AREA

LIGHTWELL

WORKERS’S AREA

PRODUCTION AREA

a

a

b

16

15

3

1

2

13

2

4

a Level -1

Level 0

a

a

a

5

9

8

b

11

12

14

6 7

a

Level 1

a Level 2

10

1 2 3 4

Administrative Offices Locker/Changing rooms Kitchen (for workers only) Reception/lobby

5 6 7 8 9 10 11 12

Security Tasting room Tasting room-support Private room Main kitchen Storage Gallery Shop

13 14 15 16

Loading+receiving area Tank room â&#x20AC;&#x2DC;Barriqueâ&#x20AC;&#x2122; Cellar Storeroom

Scheme c

aa

bb

Scheme c

BRIDGES

VISITOR’S AREA

WORKERS’S AREA

PRODUCTION AREA

a

a

b

15

16

13

Level -1

a

Level 0

a

a

3 5

4

9

2 b 11

8

1

12 10

6 14

Level 1

7

Level 2

a

1 2 3 4

Administrative Offices Locker/Changing rooms Kitchen (for workers only) Reception/lobby

5 6 7 8 9 10 11 12

Security Tasting room Tasting room-support Private room Main kitchen Storage Gallery Shop

13 14 15 16

Loading+receiving area Tank room â&#x20AC;&#x2DC;Barriqueâ&#x20AC;&#x2122; Cellar Storeroom

Scheme c

aa

bb

SANTA TERESA WINERY Program

Worker's Area

Visitor's Area

Production Area

Area (net)

Administrative Offices Locker/Changing rooms Kitchen (for workers only) Reception/lobby Security Tasting room Tasting room-support Private room Main kitchen Storage Gallery Shop Loading+receiving area Tank room Barrique' Cellar Storeroom

Quantity

1000 500 250 500 500 2000 500 2500 800 500 1500 600 2000 5000 3500 2000

Total

1 2 1 1 1 1 1 1 1 1 1 1 1 1 1 1

1000 1000 250 500 500 2000 500 2500 800 500 1500 600 2000 5000 3500 2000

Subtotal Net

24150 1.66667 40,250.08 1.4285 34,498.28

Gross

Program

Worker's Area

Visitor's Area

Production Area

Remarks

Locker/Changing rooms Kitchen (for workers only) Reception/lobby Security Tasting room Tasting room-support Private room Main kitchen Storage Gallery Shop Loading+receiving area Tank room Barrique' Cellar Storeroom

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

Business Assembly Assembly Assembly Business Can be sectioned off into smaller zones or a singular spaceAssembly bar area-Adjacent to main kitchen Assembly Weddings and special ceremonies. All one space Assembly To serve primarily Private room Assembly To serve primarily Private room (furniture, etc) Storage Santa Teresa History and wine production process Assembly In proximity to Storeroom from production area Receiving of grapes/oranges and other misc.

Utility Chrome cisterns for first phase of fermentation Factory (Low R Wine matures in wooden barrels. 2 years Storage Wine bottled, store in wooden cases and sold.

Storage

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

EGRESS Egress Width (Stair) Egress Width (Door) Egress Width (Corridor)

36" 36" 36" 44" 36" 36" 36" 36" 36" 44" 44" 36" 36" 44" 36" 36"

32" 32" 32" 32" 32" 32" 32" 32" 32" 32" 32" 32" 32" 32" 32" 32"

44" 44" 44" 44" 44" 44" 44" 44" 44" 44" 44" 44" 44" 44" 44" 44"

Occupancy Ty

Worker's Area

Visitor's Area

Production Area

Program

Administrative Locker/Changi Kitchen (for wo Reception/lobb Security Tasting room Tasting room-s Private room Main kitchen Storage Gallery Shop Loading+receiv Tank room Barrique' Cella Storeroom

ype

Area (gross)

B A-3 A-2 A-3 B A-2 A-3 A-3 A-2 S-1 A-3 M U Risk) F-2 S-2 S-2

support

ving area

ar

150 50

150

200 300 60 300 100 300 300

Area (net)

Offices ing rooms orkers only) by

Area (net)

11 33 16 33 5 133 33 357 6 2 50 16 11 83 19 11

Total Total Rounded

Occupancy Load

90 30 15 15 90 15 15 7 120 180 30 36 180 60 180 180

0.6 0.6 0.6 0.6 0.6 0.6 0.6 0.6 0.6 0.6 0.6 0.6 0.6 0.6 0.6 0.6

25 40 40 40 25 40 40 40 40 100 40 500 100 100 100 100

Occupancy Load (Actual)

