3) the “Vela” North;
4) the bastion of Savoy (until new garden and part towards the outside courtyard).
#Italy , #ruin , #castle , #lighting , #stair , #archeology , #muesum , #mariage , #hall
@revitalization
4) the bastion of Savoy (until new garden and part towards the outside courtyard).
#Italy , #ruin , #castle , #lighting , #stair , #archeology , #muesum , #mariage , #hall
@revitalization
In particular, the restoration work carried out in the 1950s has irreversibly modified the interior spaces, compromising the original identity of the basilica. The project of Fidone wanted to bring to light the traces of the ancient Byzantine frescoes, and introduced two new elements: the false ceiling in wood lamellas to recall the height of the barrel vault of the early Christian age, as well as to modulate the light inside; the entrance portal of the endonartece, made of corten steel, to allude to the original passage space.
A long work of recovery and reintegration of the building that of the architect Fidone, respecting the pre-existences. The same discovery of the material stratigraphy, from the frescoes to the pavement, intends to refer to the concept of 'ruined monument' to John Ruskin.
The Italian Heritage Award, in its first edition, was born from a project of the National Fidei Signa Onlus Association, and represents a real International Festival, dedicated to the protection and enhancement of the national artistic and cultural heritage.
#Italy , #church , #entrance , #door , #corten_steel
@revitalization
A long work of recovery and reintegration of the building that of the architect Fidone, respecting the pre-existences. The same discovery of the material stratigraphy, from the frescoes to the pavement, intends to refer to the concept of 'ruined monument' to John Ruskin.
The Italian Heritage Award, in its first edition, was born from a project of the National Fidei Signa Onlus Association, and represents a real International Festival, dedicated to the protection and enhancement of the national artistic and cultural heritage.
#Italy , #church , #entrance , #door , #corten_steel
@revitalization
NO.108.
Restoration of Castello dei Doria a Dolceacqua / LD+SR architetti
RESTORATION, DOLCEACQUA, ITALY
• Architects: LD+SR architetti
• Year:2015
• Lead Architects: Luca Dolmetta, Silvia Rizzo architetti
• Project Team: Arch. Danilo Cupioli, Arch. Paola Pilotto, Arch. Amir Reza Arya
• Structural Engineering : Ing. Mauro Cevoli
• Installations : Ing. Alberto Frisoni
• Designers: Arch. William Meli, Arch. Bernardet Urbanovics
• Cse : Ing. Claudio Perrino
Text description provided by the architects. After widespread interventions of restoration undertaken since the early 90 's, 2012-2015 covered the restoration and consolidation of certain portions of the main external walls of the Castle (sailing North, Savoy bastion minor), the recovery of the main open spaces that surround it in diffuse form the complex, the establishment of a system of trails that leads the visitor to discover different points of perception of landscapes that surround the monument. The "value" of the Castle is the close relationship between Castle and place where it fits. A relationship was so charming by bringing Claude Monet repeatedly to visit Dolceacqua and capture bridge and Castle in a famous painting by 1884 housed in the Musée Marmottan Monet in Paris.
The Castle situated in a dominant position overlooking the village below is in extreme point advantage to control the Valley of the river of the Nervia Valley. The project seeks to enhance the strategic position, making travel to the visitor the different stages of completion of the building discover some enclosed spaces created in the few portions of the building survived the various bombings and ensuing fires over time, but especially a guided path towards the various land control points.
The restoration and strengthening of masonry degraded extensively featured in significant form the surgery completed in 2015. Any need for structural reinforcement or static improvement though it was turned into an architectural project, also of iron parts that, depending on the requirement, have become paths, passages, elements of reconstruction of portions of walls partly missing or being complete detachment. Items always perceived as new parts, reversible and always side by side with existing fit evident
#Italy, #castle , #landscape, #metal , #stair , #museum , #landmark , #installation
@revitalization
Restoration of Castello dei Doria a Dolceacqua / LD+SR architetti
RESTORATION, DOLCEACQUA, ITALY
• Architects: LD+SR architetti
• Year:2015
• Lead Architects: Luca Dolmetta, Silvia Rizzo architetti
• Project Team: Arch. Danilo Cupioli, Arch. Paola Pilotto, Arch. Amir Reza Arya
• Structural Engineering : Ing. Mauro Cevoli
• Installations : Ing. Alberto Frisoni
• Designers: Arch. William Meli, Arch. Bernardet Urbanovics
• Cse : Ing. Claudio Perrino
Text description provided by the architects. After widespread interventions of restoration undertaken since the early 90 's, 2012-2015 covered the restoration and consolidation of certain portions of the main external walls of the Castle (sailing North, Savoy bastion minor), the recovery of the main open spaces that surround it in diffuse form the complex, the establishment of a system of trails that leads the visitor to discover different points of perception of landscapes that surround the monument. The "value" of the Castle is the close relationship between Castle and place where it fits. A relationship was so charming by bringing Claude Monet repeatedly to visit Dolceacqua and capture bridge and Castle in a famous painting by 1884 housed in the Musée Marmottan Monet in Paris.
