PORFOLIO ARQ.ANGELA ANCHANTE

1. P O R T F O L I O
P O R T F O L I O
Architecture-Heritage-Photography
A N G E L A O M A Y R A A N C H A N T E
B A U T I S T A

2. " B E F O R E E V E N K N O W I N G T H E W O R D A R C H I T E C T U R E , A L L O F U S
H A V E A L R E A D Y L I V E D I T . T H E R O O T S O F O U R U N D E R S T A N D I N G
O F A R C H I T E C T U R E B E L O N G T O O U R F I R S T A R C H I T E C T U R A L
E X P E R I E N C E S : O U R R O O M , O U R H O U S E , O U R S T R E E T , O U R
V I L L A G E , O U R C I T Y , A N D O U R L A N D S C A P E . A R E T H I N G S T H A T
W E H A V E E X P E R I E N C E D B E F O R E A N D T H A T W E L A T E R C O M P A R E
W I T H L A N D S C A P E S , C I T I E S A N D T H E H O U S E S T H A T W E R E
A D D E D T O O U R E X P E R I E N C E . T H E R O O T S O F O U R
U N D E R S T A N D I N G O F A R C H I T E C T U R E A R E I N O U R C H I L D H O O D ,
I N O U R Y O U T H : T H E Y R E S I D E I N O U R B I O G R A P H Y "
( Z U M T H O R , 2 0 0 9 , P . 5 5 ) *
ZUMTHOR, P. 2009. Pensar la arquitectura. Barcelona, Gustavo Gili, 97 p.*

3. I
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1 . A B O U T M E
2 . T H E S I S P R O J E C T
3 .
4 . H E R I T A G E P H O T O G R A P H Y
5 .
H E R I T A G E P R O J E C T
P U B L I C A T I O N S

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5. Angela Omayra
Anchante Bautista
1. Photo in front of the main pyramid at Huaca Centinela, in Chincha, Ica, Peru.
2. Processes within the architectural design.
3. Graduation Day, August 2018.
4. Entablature restoration work within the Hospicio Manrique restoration project in Lima, Peru.
5. Guided visit to the archaeological sites in Chincha, Ica. To the students of Workshop 8 of the Faculty of
Architecture, in 2018.
6.Participation in the university CADE of 2017, where I represented Universidad Peruana de Ciencias
Aplicadas (UPC).
A R C H I T E C T G R A D U A T E D F R O M T H E F A C U L T Y O F A R C H I T E C T U R E
O F U N I V E R S I D A D P E R U A N A D E C I E N C I A S A P L I C A D A S ( U P C ) ,
L I M A , P E R U . W I T H E X P E R I E N C E I N C O O R D I N A T I N G W O R K S H O P S
R E L A T E D T O A R C H I T E C T U R E A N D H E R I T A G E , I N P R O J E C T S A N D
R E S T O R A T I O N W O R K S I N T H E H I S T O R I C C E N T R E O F L I M A A N D
M O N U M E N T A L A R E A S , I N T H E P U B L I C A N D P R I V A T E S E C T O R
( P R O L I M A ) . P A R T I C I P A T I O N I N P U B L I C A T I O N S A N D
P R E S E N T A T I O N S R E L A T E D T O B U I L T H E R I T A G E . T R A I N I N G I N
C U L T U R A L M A N A G E M E N T A N D P U B L I C M A N A G E M E N T , I N
A D D I T I O N T O M U L T I P L E S P E C I A L I Z A T I O N C O U R S E S I N H E R I T A G E
C O N S E R V A T I O N .
C U R R E N T L Y , I A M A D I S T A N C E L E A R N I N G A S S I S T A N T A T T H E
P E R U V I A N U N I V E R S I T Y O F A P P L I E D S C I E N C E S ( U P C ) , W H E R E I
T E A C H I N T H E I N T R O D U C T I O N T O A R T A N D A R C H I T E C T U R E
C O U R S E .

