NO.8.

Beyazıt State Library,Turkey,2015

•Architects: Tabanlioglu Architects
•Location: Istanbul, İstanbul, Turkey
•Design Team: Melkan Gürsel, Murat Tabanlıoğlu
•Project Year: 2015
•Photographs: Emre Dörter
•Architectural Project Team: Hande Pusat, Derya Genç, Irem Çatay, Kıvanç Cucur, Nazlı Tınaztepe, Deniz Manisalı
•Interior Design: Hande Pusat, Derya Genç, Irem Çatay, Kıvanç Cucur
•Restoration: Budowa Mimarlık, Yaman İrepoğlu,
•Structural: Celal Erdem
•Survey: Budowa Mimarlık, Yaman İrepoğlu,
•Mechanical: GN mühendislik
•Electrical: HB Teknik
•Lighting: Studio dinnebier

Tabanlıoğlu Architects, known for producing internationally relevant, contemporary architecture across the world has embarked on the restoration works of Istanbul’s oldest library, the Beyazit Public Library.
First founded in 1884, the State Library building was originally the soup kitchen and Caravanserai of a complex that included a kitchen, a primary school, a hospital, a madrasah and a hammam. The library is a section of the Kulliyah of the Beyazıt Mosque- the oldest surviving imperial mosque in the city- built by Sultan Beyazıt II and completed in 1506. The complex (Kulliyah) spatially surrounds and defines the historic Beyazıt Square.
Adjacent to Beyazıt Mosque, the Library is located in the Beyazıt Square that is connected to the spine of the historical peninsula, Divanyolu, and is one of the most vibrant spaces in the old part of the city.
The quarter, where the State Library sits, is infused with historical connections of a literary nature; the old-book bazaar (bouquiniste) that is set in a courtyard leads to Beyazıt Gate, one of the main entrances of the Grand Bazaar. The front façade of the library backs the monumental plane tree under which is the traditional open air coffee shop serving since the Ottoman times.
The exemplary updating and fine-tuning of the State Library involved the sensitive re-organization of the interior and careful restoration of the building fabric with its prominent multi-domed roof. In place of the former concrete roof, Tabanlioglu Architects installed a light and transparent inflatable membrane structure which covers the courtyard, filtering the daylight and providing a controlled atmosphere. In the renovated shell of the building, the black glass boxes devoted to the manuscripts, stand as a monolithic object of awe that are of a stark contrast to their surroundings.
Lighting Design by studio Dinnebier, echoes the spatial and historical qualities of the complex, introducing geometric harmony with its surroundings, while the soft lighting at the edges of the raised floor, that follows the wall contours introduce another layer of depth to the spaces.
The flow through the building was modified in order to best serve its modern function with the main entrance now through the courtyard. A modest extension, respectful of the scale of the existing building, has been added to the northeast façade of the existing Library. Modern Turkish publications sit on the second floor and periodicals on the first, while the ground level houses the rare book collection, publications in the Ottoman era and other Ottoman, Arabic and Persian manuscripts that are now kept in air conditioned transparent cabins exclusively designed to fit in the intense atmosphere while preserving the legacy.
The ‘minimal intervention’ approach ensures the spirit of the place survives while modern facilities are grafted onto the historic fabric.The project aims further for environmental betterment, and urban regeneration of the public realm by reviving all the traces and capacities, principally the Beyazıt Public Square.

#restoration , #public_library , #interior
#extension , #urban_regeneration , #lighting

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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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The start of construction and demolition started parallel with the designtask. As a result the pressure on the design process was huge, and this created the demand to compose a powerful design team.
The collaboration between KREUK architectuur, BK. architecten and Stephanie Gieles interieurontwerp is a good example of joining forces to take on larger, more complex projects. Each office has brought its own expertise to raise the output to a higher level. BK. architecten specialize in working with photorealistic 3D images that gives a good visual insight of the design for both the designers and the client throughout the process. Stephanie Gieles interieurontwerp has many years of expertise with monuments and extensive knowledge of materials. KREUK architectuur is strong in communicating between client, contractor and interior design team and has succeeded in this specific project to maintain an overview. The synergy between the three companies has led to the final result, obtained within the stipulated time and budget.

#renovation , #preservation , #interior_design , #library
#authentic_material

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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

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NO.27.

Restoration of the old Ignacio Halcón School, Spain, 2015

Location: Spain - Lebrija
Designer: García Torrente Arquitectos
Project Year: 2015
Building Company: Alberto Domínguez Blanco Restauración Monumentos S.A.