The Castle situated in a dominant position overlooking the village below is in extreme point advantage to control the Valley of the river of the Nervia Valley. The project seeks to enhance the strategic position, making travel to the visitor the different stages of completion of the building discover some enclosed spaces created in the few portions of the building survived the various bombings and ensuing fires over time, but especially a guided path towards the various land control points.
The restoration and strengthening of masonry degraded extensively featured in significant form the surgery completed in 2015. Any need for structural reinforcement or static improvement though it was turned into an architectural project, also of iron parts that, depending on the requirement, have become paths, passages, elements of reconstruction of portions of walls partly missing or being complete detachment. Items always perceived as new parts, reversible and always side by side with existing fit evident
#Italy, #castle , #landscape, #metal , #stair , #museum , #landmark , #installation
@revitalization
NO.114
Delle Bonifiche Eco-Museum / Archiplanstudio
MUSEUM, RESTORATION, RENOVATION
•BONDANELLO, ITALY
• Architects: Archiplanstudio
• Area:400.0 m²
• Year:2019
• Manufacturers: Seplux, Maxin, Autodesk
• Clients: Amministarzione Comunale di Moglia
• Amministarzione Comunale Di Moglia: Stefano Mazzocchi
• Landscape: Stefano Gorni Silvestrini
The covering in corten was the last phase of the renovation of “Chiavicone Bondanello”, started in 2009. The building, with hydraulic function on “Cavo Fiuma”, was constructed in the XVIIth century and the actual aspect derives from a renovation in 1900. Furthermore in 1960 the building partially collapsed after the river overflow and it was reconstructed.
A new reticular steel structure with polycarbonate wall replace the volume that was destroyed; inside there is a polyfunctional space with the environment center of the Secchia river park.
The new covering in corten linked the restored facade with the new volume and show the stratification of the interventions. The perception of the facades is dynamic and changes from every different angles, emphasizing the historical facade, the relation with the contemporary intervention or also the strength of the oxidised steel.
The polycarbonate wall during the night works like a lamp that emphasize the social function of the building and make it a signal in the landscape.
#Italy , #hydraulic , #museum , #eco_museum #corten , #metal , #polycarbonate , #landscape , #stair
@revitalization
Delle Bonifiche Eco-Museum / Archiplanstudio
MUSEUM, RESTORATION, RENOVATION
•BONDANELLO, ITALY
• Architects: Archiplanstudio
• Area:400.0 m²
• Year:2019
• Manufacturers: Seplux, Maxin, Autodesk
• Clients: Amministarzione Comunale di Moglia
• Amministarzione Comunale Di Moglia: Stefano Mazzocchi
• Landscape: Stefano Gorni Silvestrini
The covering in corten was the last phase of the renovation of “Chiavicone Bondanello”, started in 2009. The building, with hydraulic function on “Cavo Fiuma”, was constructed in the XVIIth century and the actual aspect derives from a renovation in 1900. Furthermore in 1960 the building partially collapsed after the river overflow and it was reconstructed.
A new reticular steel structure with polycarbonate wall replace the volume that was destroyed; inside there is a polyfunctional space with the environment center of the Secchia river park.
The new covering in corten linked the restored facade with the new volume and show the stratification of the interventions. The perception of the facades is dynamic and changes from every different angles, emphasizing the historical facade, the relation with the contemporary intervention or also the strength of the oxidised steel.
The polycarbonate wall during the night works like a lamp that emphasize the social function of the building and make it a signal in the landscape.