6. C H I N C H A ´ S C U L T U R E
M U S E U M
T H E C H I N C H A C U L T U R E M U S E U M I N C H I N C H A B A J A , I T ’ S A
P R O J E C T W H I C H C O N T R I B U T E S W I T H I T S S P A C E S F O R T H E
E D U C A T I O N , P R O T E C T I O N A N D D I S S E M I N A T I O N O F C H I N C H A ´ S
H E R I T A G E T H A T I S C U R R E N T L Y I N D A N G E R O F D I S A P P E A R I N G .
I T ' S M A I N A X I S I S T H E I N T E G R A T I O N I N T O T H E E N V I R O N M E N T ,
O F T H E V O L U M E S W I T H T H E A R C H A E O L O G I C A L A N D N A T U R A L
C O M P L E X , U S I N G M O D E R N C O N S T R U C T I O N S Y S T E M S , S U C H A S
S I R E W A L L ( S T A B I L I Z E D R A M M E D E A R T H ) A N D R E I N T E R P R E T I N G
P R E - H I S P A N I C S P A C E S .
T H E S I S P R O J E C T

7. The ancient Chinchas were a society sustained
by agriculture and fishing, but with a singular
emphasis on commercial and artisanal activity
(mainly associated with the production of silver
objects). They occupied the valley of the same
name, in the current department of Ica, south
of the Capital of Peru.
They had a large operational network, with
penetration roads to the mountains, up to the
Titicaca plateau (El Collao), and long-distance
navigation routes, up to Puerto Viejo (Manabí),
in Ecuador. (See image 1)
These conditions would have made the lords of
Chincha very important figures for the political
project of Tahuantinsuyo, given their installed
capacity for contacts and exchange relations,
making them a privileged condition in the
imperial power structure. From Cuzco to Quito,
it received the name of Chinchaysuyu.
The importance of the Museum of Chincha today transcends the simple fact of enjoying a
culture, whose heritage is vast. It's importance lies in being a platform for the defence,
protection and valuation of heritage so, together with a population aware of its heritage, they
avoid more monumental losses and reaffirm their identity.
Maritime route of the Chinchas along the coasts of Peru
and Ecuador. The Chincha´s was known as the
"Phoenicians" of the Inca period.
Interior view of permanent showroom

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1. The Centinela complex, which is located
next to the museum, is a 60-hectare
spatial unit. It was the main seat of the
Inca administration.
It has a dense urban fabric, where you
can see the compact arrangements of a
series of monumental complexes,
delimited by walls, squares, platforms,
stepped truncated pyramids, 14
buildings.
2.
The first integration strategy is to
project the main and secondary streets
of La Huaca onto the land.
The volumes respond to the duality that
is also observed in the "Huaca" zoning.
3. The square or "Catus" are the main
spatial articulating element of the
architectural configuration.
It provided an architectural setting for
public functions that framed large-scale
reciprocal administration.
These are present within the project as a
continuity of the archaeological complex
4. The project is close to the
archaeological zone, so it is
necessary to protect the monument,
through a buffer space (30 meters
suggested by specialists) where a
dry garden and squares of surface
materials are proposed.

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Blocks
A. Accommodation
for researchers,
library, restaurant.
B. Research centre.
C. Permanent
exhibition room.
Visitors
Visitors
Museum staff and
archaeological objects
Museum staff
Visitors
Exploited isometry with
functional packages

