from sketch to space, part one

Until last year (2017), while working at Jorge Rigau, FAIA -Arquitectos PSC (jorgerigau.com), I collaborated in the restoration of San José Church in Old San Juan, the second oldest church in the New World. Originally built by the Dominican Order, its construction began in 1532, and spanned until mid-19th Century, with several restoration efforts undertaken during the 20th Century.

As an overseer of the conservation effort under the Patronato de Monumentos de San Juan, I recorded minute details of existing conditions, as well as restoration techniques, and on-site solutions and recommendations.

Customarily, architecture projects rely heavily on construction plans; and while historic preservation endeavors are not exempt of including such drawings, on-site sketches and recording field notes tend to have greater weight. First, because surprises abound; second, since — more often than not — complex tasks need to be translated to workers; and finally, because preservation is mainly about restoring traditions, and on-site instructions — I strongly believe — is one of them.

In this post and a series following, I’ll illustrate how some of those graphic instructions aided at the restoration of myriad elements throughout San José.

While assessing a structural fracture at the Virgen del Rosario Chapel a wall niche or hornacina was discovered behind cement plaster. In what seemed like an attempt to address the structural crack (or change in liturgical aesthetics), the niche had been sealed off from view.

Throughout time, a series of earthquakes affecting Old San Juan had structurally compromised the church and several openings had been repaired. Even if well-intentioned, most too often this repairs where performed with incompatible or feeble means and methods.

Notwithstanding, vestiges of the original niche were still visible under the improvised enclosures. Therefore, we opted for reconstructing the niche, albeit ensuring an appropriate structural reinforcement of the fractured wall above. The sketch above illustrates our response; restoring the original half-round niche and providing a half-dome to structurally stabilize the damaged lintel, allowing the safe distribution of gravitational forces towards the reinforced brick masonry base.

The photo below shows a bricklayer erecting the masonry base that supported the half-dome. The voids between the brick masonry of the new niche and the uneven surfaces of the rubble masonry wall were carefully filled in with a compatible mortar in order to provide a solid substructure. The subsequent images show the finished hornacina within the space.*

* We decided just to include our sketches, photos of the process and images of the finished product. But in Puerto Rico, for far too long, traditional means and methods of construction like brick, stone or rubble masonry, had been lost. During the mid-20th Century, disguised as a way to withstand hurricanes, traditional construction including wood had been replaced by reinforced concrete (and eventually steel) construction.

Needless to say, throughout the restoration process of San José workers encountered multiple difficulties. Regardless of their avid skills, many initially lacked the discipline to deal with the minute details pertaining traditional construction; careful selection of materials; consistency of mortar mix production; and most importantly, the need for erecting work ensuring geometrical precision in order to withstand the effects of gravity.

Workers quickly learned the fact that masonry construction is not as forgiving (not to say malleable) as reinforced concrete; therefore there were many failed-starts. Fortunately, in all instances, workers’ pride for their craft and perseverance worked in our favor. The finished product not only ended as imagined, but it also performs as intended.

poetry foundation

These sketches were done a year after I first visited this place in 2015. (Please refer to a previous post below for that first visit.) https://anonymousarchitecture.wordpress.com/2015/06/14/the-poetry-foundation-by-john-ronan-architects/

It’s been almost four years since that first visit and three since I made these interior sketches. In retrospect, I still think this is one of the most beautiful buildings I have encountered in recent years.

Plaza de Armas, Viejo San Juan


Transformed several times throughout the years Plaza de Armas today is arguably one of the best public squares in Old San Juan, Puerto Rico. The current design -depicted above- is from the 1980’s and belongs to architect, Alberto del Toro (assisted by the dissolved firm Arce y Rigau).

The space was last rehabilitated almost two decades ago. The works dealt with minor repairs to the pavements and sitting areas, but additional trees were added. Fortunately, the new planting followed the existing structure and a second line of trees — of the same species — was paired with the existing. For that reason, the original spatial organization devised by the designers remained unchanged. Some could argue that it was reinforced with the addition.

Plaza de Armas is rectangular in shape, conformed by contiguous buildings along its four sides where two civic structures stand out, the Departamento de Estado o Real Intendencia to the West (right in the top sketch) and the Ayuntamiento or Alcaldía de San Juan to the North (center down in the sketch, also at the perspective below). It is worth noting that the space does not align with any of the afore-mentioned buildings. However, the skillful designer(s) organized the urban elements at their disposition to compensate for the ‘misalignment’.

Therefore, as illustrated, a telephone cabin, a fountain and a “glorieta”, along with the mass of trees — all composed to acknowledge and reinforce — the City Hall’s main axis, perpendicular to the plaza. The mass of trees further recognize the building’s protruding arcades and the towers that flank them. (See sketch below, illustrating this space back in 2002).

The space conformed by the surrounding buildings is rectangular. However, the space’s proportion is less important than the composition of the urban elements inside the paved area of the square. The arrangement is what really organizes the space. The paved area has a proportion of 1:3.5; one square wide by three and a half squares long. The alignment with the Ayuntamiento (as illustrated) is far more hierarchical than the alignment with the Real Intendencia. Nevertheless, two monumental light posts – no others alike are to be found in the square – recognize the Real Intendencia’s longitudinal axis. Thus, proving that neither the longitudinal or transversal axis of the rectangular geometry of the space (without relating to any structure) is as relevant as the axis created by the arrangement of elements drawn by the skillful hand of the designers.

Casa Vives, Ponce, Puerto Rico

A few years ago my wife Claudia Rosa-López and I led a group of students from Polytechnic University in documenting this house. With their set of drawings they earned a Third Place award at Peterson Prize, sponsored by the Historic American Building Survey of National Park Service. Today, the students’ drawings can be accessed at the Library of Congress site through this link: https://www.loc.gov/item/pr1528/

Built about 1860 and designed by French immigrant architect Juan Bertoli Calderoni, Casa Vives in Ponce, Puerto Rico is an outstanding example of a 19th-century Puerto Rican urban residence with commercial spaces on the ground floor and residential spaces above.

places i’ve drawn, but have not yet visited series: erik bryggman’s chapel of resurrection

This is a set of drawings I often made when I taught a course on History of Modern Architecture at Polytechnic University in Puerto Rico.

national museum of african american history & culture, washington dc 

Designed by David Adjaye (in collaboration with Philip Freelon and Smithgroup) and completed in 2016.

The museum exhibits are divided into two general areas, contemporary culture and the history and vicissitudes of African Americans. The contemporary are displayed at the main volume — a glazed cube protected by the bronze architectural scrim that forms the ’corona’; the main volume visible from the National Mall. In contrast, the historical exhibits are gracefully displayed deep underground — not as if hiding them — but as a powerful remembrance of what — still to this day — lies buried deeply in American History.

The surrounding landscape was designed by Gustafson, Guthrie & Nichol of GGN. The grounds not only becomes a plinth where the museum rests but also creates a solemn space to reflect on what was viewed inside.