#Italy , #hydraulic , #museum , #eco_museum #corten , #metal , #polycarbonate , #landscape , #stair
@revitalization
NO.119
Sala delle Capriate at Palazzo della Ragione / CN10 architetti
MUSEUMS & EXHIBIT, RENOVATION
•
BERGAMO, ITALY
Architects: CN10 architetti
Area: 500.0 m²
Year: 2017
Manufacturers: 3M, Wiva group
General Contractor: KREA allestimenti
Text description provided by the architects. The project provides for a new set-up of the "Sala delle Capriate" in the “Palazzo della Ragione” of Upper Bergamo. The building dates back to the XII century and represents the physical and functional center of the historic city. It is the core of a system of open public spaces and it directly relates to them on different sides. Once the building stopped to host the municipality, the upper room changed a series of different functions. Today its walls are covered with a significant review of art pieces collected over time from different buildings of the city.
The result is a minimal intervention made of a suspended system of hexagons, intended as gazes over the city: like the circles drawn on the embroidery of the colored windows, the suspended structure puts on display the excellence of the territory. This is exactly as it occurs in the cellars of the beehive, where the repetition of the hexagonal frame becomes the structure where life happens. Similarly, the hexagons of the project can become light, sound, image, space. It is a dynamic system of possible configurations that transform the room according to the given event and program.
The hexagonal mesh is dimensioned coherently with the pace of the wooden trusses. The result is a simple and modular composition, made out of the combination of beams and joints. The beams incorporate in their own structure the technological solutions necessary to set in the room different arrangements. They host indeed the technical devices like lightning, both fixed and movable, sound and video systems, motorized projection tarps and hooks to hang panels and other equipment. The fixing system that allows hanging the hexagons to the trusses is located on the joints.
The whole structure can be easily lowered thanks to a motorized solution, in order to guarantee fast changes of setting, a simple maintenance and a better management of the space. The new set-up is completed on the ground floor by a system of hexagonal structures with the same dimension of the suspended one, that can be freely arranged in the room. They are made of modular elements that increase the number and the complexity of the different configurations of the room.
#Italy , #museum, #gallery , #interior_design , #exhibition , #lighting
@revitalization
Sala delle Capriate at Palazzo della Ragione / CN10 architetti
MUSEUMS & EXHIBIT, RENOVATION
•
BERGAMO, ITALY
Architects: CN10 architetti
Area: 500.0 m²
Year: 2017
Manufacturers: 3M, Wiva group
General Contractor: KREA allestimenti
Text description provided by the architects. The project provides for a new set-up of the "Sala delle Capriate" in the “Palazzo della Ragione” of Upper Bergamo. The building dates back to the XII century and represents the physical and functional center of the historic city. It is the core of a system of open public spaces and it directly relates to them on different sides. Once the building stopped to host the municipality, the upper room changed a series of different functions. Today its walls are covered with a significant review of art pieces collected over time from different buildings of the city.
The result is a minimal intervention made of a suspended system of hexagons, intended as gazes over the city: like the circles drawn on the embroidery of the colored windows, the suspended structure puts on display the excellence of the territory. This is exactly as it occurs in the cellars of the beehive, where the repetition of the hexagonal frame becomes the structure where life happens. Similarly, the hexagons of the project can become light, sound, image, space. It is a dynamic system of possible configurations that transform the room according to the given event and program.
The hexagonal mesh is dimensioned coherently with the pace of the wooden trusses. The result is a simple and modular composition, made out of the combination of beams and joints. The beams incorporate in their own structure the technological solutions necessary to set in the room different arrangements. They host indeed the technical devices like lightning, both fixed and movable, sound and video systems, motorized projection tarps and hooks to hang panels and other equipment. The fixing system that allows hanging the hexagons to the trusses is located on the joints.
The whole structure can be easily lowered thanks to a motorized solution, in order to guarantee fast changes of setting, a simple maintenance and a better management of the space. The new set-up is completed on the ground floor by a system of hexagonal structures with the same dimension of the suspended one, that can be freely arranged in the room. They are made of modular elements that increase the number and the complexity of the different configurations of the room.
#Italy , #museum, #gallery , #interior_design , #exhibition , #lighting
@revitalization
—————————
3S Studio has designed an "urban" walk without distorting the identity of an area which, for a strange paradox, has been maintained by being in a state of semi-abandonment for 40 years. The general objectives of the design , relating to the general themes were:
Give continuity to pedestrian paths
Increase the usability of the coastal stretch
Intervention reversibility
Low environmental impact materials
Increase in public green spaces and requalification of existing ones
Compatible tourism development "
————————————-
The cost per square meter (true evaluation parameter of public space projects) was very limited in the face of the complex interventions (including structural and concerning works at sea) subject to constraint, of the great final environmental quality.
