Forwarded from آینده گذشته ما
NO.19.
Restoration of the former church of St. Anthony and the gardens of the convent of Poor Clares in Santa Fiora, Italy, 2009
Location: Italy - Santa Fiora
Designer: 2tr architettura
Project Year: 2009
Collaborators: Simone Capra, Francesca Delicato, Alice Lentisco, Simone Stabile.
Client: Amministrazione Comunale
The building of the former church of St. Anthony and the adjoining gardens of the convent of Poor Clares is the extreme end of the village towards the Fiora valley.
Points were with the weather remained forgotten and abandoned and, beyond the boundary wall of the church, the area was characterized by major collapses of walls, layers of rubble and decay.
Restoration and a new arrangement made it possible to recover the masonry equipment, return to the public gardens, reopen vaulted systems at the base of the imposing walls, build new paved areas, a bar, spaces equipped for playing children and two small arenas for shows and music.
An articulated set of smooth cement floors which is simultaneously paving, prospectus, cover, takes the visitor from the square to the gardens.
#restoration , #addition , #conservation , #revitalization , #church
#transformative_reuse , #paving , #lighing , #site_museum
https://telegram.me/revitalization
Restoration of the former church of St. Anthony and the gardens of the convent of Poor Clares in Santa Fiora, Italy, 2009
Location: Italy - Santa Fiora
Designer: 2tr architettura
Project Year: 2009
Collaborators: Simone Capra, Francesca Delicato, Alice Lentisco, Simone Stabile.
Client: Amministrazione Comunale
The building of the former church of St. Anthony and the adjoining gardens of the convent of Poor Clares is the extreme end of the village towards the Fiora valley.
Points were with the weather remained forgotten and abandoned and, beyond the boundary wall of the church, the area was characterized by major collapses of walls, layers of rubble and decay.
Restoration and a new arrangement made it possible to recover the masonry equipment, return to the public gardens, reopen vaulted systems at the base of the imposing walls, build new paved areas, a bar, spaces equipped for playing children and two small arenas for shows and music.
An articulated set of smooth cement floors which is simultaneously paving, prospectus, cover, takes the visitor from the square to the gardens.
#restoration , #addition , #conservation , #revitalization , #church
#transformative_reuse , #paving , #lighing , #site_museum
https://telegram.me/revitalization
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آینده گذشته ما
مرجع بررسی تجارب جهانی مرمت و احیاء (باززنده سازی) ابنیه، بافت و محوطه های تاریخی
ارتباط با ادمین ها
@M_Anisi
@At_Mehr
@Z_Danyari
ارتباط با ادمین ها
@M_Anisi
@At_Mehr
@Z_Danyari
Forwarded from آینده گذشته ما
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
@revitalization
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
@revitalization