10. RESEARCH CENTRE:
IN THE SECTION: THE MUSEUM DEPOSITS, THE LABORATORIES, AND THE CENTRAL
SPACE "THE LEARNING LADDER".
PLAN AND SECTION OF MUSEUM:
THE MUSEUM TOUR IS DIVIDED INTO THREE PARTS, ALWAYS REFERRING TO THE PAST,
PRESENT AND FUTURE, AS WELL AS THE VOLUMES OF THE EXHIBITION SPACES. THE THREE
VOLUMES ARE STAGGERED, SO AS NOT TO BREAK WITH THE ARCHAEOLOGICAL PROFILE. THE
THREE VOLUMES ARE CONNECTED THROUGH A TRANSVERSAL AXIS, WHICH SYMBOLICALLY
REPRESENTS THE UNITY OF THE THREE TIMES IN WHICH THE STORY IS TOLD.
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ROOM 2
("Born, live and
transcend")
5. Economy
6. Society
7. Activity space
ROOM 3 ("This is
my friend the Lord
of Chincha")
8. Chincha
architecture / The
emergence of
Chinchaysuyu / I
defender of
heritage.
1. Ticket office
2. Reception
ROOM 1
("Chinchanos")
3. Landscape and
territory /
Chinchanos today
and their origin.
4. Activity Space
1 3
6 8

11. "MIMETISM: IN ARCHITECTURE, IT IS USED TO MAKE A POTENTIALLY DISTURBING REALITY
DISAPPEAR BECAUSE IT IS UNPLEASANT OR VISUALLY DISTORTED."
J.Serra, 2010*
*Serra, J. (2010). La arquitectura contemporánea y el color del paisaje: entre el mimetismo y la singularidad.
Ega: expresión gráfica arquitectónica, pag. 106-115
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Exterior view of the museum
1.
3.View from the archaeological complex
2. Main entrance

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4. Temporary showroom
5. Work area
VIRTUAL TOUR
of the project

13. O S A M B E L A ´ S H O U S E &
A Q U E D U C T O F S T . J U A N
I N T H E C O U R S E O F H E R I T A G E R E S T O R A T I O N A N D
C O N S E R V A T I O N , F O R T H E F I R S T T I M E , I H A D C O N T A C T W I T H
H E R I T A G E . T H E C O M M I S S I O N W A S T O R E C O G N I Z E S O M E O F T H E
P A T H O L O G I E S T H A T T H E Y P R E S E N T E D A B R O A D A N D T O
R E C O G N I Z E T H E C O N S T R U C T I O N S Y S T E M S .
A S A U N I V E R S I T Y E X E R C I S E I M A D E P L A N S , E L E V A T I O N S , C U T S
A N D D E T A I L S O F S O M E O R N A M E N T S .
T H E H E R I T A G E P R O P E R T I E S W E R E :
T H E A Q U E D U C T O F S A N J U A N D E V I L L A ( R E C O G N I T I O N O F I T S
S T R U C T U R E S ) , I S C L O S E T O T H E U N I V E R S I T Y C A M P U S I N
C H O R R I L L O S .
A N D T H E O S A M B E L A M A N S I O N , O N E O F T H E M O S T E M B L E M A T I C
M A N S I O N S I N T H E C I T Y O F L I M A .
H E R I T A G E P R O Y E C T S
(2017)

14. The house is in the old street of Veracruz
(second block from Jiron Lima, today Count
of Superunda) highlights the mansion that
belonged to Don Martín de Osambela on
the land that belonged to the novitiate of
the Santo Domingo convent.
It is a house built in the final stage of the
viceroyalty and it's construction was
completed in 1808.
ELEVATION
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It is a symmetrical facade, in the center it has a portal that combines different materials (Stone, Wood
and quartz).
Its construction system mixes the technique of adobes courses, and in the upper levels it is structured
with "Quincha" panels.
WHERE IT´S LOCATED ?
DETAIL
Moulding and cornice
1.Wooden balustrade
bottom sleeper
2. Wooden top
3. 2 "x 5" joist
4. Wooden frieze
5. Adobe blocks
6. Beam necklace

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FIRST FLOOR
SECOND FLOOR
1. Zaguán
2. Patio
3. Principal Room
4. Cuadra
5. Corridor
6. Backyard
7.Auditorium
8.Room
It is made up of a main central patio and a second patio, which, due to the layout of the land, was located
to the right of the first patio. The house is entered through a Zahuan, which leads directly to the first
patio. The rooms are arranged around the first patio. The rooms that are closer to the street, at some
point were used as "Shops" so they had gates, now these have windows with box bars.

