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

https://telegram.me/revitalization

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

https://telegram.me/revitalization

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

https://telegram.me/revitalization

NO.13.

Torremadariaga Basque Biodiversity Centre, Spain, 2003

Architects: IA+B Arkitektura Taldea
Location: Busturia, Spain
Leading Architects: Iñaki Aurrekoetxea, Alex Laskurain
Collaborators: Oier Arregi, Victor Araujo, Aitzol Artetxe, Mikel Azkuna, Erramon Berastegi, Ramon Gonzalez, Asier Hormaetxea, Ignacio Lumbreras, Fernando Martin, Carmen Montero, Celia Lana, Garbiñe Olabarri, Iñaki Peralta, Saioa Zabala
Area: 3,142 sqm
Photographs: Aitor Ortiz

The proposal is based on absolute respect for the existing building, which consists of a 15th century tower house with a later to which a mansion was attached in the 18th century, both examples of the Basque vernacular architecture.
Based on this premise, a proposal that emphasized the historic and architectural values of these buildings was designed, housing the new public programme below ground with the only new construction visible from the exterior being punctual elements to solve access and lighting requirements.
Whilst the 18th century mansion slab structure was rebuilt, the interior of the tower was left empty to highlight the historical memories of the bare architecture of the construction. The old and new buildings are connected on the ground floor, so the mansion-tower maintains its dominant position over the landscape. This connection is considered to be a natural extension of the building itself, creating perfect harmony between the two parts and their surroundings. The selection of materials also follows a respectful attitude towards the existing architecture. using wood stone and glass as the only main materials.

#tower_house , #mansion , #lighting
#new_design , #adaptive_reuse , #revitalization

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NO.14.

Mercat del Born, Spain, 2013

Mercat del Born is a former public market and one of the most important buildings in Barcelona, Catalonia, Spain constructed with iron. Located in the lower and eastern side of the la Ribera neighborhood, it is the largest covered square in all of Europe and marked the start of Modernisme in Catalan architecture.

Design
The market is rectangular, with two large domed, intersecting buildings, and 4 smaller naves. The structure is supported on cast iron columns with a flat roof covered in glazed tile

History
The market was designed in 1873 by the municipal architect Antoni Rovira i Trias (who also designed the Mercat de Sant Antoni) and built between 1874 and 1878 by master builder Josep Fontserè i Mestre and engineer Josep Maria Cornet i Mas. The structure of cast iron columns and metallic horses was fabricated by La Maquinista Terrestre i Marítima.
The market came into operation in 1878 and was in use as the central market in town until 1971. At its closure, it was functioning as a wholesale market, but was replaced with the opening of Mercabarna in Zona Franca.

Restoration
Restoration work started and stopped several times since the closure of market. Each successive city government had a different plan for the very large space. At some points, there were even plans to lease it to a retail establishment such as FNAC who had expressed interest.
After closure, it fell into a state of disrepair and was restored 1977 to 1981 under the direction of Pere Espinosa.
In 2002 work was started to install the Biblioteca Provincial de Barcelona, but during excavations, extensive ruins of the medieval city were discovered. It was then decided to preserve the ruins and move the library project to another location.
Currently, the market covers these archaeological ruins which were part of the la Ribera district that was demolished in the early eighteenth century after the defeat of Catalonia in the War of Succession in 1714. This portion of la Ribera was forcibly demolished to make way for the construction of the Ciutadella military structure as ordered by the new Spanish king, Philip V.
The plan that finally came to fruition in 2013 was to expose the subterranean ruins for visitors while preserving space around the exterior of them for mixed use, cultural center, in addition to having a museum about the War of Succession onsite. At the same time, it is now possible for pedestrians to pass freely from Passeig del Born through to the other side that leads to the park of Ciutadella.
The official inauguration of the restored market was September 11, 2013 which was the 299th anniversary of the fall of Barcelona following its siege that marked the end of an independent Catalonia state and the start of nearly three centuries of suppression of Catalan autonomy by the Spanish Kingdom.

#marcet , #biblioteca , #restoration , #presevation
#culture_center , #museum , #archeological_site , #lighting

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The geometric abstraction implicit in every architectural work appears in the proposal with the boldness of a contemporary installation in the public space, transformed into an apparently random sequence of conical intersections derived from a single, virtual three-dimensional figure. Curved glass surfaces with a continuous silkscreen print filter light towards the interior and, inversely, illuminate the square with artificial light at night. A cultural institution like the Joanneum Museum, on which the Kunsthaus Graz is dependent, thus expresses the changing relationship between art and city.
The square that centralizes the access to the museums is an unusual intervention in the urban space: a bet on the common action between plastic arts and architecture that will incorporate specific installations in collaboration with contemporary artists. The new extension goes almost unnoticed, concealed beneath the pavement that connects the historical buildings, as a materialization of a perforated horizon that expresses, and not only literally, that the depth of an architectural work can reside, unexpectedly, on its surface.

#museum , #extension , #conference_hall , #reading_area
#archive , #library , #art_gallery , #lighting

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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

https://telegram.me/revitalization

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

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.28.