All this is the result of the design strategies that have always privileged the real change of the boundary conditions, the activation of virtuous circles and the overall vision.
The materials usually used, simple but "safe", are the confirmation of how much the complexity / articulation of the spaces and the real usability of the new structures have been preferred over the decoration and richness of the finishes. They have thus obtainedimportant results in terms of:
extension of the project area
achievement of initially unforeseen results - effects on economic and tourist activities - environmental requalification
creation of new routes (such as that of the tunnel, previously inaccessible).
#Italy , #railway, #interior_design , #landscape ,#corten , #park , #tunnel , #lighting
@revitalization
3S Studio has designed an "urban" walk without distorting the identity of an area which, for a strange paradox, has been maintained by being in a state of semi-abandonment for 40 years. The general objectives of the design , relating to the general themes were:
Give continuity to pedestrian paths
Increase the usability of the coastal stretch
Intervention reversibility
Low environmental impact materials
Increase in public green spaces and requalification of existing ones
Compatible tourism development "
————————————-
The cost per square meter (true evaluation parameter of public space projects) was very limited in the face of the complex interventions (including structural and concerning works at sea) subject to constraint, of the great final environmental quality.
All this is the result of the design strategies that have always privileged the real change of the boundary conditions, the activation of virtuous circles and the overall vision.
The materials usually used, simple but "safe", are the confirmation of how much the complexity / articulation of the spaces and the real usability of the new structures have been preferred over the decoration and richness of the finishes. They have thus obtainedimportant results in terms of:
extension of the project area
achievement of initially unforeseen results - effects on economic and tourist activities - environmental requalification
creation of new routes (such as that of the tunnel, previously inaccessible).
#Italy , #railway, #interior_design , #landscape ,#corten , #park , #tunnel , #lighting
@revitalization
NO.127
Torri Superiore
A Medieval Village Transformed Into Self-Sufficient Eco-Community
Italy, Torri Superiore
• Started Planning: 1989
• Started Living Together: 1995
• Torri Superiore Cultural Association
• Area: 4.9 acres
Energy Sources: Solar, Biomass & Clean Energy from the Grid
• Type(s):
o Ecovillage (organized around ecology and sustainability)
o Shared Housing, Cohouseholding, or Coliving (multiple individuals sharing a dwelling)
• Programs & Activities:
o School, Educational Institute or Experience
o Volunteer, Internship, or Apprenticeship, or WWOOF’ing
o Ethical Business, Investment Group, or Alternative Currency
o Festivals, Conferences, Events
During the twentieth century, the medieval village of Torri Superiore was gradually abandoned by all the inhabitants, falling into decay and slowly turning into a ghost village.
Its beautiful stone towers, internal courtyards, connecting stairs and agricultural terraces gradually became deserted and ruined.
At the beginning of the 90s the Torri Superiore Cultural Association began negotiations for the purchase of houses by a huge number of owners, through a tiring and long cadastral research and laborious negotiations. The purpose of the Association was to transform the village into an Ecovillage, creating on-site residences and resources for a new resident community.
Over the following years, a detailed study of the structure of the buildings led to the development of a complex restoration project that balances the parts for public use and those for private use.
The careful restoration plan has been developed by a team of architects, engineers and surveyors who have generously supported the project over the years. This work has guaranteed the preservation and redevelopment of the medieval features of the structure through the use of natural and eco-friendly materials, the principles of green building and structural interventions in harmony with the surrounding environment.
Two areas have been designed for different uses: in the north part the structure for common use and open to the public, consisting of bedrooms, central kitchen, dining rooms, library and meeting rooms. This area is owned by the Torri Superiore Cultural Association. In the southern part, 22 private housing units, owned by the members, with an internal size that varies from 30 to 80 square meters.
Small local companies have been employed to manage the construction sites with the constant support of the members of the Association and the residents, and with the generous contribution of groups of volunteers from all over the world.
The restorations began in 1997 and in 2012 the works on the accommodation were completed. The restoration of the 22 private housing units ended in 2016. Solar panels were also installed for the production of hot water and electricity.