11.11111111 33.33333333 16.66666667 33.33333333 5.555555556 133.3333333 33.33333333 357.1428571 6.666666667 2.777777778 50 16.66666667 11.11111111 83.33333333 19.44444444 11.11111111

11 33 16 33 5 133 33 357 6 2 50 16 11 83 19 11

Total Production & Worker's Occupancy

184

Total Visitors Occupancy

635

Total Occupancy

819

FIXTURES Female WC

Occupancy Load (Actual)

1000 500 250 500 500 2000 500 2500 800 500 1500 600 2000 5000 3500 2000

Efficiency

Male WC

Female Sinks

0.22 0.4125 0.2 0.4125 0.1 1.6625 0.4125 4.4625 0.075 0.01 0.625 0.016 0.055 0.415 0.095 0.055

0.22 0.4125 0.2 0.4125 0.1 1.6625 0.4125 4.4625 0.075 0.01 0.625 0.016 0.055 0.415 0.095 0.055

9.2285 10

9.2285 10

40 75 75 75 40 75 75 75 75 100 40 750 100 100 100 100

Male Sinks

Water Fountains

0.1375 0.22 0.1066666667 0.22 0.0625 0.8866666667 0.22 2.38 0.04 0.01 0.625 0.01066666667 0.055 0.415 0.095 0.055

0.1375 0.22 0.1066666667 0.22 0.0625 0.8866666667 0.22 2.38 0.04 0.01 0.625 0.01066666667 0.055 0.415 0.095 0.055

5.539 6

5.539 6

100 500 500 500 100 500 500 500 500 1000 500 1000 400 400 400 400

0.11 0.066 0.032 0.066 0.05 0.266 0.066 0.714 0.012 0.002 0.1 0.016 0.0275 0.2075 0.0475 0.0275

1.81 2

Analysis The climate of La Antigua, Guatemala, is relatively a similar temperature all throughout the year with temperatures ranging from 45 degrees fahrenheit to 90 degrees fahrenheit. This temperate climate goes through seasons, however there is more like a summer and winter season, but based on rain. In the summer it is very dry and hot in the air, however in the winter it will rain just about everyday in the afternoon hours. The locals of the city are used to temperatures such as low seventies degrees fahrenheit as being cold, where in countries such as the United States, this may be seen as warmer temperatures. The locals will dress up in layers if the temperature reaches these degrees.

Adjusting climate consultants settings for a higher comfort zone, it reflected back relative comfort zones. Examining indoor comfort levels during the summer season of the city, forty percent are comfortable and sixy are not. These levels are based upon hours of general operation of the building. With a particular program such as a winery and general working hours, one can argue from 7am to 10pm the building may be open to the public.

Generally speaking, the most comfortable zone falls between 75 degrees fahrenheit and 75 relative humidity.

With a temperate climate, it is no surprise the winter indoor comfort zone is relatively similar to the summer. Again, 75 degrees fahrenheit falls in the comfort zone, but with a lower relative humidity of 70. In the winter it will rain much more which will result in higher levels of humidity.

The sun rises in the east and sets in the west, however it is more vertical than in the U.S for example. This results with the issue of radiation. As it is not too hot in the summer, the radiation can make it feel much hotter. For locals this may not be a huge issue however, since La Antigua is a very tourist based city, there are people coming from all around the country to come and visit. However, the people of Guatemala and most of central america use similar passive strategies to help cool spaces.

60

50

40

80

DEW POINT TEMPERATURE, DEG. F

70

WET-BULB TEMPERATURE DEG. F 80

70

70

60

60

50

50

40

40

80

DEW POINT TEMPERATURE, DEG. F

WET-BULB TEMPERATURE DEG. F 80

70

60

50

40

30

30

20

20

10 0

10 0

Analysis As it may seem comfortable weather all year round with temperatures not exceeding 90 degrees fahrenheit, the strong sunâ&#x20AC;&#x2122;s radiation may make it feel much hotter. Many strategies are implemented in the historic city and its architecture. Designing accordingly is key in the city of La Antigua, as it is important to learn from the strategies already implemented through history.

The largest and most prominent passive strategy for the summer is the utilization of courtyards and patios in within buildings and blocks.

