The mayor of Los Realejos, Adolfo González, and the representative of the drafting team of the Rehabilitation, conservation, consolidation and restoration project of the La Gorvorana Estate, the architect Fernando Arocha, who at the time was awarded the drafting of it, yesterday presented the technical document that proposes the execution of this demanded intervention, with a budget of 8,227,687 euros. “A document that brings us closer to the long-awaited comprehensive reform of this outstanding property in the royal heritage catalog and a benchmark in the history of the Canary Islands for its recovery and conversion into a cultural and tourist space,” said the mayor.
“After an exhaustive analysis and technical work, we finally have the document that offers us a much more realistic assessment of the cost of rehabilitation and putting into use of this historic infrastructure, around 8.2 million euros, difficult to assume since the municipal coffers, for which I immediately commit myself to start the pertinent negotiations with the Cabildo de Tenerife and the Government of the Canary Islands to achieve multi-year co-financing of the material execution of the project”, stated Adolfo González.
The document presented by the drafting team, made up of Fernando Arocha Ferreiro, Carlos Arocha Isidro, Pedro Domínguez Anadón and Deiene González Uriarte, has some 2,400 pages, starting its meticulous writing from a topographical survey with a millimeter detailed study of the farm in its whole and in parts, with advanced technologies such as the 3D scanner, to continue enriching from a multidisciplinary perspective.
In this sense, Fernando Arocha pointed out that “during the entire study and drafting process, a group of professionals from different fields has been brought together, made up of about twenty people including architects, landscapers, historians, specialists in wood architecture, restorers or experts in flora and gardening, among others, each one with their corresponding technical contributions, to which the results of a previous process of municipal citizen participation and other contributions from the European University of the Canary Islands or the College of Architects of Tenerife have been added. ”.
In this ambitious project, the exhaustive analysis and historical description of the hacienda and its surroundings, the background and context, the heritage values, the different construction elements and their phases, their evolution over time, as well as the detailed state of conservation stand out. of each and every one of the elements of the building, “to understand the origin and current state and to be able to propose the best future solution,” González stressed.
The president stressed the close coordination and collaboration throughout the process between the drafting team and the Municipal Urban Planning Management in order to resolve difficulties in accessing the property for the technical work itself and intervene in the propping up and taking structural safety measures in certain areas. to avoid collapse.
Conservation
Regarding the conservation risks that the property continues to suffer and in light of the interest historically generated by the frescoes that the famous artist Francisco Bonnín painted on the interior walls of this house, the architect explained that “they have been torn off and taken to be restored in a workshop to be returned to their place of origin as soon as the rehabilitation of the hacienda is undertaken”.
Among other spaces, the renovated farm would have an administrative area, two exhibition halls, a multipurpose area in the open-air central patio of more than 750 square meters, a conference room with capacity for about 100 people, workshop and training classrooms, study rooms or cultural use, area for temporary residence of artists or teachers, cloakroom ticket office, toilets and cafeteria. The area of facilities and engineering endowments such as fire protection, machinery and facilities room are planned integrated into an old agricultural terrace in the basement of the annex building.