#Italy , #village, #ecovillage , #landscape , #eco_friendly, #sustainable , #hotel , #residence #ecotourism
@revitalization
Torri Superiore
A Medieval Village Transformed Into Self-Sufficient Eco-Community
Italy, Torri Superiore
• Started Planning: 1989
• Started Living Together: 1995
• Torri Superiore Cultural Association
• Area: 4.9 acres
Energy Sources: Solar, Biomass & Clean Energy from the Grid
• Type(s):
o Ecovillage (organized around ecology and sustainability)
o Shared Housing, Cohouseholding, or Coliving (multiple individuals sharing a dwelling)
• Programs & Activities:
o School, Educational Institute or Experience
o Volunteer, Internship, or Apprenticeship, or WWOOF’ing
o Ethical Business, Investment Group, or Alternative Currency
o Festivals, Conferences, Events
During the twentieth century, the medieval village of Torri Superiore was gradually abandoned by all the inhabitants, falling into decay and slowly turning into a ghost village.
Its beautiful stone towers, internal courtyards, connecting stairs and agricultural terraces gradually became deserted and ruined.
At the beginning of the 90s the Torri Superiore Cultural Association began negotiations for the purchase of houses by a huge number of owners, through a tiring and long cadastral research and laborious negotiations. The purpose of the Association was to transform the village into an Ecovillage, creating on-site residences and resources for a new resident community.
Over the following years, a detailed study of the structure of the buildings led to the development of a complex restoration project that balances the parts for public use and those for private use.
The careful restoration plan has been developed by a team of architects, engineers and surveyors who have generously supported the project over the years. This work has guaranteed the preservation and redevelopment of the medieval features of the structure through the use of natural and eco-friendly materials, the principles of green building and structural interventions in harmony with the surrounding environment.
Two areas have been designed for different uses: in the north part the structure for common use and open to the public, consisting of bedrooms, central kitchen, dining rooms, library and meeting rooms. This area is owned by the Torri Superiore Cultural Association. In the southern part, 22 private housing units, owned by the members, with an internal size that varies from 30 to 80 square meters.
Small local companies have been employed to manage the construction sites with the constant support of the members of the Association and the residents, and with the generous contribution of groups of volunteers from all over the world.
The restorations began in 1997 and in 2012 the works on the accommodation were completed. The restoration of the 22 private housing units ended in 2016. Solar panels were also installed for the production of hot water and electricity.
#Italy , #village, #ecovillage , #landscape , #eco_friendly, #sustainable , #hotel , #residence #ecotourism
@revitalization
NO.147
Castello di Rivoli-Castle of Rivoli - MUSEUM OF CONTEMPORARY ART
/ Andrea Bruno
LOCATION: Turin, Rivoli - ITALY
ARCHITECT: Andrea Bruno
Year: 1984
PROPERTY: Common Of Rivoli
DEALER / CONTRACT: "Rivoli Castle - Museum Of Contemporary Art" Cultural Association
CategoryConcessionaires / Assignees Of Public Cultural Goods Or Institutes And Places Of Culture Belonging To The Public (Ex Resolutions / Interpelli AE)
Museum of Contemporary Art
Between past, present and future
Starting out in the 11th century as a military stronghold, the Castle of Rivoli is now home to the Museum of Contemporary Art which has a prestigious permanent collection and occasional major exhibitions in an original historical and architectural context.
Owned by the Savoy since 1247, the castle was the first court of the Duchy of Savoy. In the 1600s it was transformed into courtly residence by Carlo and Amedeo di Castellamonte. The complex also gained the "Manica Lunga", the art gallery of dukes, more than 140 metres long.
In the 1700s, Victor Amadeus II commissioned Juvarra to produce a grandiose rebuilding project, works that were never to be concluded. The incompletion of the construction, emphasised by the restora-tion by Andrea Bruno in 1980s, has created an evocative line of continuity extending from the past, to the present and future.
The first renovation works of the Castello di Rivoli were made by the young Turinese architect An-drea Bruno to mark the centenary of the Unification of Italy in 1961. Unfortunately, at that time the budget was only sufficient to repair structural damage. Some years later, in 1967, Bruno proceeded to demolish the decaying parts of the atrium built in the early 20th century. By 1978, the building was in terrible condition: water infiltration had damaged the walls, ceilings, frescos, and stuccos, causing the first collapses. This led the Region of Piedmont to pledge to take care of the building for 30 years, re-storing it and opening it to the public. The works started in 1979 and ended with the Museum’s inau-guration on 18 December 1984.