The most common and historic use of a patio was a dry patio with little to no vegetation and creating spaces around the common area so that when it becomes hotter, one can simply open their doors and windows and a natural breeze will come through the space and cool it. Spaces may seem compact and small however, by incorporating a courtyard greater increases the comfort. Other patios in within the city are not dry but contain some or a large amount of vegetation, at times becoming a garden.

As beautiful and appealing as they are to look at and walk through, they also immensely help cool the spaces around. The vegetation, depending on the size, can sometimes act as a shading device to cool the inhabitants and the building. Vegetation also can retain water so that during hot days a natural breeze can collect some of the moisture off the vegetation and cool its surroundings. At times there is also a fountain that incorporated in both the vegetated and dry patios which cool the spaces as well.

Overhangs are also utilized to help shade the building and the users. Buildings utilize a roof overhang generally around the entire building, but always surrounding a courtyard or patio for circulation. By having the circulation about ten to twelve feet recessed back, it allows for the possibility of utilizing outdoor space. Outdoor space in the courtyard requires for a deeper roof overhang, therefore more protection from the sun.

The city also holds a lot of buildings where roofs are accessible and if vegetation is introduced, then the buildings will be able to remain at a comfortable

level throughout the summer and rainy season. The sunâ&#x20AC;&#x2122;s radiation is absorbed by the plants keeping the roof and the building at a cooler temperature during the summer. It is also great for water management during the rainy seasons being able to absorb a lot of the rain and mitigating it away from the building.

In the winter, or rainy season, of La Antigua, there had been counts in the past of flooding due to the location of the city. It is important to stay warm in this season, but to implement strategies of water drainage. By constructing with concrete, it serves as a high embodied energy and can gather heat during the day and keep spaces inside warm throughout the night. The ancient ruins has walls as thick as three feet that would most definitely hold a large amount of embodied energy to help keep the interior spaces warm throughout the cooler season. Learning from Santa Teresa, wine would be stored underground to help keep them at a relatively similar temperature year round as they require a cooler temperature to age. We can see that the cripts were utilized as a strategy of keeping things cooler as the earth also acts similarly as thick concrete walls do.

Program The program of a winery requires a very controlled environment, but the building will hold other programs that will benefit from some of the passive strategies already implemented by the city.

Generally speaking the workerâ&#x20AC;&#x2122;s area and visitors areas might need simple strategies such as cross ventilation and overhangs of roofs. The idea of the courtyard or patio can be in tangent to spaces such as the administration offices, locker/ changing rooms, reception, private room, gallery, and shop. Spaces such as the kitchen or storage spaces may require a combination of passive and mechanical strategies.

In the summer the private room would benefit from shade from the sun and natural ventilation. However, in the winter, when temperatures drops and may rain heavily, mechanical systems may be needed to keep a relative comfort level as this space will be utilized for events such as weddings.

The production program spaces will require more controlled environments as it holds rooms where wine needs to be kept at a similar temperature year round. However, learning from how Santa Teresa was used prior, wine would be stored underground where temperature can stay relatively similar year round regardless of season. The thick walls will also be able to hold a large amount of embodied energy making sure the indoor space stays cool. The storeroom may be able to have a combination of passive and mechanical strategies as it is just where the wine will be sold. The wine tasting room might also be able to use a combination of strategies. In the summer, where radiation becomes an issue roof overhangs can help keep the building cool as well.

By introducing green roof terraces all the spaces underneath as well as the building will remain much cooler in the summer as well as help with water management during the winter. Some roof terraces in La Antigua had vegetation growing which is very beneficial. The sunâ&#x20AC;&#x2122;s radiation is absorbed by the plants and keep program underneath cooler. This strategy combined with many other strategies such as the courtyard or patio can create a very comfortable space without using mechanical systems.

Strategies This is one of the nicest climates where the temperature doesnâ&#x20AC;&#x2122;t fall too low or get too high therefore for a large portion of the year, it will be comfortable indoors. The downfall is the serious nature of the radiation from the sun in the summer season and the amount of rain that can accumulate in the winter. After running climate consultant, many passive strategies were suggested in creating spaces comfortable year round. In the summer months, spaces and the building would benefit from overhangs and louvers to block the sunâ&#x20AC;&#x2122;s strong rays. Any glazing located on the south should have an overhang, and on the west and east sides would benefit from vertical louvers. It is important to block out the sun during the day but letting in morning and afternoon light to brighten the spaces.