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17. C R A C K S I N L I M A
T H E H I S T O R I C C E N T R E O F L I M A W A S D E C L A R E D A W O R L D
H E R I T A G E S I T E B Y U N E S C O I N 1 9 9 1 .
T H E S E C R A C K S A P P E A R I N G I N T H E H I S T O R I C A L C E N T R E ,
R E P R E S E N T T H E I N D O L E N C E O F I T S R U L E R S A N D T H E
C I T I Z E N S T H E M S E L V E S F O R N O T P R O T E C T I N G T H E I R
H E R I T A G E .
T H I S C O L L E C T I O N O F I N J U R I E S O N T H E F A C A D E S S H O W S
U S T H E S K E L E T O N O F T H E B U I L D I N G S O F O N E O F T H E
M O S T I M P O R T A N T C A P I T A L S I N L A T I N A M E R I C A .
N O T O N L Y A R E C R A C K S O N T H E W A L L S , B U T A L S O I N T H E
P O L I T I C A L A N D S O C I A L S E N T I M E N T S O F A L L P E R U V I A N S ,
I T I S N E C E S S A R Y T O S E E I F T H E Y A R E O N L Y S U P E R F I C I A L
O R A R E S T R U C T U R A L . T H E S E P H O T O G R A P H S W E R E T A K E N
D U R I N G T H E S T A T E O F E M E R G E N C Y B Y C O V I D 1 9 I N 2 0 2 0 .
H E R I T A G E
P H O T O G R A P H Y
(2020)

18. PHOTO 01.
BRICKS YELLOW HERITAGE
PHOTO 02. “QUINCHA EXPUESTA”

19. PHOTO 03. “LA MERCED”
PHOTO 04. “IT'S JUST PAINT””
PHOTO 05. “OSAMBELA”

20. 1
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BOOK (CO-AUTHOR):
I M A G E S F R O M T H E S A M E W O R L D . H e r i t a g e
e d u c a t i o n i n L a t i n A m e r i c a ( 2 0 2 1 )
P U B L I C A T I O N S
During the last years I have participated in various publications: On topics such
as built heritage, museums and architecture.
Publisher: D.R. H. Puebla City Council
ARTICLE (BULLETIN OF THE
POSTAL AND PHILATELIC MUSEUM
OF PERU - N ° 9 BICENTENNIAL
EDITION):
A R C H I T E C T U R A L I N S I G H T S ( 2 0 2 1 )
Publisher: Postal and Philatelic Museum
of Peru /Ministerio de Cultura del Perú
REVIEW (DE VERNIR - JOURNAL
OF STUDIES ON BUILT HERITAGE)
M O Q U E G U A . A R C H I T E C T U R A L A N D U R B A N
H E R I T A G E . U R B A N A N D A R C H I T E C T U R A L
A P P R O A C H E S A S A C O N T R I B U T I O N T O T H E
R E C O V E R Y A N D C O N S E R V A T I O N O F T H E
B U I L D I N G C H A R A C T E R O F T H E C I T Y O F
M O Q U E G U A ( 2 0 1 9 )
Publisher: Faculty of Architecture,
Urbanism and Arts of the National
University of Engineering, Peru.
REVIEW (DE VERNIR - JOURNAL
OF STUDIES ON BUILT HERITAGE)
N A T I O N A L S U P E R I O R A U T O N O M O U S S C H O O L O F
F I N E A R T S O F P E R U . C U L T U R A L H E R I T A G E O F
T H E N A T I O N A L A U T O N O M O U S S C H O O L O F F I N E
A R T S O F P E R U . ( 2 0 2 1 )
Publisher: Faculty of Architecture,
Urbanism and Arts of the National
University of Engineering, Peru.
Vol. 8 Núm. 15
Vol. 6 Núm. 11