Bruno decided to keep the surviving historical traces, giving importance to all the moments in the Castle’s life, starting from the Juvarra building site, passing through Carlo Randoni’s work in the late 18th century, up until the interventions made by the military in the 20th century. Bruno avoided falsifi-cations and completions, respecting the original architecture, which became a true image of the histo-ry of the building and the vicissitudes of the structure. He preserved the internal and external decora-tions, stuccos and paintings damaged by the ravages of time and the carelessness of men.
To give visitors a sense of the Savoy residence, Bruno restored two rooms, one on the first floor made during the Juvarra’s period, and the second in the Duke of Aosta’s apartment. He enhanced the unfin-ished atrium, installed the panorama that juts out from the great brick wall of the Castle, and con-ceived the great suspended staircase, as well as the walkway over the great vault of room 18, putting the past and the present in dialogue. Some rooms have no decorations, while several are richly orna-mented with details that recall the splendours of the dynasty and important moments in Rivoli’s histo-ry.
Some time later, works started on the Manica Lunga, which was to become once again a space for ex-hibitions. Here, the staircases and the lift are external, and they have been made in steel and glass to allow visitors to observe the whole unfinished structure. Bruno used modern materials for the new structures, becoming a pioneer of reversibility, and again stressing the relationship between present and past. In Rivoli, the historic building and contemporary forms interact together, while the frescoes dialogue with the work of today’s artists.
#Italy, #castle ,#interior_design , #museum , #lighting , #gallery , #stair
@revitalization
Castello di Rivoli-Castle of Rivoli - MUSEUM OF CONTEMPORARY ART
/ Andrea Bruno
LOCATION: Turin, Rivoli - ITALY
ARCHITECT: Andrea Bruno
Year: 1984
PROPERTY: Common Of Rivoli
DEALER / CONTRACT: "Rivoli Castle - Museum Of Contemporary Art" Cultural Association
CategoryConcessionaires / Assignees Of Public Cultural Goods Or Institutes And Places Of Culture Belonging To The Public (Ex Resolutions / Interpelli AE)
Museum of Contemporary Art
Between past, present and future
Starting out in the 11th century as a military stronghold, the Castle of Rivoli is now home to the Museum of Contemporary Art which has a prestigious permanent collection and occasional major exhibitions in an original historical and architectural context.
Owned by the Savoy since 1247, the castle was the first court of the Duchy of Savoy. In the 1600s it was transformed into courtly residence by Carlo and Amedeo di Castellamonte. The complex also gained the "Manica Lunga", the art gallery of dukes, more than 140 metres long.
In the 1700s, Victor Amadeus II commissioned Juvarra to produce a grandiose rebuilding project, works that were never to be concluded. The incompletion of the construction, emphasised by the restora-tion by Andrea Bruno in 1980s, has created an evocative line of continuity extending from the past, to the present and future.
The first renovation works of the Castello di Rivoli were made by the young Turinese architect An-drea Bruno to mark the centenary of the Unification of Italy in 1961. Unfortunately, at that time the budget was only sufficient to repair structural damage. Some years later, in 1967, Bruno proceeded to demolish the decaying parts of the atrium built in the early 20th century. By 1978, the building was in terrible condition: water infiltration had damaged the walls, ceilings, frescos, and stuccos, causing the first collapses. This led the Region of Piedmont to pledge to take care of the building for 30 years, re-storing it and opening it to the public. The works started in 1979 and ended with the Museum’s inau-guration on 18 December 1984.
Bruno decided to keep the surviving historical traces, giving importance to all the moments in the Castle’s life, starting from the Juvarra building site, passing through Carlo Randoni’s work in the late 18th century, up until the interventions made by the military in the 20th century. Bruno avoided falsifi-cations and completions, respecting the original architecture, which became a true image of the histo-ry of the building and the vicissitudes of the structure. He preserved the internal and external decora-tions, stuccos and paintings damaged by the ravages of time and the carelessness of men.
To give visitors a sense of the Savoy residence, Bruno restored two rooms, one on the first floor made during the Juvarra’s period, and the second in the Duke of Aosta’s apartment. He enhanced the unfin-ished atrium, installed the panorama that juts out from the great brick wall of the Castle, and con-ceived the great suspended staircase, as well as the walkway over the great vault of room 18, putting the past and the present in dialogue. Some rooms have no decorations, while several are richly orna-mented with details that recall the splendours of the dynasty and important moments in Rivoli’s histo-ry.