Windows implemented should all be operable to be able to create a cross ventilation, bringing in a breeze to keep the air moving indoors.

The rooms should also be oriented where the prevailing winds are coming from so that air can ventilate regularly though the space. This technique alongside a long distance, ventilation will be able to create a stronger breeze to help remove as much heat as possible from the building. A long floor plan is ideal in a temperate climate as cross ventilation is present much more than a cross ventilation between a short distance.

Patios, no surprise, are a great way to keep spaces cool throughout the summer. Lush or dry courtyards are implemented already throughout the city as spaces that allow for air natural air to be ventilated through the spaces and letting heat to rise and out of the building. A patio combined with vegetation is much stronger as the plants absorb water and be beneficial in the winter where it can rain heavily, but also great in the summer. In the winter the plants are a great strategy for water management and in the summer the plants retain water and when a breeze sweeps by the air becomes even cooler.

This air ventilating through adjacent spaces can be a great option for obtaining comfort levels.

The type of material used also plays a factor in passive cooling and heating. A light colored material is key in a temperate climate as it will not absorb as much heat as a darker material. This is especially important for the roof, if the roof reflects the sunlight, the building will remain cooler and reduce the amount of heat transferred to the spaces inside. Lightweight construction on slab on grade are great in temperate climates as well.

Evaluation This is one of the nicest climates where the temperature doesnâ&#x20AC;&#x2122;t fall too low or get too high therefore for a large portion of the year, it will be comfortable indoors. The downfall is the serious nature of the radiation from the sun in the summer season and the amount of rain that can accumulate in the winter. After running climate consultant, many passive strategies were suggested in creating spaces comfortable year round. In the summer months, spaces and the building would benefit from overhangs and louvers to block the sunâ&#x20AC;&#x2122;s strong rays. Any glazing located on the south should have an overhang, and on the west and east sides would benefit from vertical louvers. It is important to block out the sun during the day but letting in morning and afternoon light to brighten the spaces.

Windows implemented should all be operable to be able to create a cross ventilation, bringing in a breeze to keep the air moving indoors. The rooms should also be oriented where the prevailing winds are coming from so that air can ventilate regularly though the space. This technique alongside a long distance, ventilation will be able to create a stronger breeze to help remove as much heat as possible from the building. A long floor plan is ideal in a temperate climate as cross ventilation is present much more than a cross ventilation between a short distance.

Patios, no surprise, are a great way to keep spaces cool throughout the summer. Lush or dry courtyards are implemented already throughout the city as spaces that allow for air natural air to be ventilated through the spaces and letting heat to rise and out of the building. A patio combined with vegetation is much stronger as the plants absorb water and be beneficial in the winter where it can rain heavily, but also great in the summer. In the winter the plants are a great strategy for water management and in the summer the plants retain water and when a breeze sweeps by the air becomes even cooler. This air ventilating through adjacent spaces can be a great option for obtaining comfort levels.

The type of material used also plays a factor in passive cooling and heating. A light colored material is key in a temperate climate as it will not absorb as much heat as a darker material. This is especially important for the roof, if the roof reflects the sunlight, the building will remain cooler and reduce the amount of heat transferred to the spaces inside. Lightweight construction on slab on grade are great in temperate climates as well.

PRECEDENT Designing in a site as fragile as Santa Teresa and making sure the concept of juxtaposing the old with the new needs to be expressed. Using the original structure as a starting point and erecting up requires careful planning. Several ideas arise when dealing with this design, one of which is creating a lightweight structure that gives the perspective of lighting placing the new structure above the old.

Referencing the original concept again, material becomes an important factor. To implement a material of concrete would compliment and mimic the original material. The simplification of forms allow to showcase a contemporary adaptation to juxtapose the two. An example of this is following the original column pattern, but the columns themselves would become a continual rectangular shape to emphasize a columnâ&#x20AC;&#x2122;s purest and most honest job of being structure. The alignment of the columns would transfer loads from the roof and the floords down to the original columns on the first floor.

Honesty is another important factor to the making of the structure. Again, the design takes knowledge gained from the ruins and transfers it to the additions of the structure. The columns along the central courtyard of the convent are honest in the way that one can clearly see how the level above is being supported. This architectural language creates a dialogue between the two juxtaposing columns on both levels. The vaulted ceilings also are honest as they serve a purpose of distributing loads and a user can see this.