NO.3.

Principia Archaeological Park, Croatia, 2014

Architects: Nenad Fabijanić
Location: Rijeka, Croatia
Collaborators: Željko Pavlović, Davor Pavlović, Vesna Šoić, Bruno Krunić
Competition: October – December, 2008
Area: 1500.0 sqm
Year: 2014
Photographs: Miro Martinić
From the architect. The opening of the Principia Archaeological Park in Rijeka, in February 2014, enriched the topography of ancient sites on the Adriatic’s eastern shore, adding a monumental locus, unique in the type and the shaping level of presentation. As for the type, the Principia was an architectural and town-planning element of castrum, a Roman military encampment or town, one of the many scattered along the boundaries of the Roman Empire (limites).
In Dalmatia, only fragments of no more than two castra, those of Burnum and Tilirum, have been preserved, not the entire complex as is the case with Tarsatica. As for the shaping level of presentation, the intervention is a result of a public competition and a creative authorial concept, which was meticulously elaborated, and implemented in a controlled fashion.
The Principia is a novelty that has already proven itself as a value and a locus in the urban image of Rijeka. The concept is based primarily on the idea of highlighting the archaeological area by strengthening its margins, by some kind of framing in order to present it, in the middle of the existing fabric, as a homogenous whole, or – new individuality.

#conservation , #archeological , #compatible_use
#lighting , #urban_restoration , #revitalization , #fabric

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The construction and the building methods used have sought to strengthen the church without deleting the signs of deterioration the building has suffered. The intervention has sought to preserve the building’s historic legacy by adding new valuesthat enhance it and give this ancient convent a unique, contemporary form.

#renovation , #church , #Cultural_space , #lighting
#compatible_use , #restoration , #revitalization

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NO.10.

Restaurant 'The Jane' Antwerp, Belgium , 2014

•Architects: Piet Boon
•Location: Paradeplein, 2018 Antwerp, Belgium
•Windows : Studio Job
•Chandelier: .PSLAB
•Project Year: 2014

From the architect. Michelin-star chef Sergio Herman and chef Nick Bril created their “fine dining meets rock ’n roll” restaurant vision together with Piet Boon over three years ago in a mythical location in Antwerp; the chapel of a former military hospital. Piet Boon Studio, responsible for the interior design and styling of The Jane, since then collaborated in the chapel’s unique transformation into a high-end, contemporary restaurant with international allure where experience is key.
Based on her belief in authenticity, functionality and materials that ‘age beautifully’ the studio chose to restore only the highly necessary in the chapel and hence preserve the rest. The original ceiling amongst others conveys the pure, understated and respectful environment that serves as the authentic host for the ultimate fine dining experience. The original altar gave way to the kitchen that - just like the atelier- is embraced by glass, like a modern shrine. It allows guests to witness everything the team creates for them.
The shared passion of Herman, Bril and Boon to work with pure, rich materials is expressed in the interior in which qualitatively outstanding natural stone, leather and oak wood are used. Moreover Piet Boon Studio, as with many of her projects, collaborated with a number of leading creative partners to shape the “fine dining meets rock ’n roll” character of the overall experience.
Job Smeets and Nynke Tynagel of Studio Job designed the windows consisting of 500 unique panels. Inspired by the chapel’s original function, foam spatulas, sunflowers, devils, skulls, babies, Jezus on the cross, dice, apple cores, wrenches, ice cream cones, a canon, croissants, penguins, trophies, gas masks and birthday cakes portray a contemporary translation of the old stained-glass windows. Archetypes from various worlds each tell masterpiece stories of good and evil, rich and poor, life and death as well as good food and religion.
The ‘piece de résistance’ in the center of the restaurant is a 800 kilograms-weighing gigantic chandelier of 12 by 9 meters with over 150 lights, designed by the Beirut-based design studio .PSLAB. The chandelier was created in such a way that it contributes to the intimate and ambient divinity of the chapel interior. The team, specialised in the design and production of site-specific contemporary lighting, laid out an overall lighting plan for The Jane to accentuate the unique elements of both the building and the interior. It is aimed to create a scenic ambience by seamlessly combining artistry and engineering.