Rehabilitating heritage is to rescue from oblivion the collective memory of a people. Ignacio Hawk College has been part of the lives of many women of Lebrija since 1929 the Earl of Falcon, son of the Marquis of San Gil, perform donating your old palatial house in the old street of Las Monjas. Women who learned there to write and to count, it was like before he was called to mathematics, and today, and at maturity, have been watching from the sidewalks, and nostalgia, its slow decline after years of neglect and discontinued works. Teachers also have suffered. Some even went beyond the threshold of the restricted area for workers, raising his index finger as we watched, alert to the importance of the building and the responsibility of all in putting a final point. They also led a work of which they were proud, greatness of having participated in this collective feat that was out of poverty and ignorance younger, the most vulnerable of the people. Then we moved that pride and helped us to look differently.

Rehabilitation is not only made with bricks and limes. Rehabilitation physical materials used to revive consciences, to revive the symbolic meaning that all cultural property implies. The mission of the architect is therefore to know, understand, evaluate, protect, preserve, interpret and promote a well to thereby raise proposals to recover the buildings so that they can be integrated naturally in the cultural and economic social life of a community. The compromise between these future needs and preserving the heritage inherited must be made from the perspective of culture in their own temporal context and according to the ideals of the future of that society. The vitalizing interpretation of architecture on something inherited must overcome the pure analytical description from the point of environmental, historical, cultural, tourist or economic, to propose actions and innovative strategic lines capable of combining the richness of the heritage with the newest plans future of a society. Knowledge of the history and culture of a people, the successes and failures, balances and imbalances that have occurred in places that cultural heritage provides validates and legitimizes to join and become part of the economic activity of a place and characterize endogenous forms of development.
That has been our purpose.
Marisol García Torrente and Ubaldo García Torrente, Architects

#restoration , #conservation , #rehabilitation , #interior , #lighting

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NO.33.

New Department of Islamic Art Opens, France, 2012

•Year: 2005 - 2012
•Tipology: Museum
•Location: Paris, France > map
•Client: Musée du Louvre, Paris, France
•Budget: 42 milion €
•Total Area/Surface/Volume: 6.800 Sq m.
•Awards: International competition. Winning project,

The new Department of Islamic Arts is designed by Milanese architect Mario Bellini and his French colleague Rudy Ricciotti, who won the commission through an international competition in 2005. Similar to I.M. Pei, the pair created a naturally lit, subterranean gallery space beneath an undulating, glass roof within the courtyard of the historic Cour Visconti.
Excavated to a depth of 12 meters (40 feet), the 2,800 square meter (over 30,000 square foot) open-plan gallery will become the new home of the Louvre’s prestigious collection of Islamic Arts. The gallery’s lower level and long sculptural stairway are comprised of a special black waxed concrete, providing a stark contrast to the seemingly floating glass roof and the nearly invisible glass perimeter walls.
One of the major challenges of the design was to create a contemporary addition that could respectfully coexist with the surrounding facades of the existing, 18th century Cour Visconti.
Bellini describes, “The solution was a foulard that undulates as if suspended in space by the wind, almost touching the ground of the courtyard at one point, but without totally encumbering it or contaminating the historic facades.”
He further argues, “Obviously, no references to flying carpets, Islamic veils or musciarabia: simply a deep respect for the Islamic collection, combined with a personal knowledge (gained during the course of numerous journeys) of its geographical and cultural context.”
The “enormous veil” is constructed of a free-form lattice of 8,000 steel tubes and insulating double glazing, cloaked in gold and silver aluminum mesh. Triangular polished aluminum honeycomb panels are also integrated into the floating structure to refract the external images and diffuse daylight.
The roof weighs a total of 120 tons with a thickness ranging from 20 centimeters to 1.50 meters and a maximum height of 8 meters. It is supported by eight “light” and “slightly inclined” pillars that accentuate a sense of lightness.

#addition , #new_design , #lighing ,
#interior_desigh , #museum

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NO.36.

Rock the Kasbah, Interior design by Philippe Xerri, Tunisia, Since 2011

•Designer: Philippe Xerri
•Location: Tunisia
•Project Year: Since 2011

Philippe Xerri is a Parisian designer and artist established in Tunisia since 2011.
Impressed by traditional techniques and the high quality of Tunisian craftsmanship, Philippe started designing ethnic-chic and modern furniture. The result is the “Rock the Kasbah” collection defined by the designer himself as “rock and design”! All his creations are tainted with a 1920’s and 1950’s style. Tunisia of course is a big aesthetic influence, as well as ancient civilizations’ heritage like Carthage, Tunis…Tunisian culture really transpires in Philippe Xerri’s creations as he is deeply inspired by people’s generosity, their hospitality and art of making the guest feel at home. Today, Rock the Kasbah collections are sold throughout the world, including Paris where Philippe Xerri opened his show-room.
Admiring the ancestral skills, he collaborates with thirty people from the best ateliers to create furniture and objects of decoration, successfully blending an urban spirit from the 50’s with an oriental charm thanks to its use of coloured fabrics.

#handicraft , #interior_desigh , #new_design , #preserve , #adaptive_reuese

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