Some time later, works started on the Manica Lunga, which was to become once again a space for ex-hibitions. Here, the staircases and the lift are external, and they have been made in steel and glass to allow visitors to observe the whole unfinished structure. Bruno used modern materials for the new structures, becoming a pioneer of reversibility, and again stressing the relationship between present and past. In Rivoli, the historic building and contemporary forms interact together, while the frescoes dialogue with the work of today’s artists.
#Italy, #castle ,#interior_design , #museum , #lighting , #gallery , #stair
@revitalization
NO.157
A Country House in Chievo / studio wok
RESIDENTIAL ARCHITECTURE, RENOVATION
•
VERONA, ITALY
• Architects: studio wok
• Area: 250 m²
• Year: 2018
• Photographs: Simone Bossi
• Manufacturers:Artemide,Cassina,Fioroni,Flos,Grassi Pietre,Flos
• Lead Architects:Marcello Bondavalli, Nicola Brenna and Carlo Alberto Tagliabue
• Collaborators:Arch. Federica Torri
• General Contractor:PFM contract, Verona
• Structural Engineering, Sustainability:Studio Tecnico associato Breoni
• Agronomy:Simone Bellamoli
• Stone Flooring :Grassi Pietre, Nanto (VI)
• Windows And Tailor, Made Furniture :GF Arredamenti, Ardenno (SO)
• Client:Private
Between history and modernity: a spatial and material dialogue in a rural court.
The new home has been built into a section of the barn of an agricultural court at the gates of Verona, near the river Adige. The project’s leitmotif is a spatial and material dialogue between history and modernity, and it is also characterized by the great care taken in terms of environmental sustainabil-ity. In addition to the use of technical devices and systems for efficient energy, special attention has been given to the surrounding territory and landscape in the use of materials and design choices.
Together with the building, the surrounding garden has also been redesigned and is now an integral part of the house.
The focal element of the garden and the house is a magnolia tree, preserved upon the clients' request. Bordered by a square black flowerbed, in contrast to the stone flooring on which the pool is set, the tree is the protagonist of the outdoor space and perfectly dialogues with the house: the shadow of its foliage is projected at sunset on the stone façade and is visible from all rooms.
The plaster has been detached on the façades, so as to bring the river pebbles into view which form the structure’s load-bearing walls.
On the front towards the garden, a large arch has been reopened as a reminder of the site’s historical agricultural function, making it the fulcrum around which the spaces of the house are distributed. A large rear door frames the masonry arch, becoming a threshold and an element of dialogue between the interior space and the garden.
The front facing the courtyard is characterized by a glass façade with wooden uprights that recalls, in a contemporary way, the wooden walls typical of barns found in local rural courts.
The materials of the façades are traditional and typical of rural architecture around Verona: on the façade, river pebbles are grafted on modern frames in Biancone, local stone from Lessinia and the monolithic elements that house the larch windows.
The house is set out across three floors and all levels engage with the space at the full height of the living room. The ground floor, distinguished by a Vicenza stone pavement, welcomes guests into a large living area and a library with brick fireplace; the upper floors, perceived as a wooden volume hanging from the ceiling, contain the bedrooms.
The birch plywood cladding designs and defines the interior space, marking a clear distinction be-tween the different sections of the home.
A large rear door frames the masonry arch, becoming a threshold and an element of dialogue between the interior space and the garden.
#Italy , #barn , #rural , #house , #interior_design , #stair
@revitalization
A Country House in Chievo / studio wok
RESIDENTIAL ARCHITECTURE, RENOVATION
•
VERONA, ITALY
• Architects: studio wok
• Area: 250 m²
• Year: 2018
• Photographs: Simone Bossi
• Manufacturers:Artemide,Cassina,Fioroni,Flos,Grassi Pietre,Flos
• Lead Architects:Marcello Bondavalli, Nicola Brenna and Carlo Alberto Tagliabue
• Collaborators:Arch. Federica Torri
• General Contractor:PFM contract, Verona
• Structural Engineering, Sustainability:Studio Tecnico associato Breoni
• Agronomy:Simone Bellamoli
• Stone Flooring :Grassi Pietre, Nanto (VI)
• Windows And Tailor, Made Furniture :GF Arredamenti, Ardenno (SO)
• Client:Private
Between history and modernity: a spatial and material dialogue in a rural court.