#chapel , #interior_design , #restoration , #compatible_use , #lighting
#preservation , #restaurant , #revitalization , #adaptive_reuse

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در دهه چهل در عرصه خانه و باغ امیر نظام دو مدرسه ساخته شده بودند.
برای تکمیل احیاء مجموعه، این مدارس خریداری و در پائیز 94 تخریب گردیدند.
در مرحله اول نسبت به حفارى وشناخت ساختار اوليه باغ اقدام سپس طراحى لازم انجام ونهايتاً عمليات تكميل باغ ومحوطه در ارديبهشت سال جارى به سرانجام رسيد .
عمليات پيگردى جهت شناخت بناهاى تاريخى تخريب شده در ضلع جنوبى وغربى مجموعه در حال انجام ميباشد پس از تكميل اطلاعات حاصله طرح توسعه موزه تكميل خواهدشد
با تشکر از سرکار خانم مهندس مجتهدی و آقای مهندس تقی زاده که اطلاعات مربوط به موزه های آذربایجان را در اختیار ما گذاشتند.
#restoration , #adaptive_reuse , #compatible_use , #interior
#landscape , #lighting , #museum , #house , #revitalization

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NO.21.

Conde Duque, Spain , 2011

• Architects: Carlos de Riaño Lozano
• Location: Calle Conde Duque, 28015 Madrid, Spain
• Technical Architects: María del Hierro, Luis García Cebadera
• Area: 29262.0 sqm
• Photographs: Miguel de Guzmán, Alfonso Quiroga
• Collaborators: Almudena Peralta Quintana, Rebeca Hurtado Díaz
• Structure: OTEP INTERNACIONAL
• Constructor: EDHINOR, U.T.E. F. MOLINA – GEOCISA, PECSA, F. MOLINA, CPA y VIAS

In 1717, Pedro de Ribera drew the first project of the Conde Duque barracks in Madrid. It had to provide answers for an ambitious program to house the more than 600 men and 400 horses of the Royal Guard. For almost three centuries the building has maintained the same structure, having overcome countless trials. The most significant ones were two fires in the second half of the 19th Century that almost required its demolition and rebuilding. The restoration was never complete.
In 2004, with the drafting of the Plan Director, began a new adventure in the life of the Conde Duque, which finished with the completion of the works in 2011, after a total and coordinated renovation of the whole building. In its moment it was a risky gamble, since it was the largest building in Madrid after the Alcázar, the old royal palace. And it still is one the hugest and less-known historic buildings of the city.
The first images of its naked interior were open naves of brick arches on granite pillars and at other levels, wrought columns and riveted beams. Clean and austere spaces covered with solid brick structures. The powerful space called for an obvious solution: to maintain the skeleton, to remove additions and to concentrate the new interventions. The aim was to achieve a big neutral container where new timeless objects and specific elements could be situated.
The program proposed by the City of Madrid was aware of those premises and facilitated the task. It essentially wanted to create places of interaction, multi-use spaces and a small collection of venues for the development of activities (a concert hall, a theatre, an assembly hall…). The interior courtyards shape the vast and diverse program. They are also an opportunity to recover open spaces and to allow the indoors and outdoors flow. The building is still very hermetic towards the exterior, but these courts offer a friendly and accessible face. They mean the antechamber, the place of approach, the possibility of understanding.
The intervention consisted of two phases. The first one took place in the southern area of the building, where the original architecture shows the most authenticity, which houses halls for exhibitions and shows. A sequence of big rooms is only altered by small blind boxes that hide the new communication passages. The unique pieces, like the Concert Hall, the Theatre and the Assembly Hall, generate its own ambiance and give its own touch to each environment. The second phase took place in the northern area, where the original container had been extensively transformed throughout the last years. It reorganized less freely the existing institutions, such as the Archives, the Newspaper Library, the Library, the Observatory and the Museum of Contemporary Art.
A common language unified the whole building. The original structures which had survived were recovered and liberated of superposed coats of paint, achieving a homogeneous and continuous canvas. The additions were painted white and we let the elevations tell us their own history. If the surfaces, including lintels and cornices, are the base of this discourse, it is the hollows what provide the nuances. Perfectly ordered, with a repetitive rhythm, now it recovers the vertical proportion, and it is dressed with a mixed carpentry of iron and wood that minimizes the impact from the exterior without subtracting warmth to the interior.

#restoration , #compatible_use , #conservation , #palace , #revitalization
#renovation , #culture , #lighting , #interior , #adaptive_reuse

https://telegram.me/revitalization