Memory Garden in Vinaròs, Spain, 2015

•Architects: Camilla Mileto, Fernando Vegas
•Location: Carrer de Sant Francesc & Carrer de l'Hospital, 12500 Vinaròs, Castelló, Spain
•Project Year: 2015
•Photography: Vicente A. Jiménez
•Manufacturers: Inmar Stone Group
•Promotor: Ayuntamiento de Vinaroz
•Architects: Camilla Mileto, Fernando Vegas
•Installations: Antonio Vte. Martí Guillamón, ingeniero
•Lighting: Elías Hurtado Pérez, ingeniero
•Stucture: Adolfo Alonso Durá, arquitecto
•Budget Control: Salvador Tomás Márquez, arquitecto técnico
•Garden Advisory: Marta Edo Albalate
•Contributors: M. Soledad García Sáez, Lidia García Soriano, F. Javier Gómez Patrocinio, Isabel Segovia Campos
•Project Direction: Camilla Mileto y Fernando Vegas, arquitectos (UPV)Universitat Politècnica de Valencia
•Director of Execution: Salvador Tomás Márquez, arquitecto técnico
•Project Collaborators: M. Soledad García Sáez, Lidia García Soriano, F. Javier Gómez Patrocinio
•Archeology: Noema Restauradores S.L.
•Archeology Study: Pablo Rodríguez Navarro (UPV)
•Restorer: Noema Restauradores S.L.
•Constuction: Construcciones Rafael Zarzoso S.L.
•Garden: U.T.E. Jardines

In 2001 the church and convent of San Francisco, in the Castellón town of Vinaroz were demolished and only part of the north outer wall and the indoor flooring were left standing. Following this unfortunate event, what had been the site of the church and convent was asphalted and used as a parking space, and over the years the remains of the outer wall and flooring greatly deteriorated due to natural causes and vandalism.
The garden of San Francisco was born from the archaeological remains of the original 17th-century convent and designed to evoke the historic memory of the building, as well as that of the gardens and orchards surrounding it, aiming to restore dignity to the site and transform it into a place for meeting, relaxation and amusement, recovering a living space for the community.
The traces of the former walls of the convent were discovered when the new asphalt was broken up and have been built up to form garden seats using the original building ashlars, stones, tiles and roof tiles found during the excavation. The aim of this operation was to evoke the original convent by incorporating the archaeological remains, rather than adding to the municipal landfill where these remains and their unique background would be amalgamated with many others to finally become environmental waste. The surviving church wall has been carefully restored using remains and imprints of renderings, paintings, joinery, etc., as well as the remains of adjoining houses which had enabled the wall to survive until the present day.
The area inside the convent and church was paved with local stone, allowing the different spaces to be clearly distinguished. While the pavement in the church area is closely spaced and follows the bays of the original building, the convent area features spaces for vegetation to grow between the pavement slabs, perfectly integrated into the garden as a whole. The remains of the masonry walls and pebble paving of the convent found on the ground interact with the vegetation of the garden, blending into it.
The square still preserves many underground crypts and archaeological remains which have been respected for the future following the necessary cleaning. In addition to recovering and restoring the traces of the convent and church, the original access from calle San Francisco through the fence which surrounds the whole area has also been recovered, and new accesses to the surrounding square have also been incorporated.
In addition, the surviving vegetation, palm trees and a cypress, have been preserved and used as the basis for the new vegetation in the garden areas.

#restoration , #preservation , #archeolgical_site , #park
#lighting , #landscape , #urban_design

https://telegram.me/revitalization

NO.34.

Thalia Theatre, Portugal, 2008

• Architects: Gonçalo Byrne Architects & Barbas Lopes Architects
• Location: Lisbon, Portugal
• Architects: Gonçalo Byrne, Patrícia Barbas, Diogo Seixas Lopes
• Collaborators: Hugo Ferreira, João Neves, Lígia Ribeiro, Luca Martinucci, Tânia Roque
• Engineering: AFAconsult, Natural Works
• Contractor: ACF
• Area: 1600.0 sqm
• Project Year: 2008
• Photographs: DMF

Two generations of Portuguese architects have reconverted the ruins of a neoclassical theater in Lisbon, near the city zoo. The remains of the building were covered by a layer of concrete and spread in a glass pavilion, forming a multipurpose space where events and performances can take place.
The Thalia Theater was inaugurated in 1843, as a private place for the Count of Farrobo. It is located on the outskirts of Lisbon, in front of a palace and gardens, also owned by this aristocrat. In 1862, a fire burned the building with all its luxurious decoration of golden wood, mirrors and candelabra.
For almost 150 years, the Thalia Theater was in ruins. In 2008, the Ministry of Education and Science of Portugal commissioned a study to reconvert the Thalia Theater in a space of multiple uses.
In order to preserve the ancient walls of the Thalia Theater, the exterior was completely covered by a layer of terracotta concrete forming a large monolithic body. It consists of the original volumes of the audience and the stage, 23 meters high. Within these two spaces the ruins were left intact in a show of their own.
An adjacent one-story, fully glazed structure houses the additional program as a reception, services, and cafeteria. The new wing embraces the Thalia Theater and faces the busy contiguous street through a continuous surface of crystals that reflect the surroundings.
The project for the reconversion of the Thalia Theater in Lisbon combines the old and new parts of the building in an urban complex overlooking the nearby zoo. Bring back the memory of the past as a place for fantasy, imagination and civic life.

#ruin , #theater , #multiple_use , #preserve
#addition , #reconversion , #lighting , #urban_complex

@revitalization