Forwarded from آینده گذشته ما
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
https://telegram.me/revitalization
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
https://telegram.me/revitalization
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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
Forwarded from آینده گذشته ما
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
@revitalization
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
@revitalization