The new home has been built into a section of the barn of an agricultural court at the gates of Verona, near the river Adige. The project’s leitmotif is a spatial and material dialogue between history and modernity, and it is also characterized by the great care taken in terms of environmental sustainabil-ity. In addition to the use of technical devices and systems for efficient energy, special attention has been given to the surrounding territory and landscape in the use of materials and design choices.
Together with the building, the surrounding garden has also been redesigned and is now an integral part of the house.
The focal element of the garden and the house is a magnolia tree, preserved upon the clients' request. Bordered by a square black flowerbed, in contrast to the stone flooring on which the pool is set, the tree is the protagonist of the outdoor space and perfectly dialogues with the house: the shadow of its foliage is projected at sunset on the stone façade and is visible from all rooms.
The plaster has been detached on the façades, so as to bring the river pebbles into view which form the structure’s load-bearing walls.
On the front towards the garden, a large arch has been reopened as a reminder of the site’s historical agricultural function, making it the fulcrum around which the spaces of the house are distributed. A large rear door frames the masonry arch, becoming a threshold and an element of dialogue between the interior space and the garden.
The front facing the courtyard is characterized by a glass façade with wooden uprights that recalls, in a contemporary way, the wooden walls typical of barns found in local rural courts.
The materials of the façades are traditional and typical of rural architecture around Verona: on the façade, river pebbles are grafted on modern frames in Biancone, local stone from Lessinia and the monolithic elements that house the larch windows.
The house is set out across three floors and all levels engage with the space at the full height of the living room. The ground floor, distinguished by a Vicenza stone pavement, welcomes guests into a large living area and a library with brick fireplace; the upper floors, perceived as a wooden volume hanging from the ceiling, contain the bedrooms.
The birch plywood cladding designs and defines the interior space, marking a clear distinction be-tween the different sections of the home.
A large rear door frames the masonry arch, becoming a threshold and an element of dialogue between the interior space and the garden.
#Italy , #barn , #rural , #house , #interior_design , #stair
@revitalization
NO.169
Rehabilitation of Roman Tabernae in the Trajan’s Market / Labics
INSTALLATIONS & STRUCTURES, HISTORIC PRESERVATION
•
ROMA, ITALY
Client: Municipality of Rome
Location: Imperial Forum, Rome
Program: New footpath for Trajan’s Forum & Renovation of the Roman Tabernae, Rome
Dates: 1999 - 2004
Gross floor area: 300 sqm (footpath) + 600 sqm (Tabernae)
Cost: 700,000 euro
Design: Nemesi Studio (Maria Claudia Clemente, Michele Molé)
Labics (Maria Claudia Clemente, Francesco Isidori, Marco Sardella)
Architectural team: Daniele Durante, Federico Pitzalis
Consultants: Structural engineering: Studio Ingegneri Associati - Adelio Rossi, Eng.
Services: Riccardo Fibbi arch., Carolina de Camillis arch.
Trajan’s Market is the name given in the early 20th century CE to a complex of buildings in the imperial fora of Rome constructed in 107-110 CE during the reign of Trajan. The complex included a covered market, small shop fronts and a residential apartment block.
Built between the years 100 and 110 A.D, Trajan's Market is believed to be the first covered shopping mall in history.
The projects at Mercati di Traiano is composed of two different projects: the restoration and transformation of an ancient monument in a museal space, and the realization of a pedestrian walkway through Rome’s Imperial Forum.
The restoration and preservation work involved cleaning the ancient walls and stone facades and reintegrating the floors in all tabernae. New bronze floor plates were designed with a geometrical pattern taken from the site creating a background for sevelar smaller interventions, the most significant of which was the reintegration of a portal inside the first taberna and the construction of new public restrooms, both constructed in corteen steel.
The walkway at Campo Carleo re-create an original urban route through the Forum and offers improved disabled access to the site. It links the Forum to the Rione Monti or Suburra – the ancient Roman slums. The monumental wall on which the footpath is hung up is of unique archaeological importance, and the walkway has therefore been differentiated materially, structurally and formally and conceived as an independent and contemporary element. The walkway follows the ancient wall but is detached from it. In contrast to the mass of the ruins, the lightweight walkway is designed as a folded strip which hugs the wall, establishing an intimate and subtle relationship with the monument. Made from corten steel, the footpath blends with the chromatic atmosphere of the background Roman wall, while the discreet stainless steel railing cables ensure the primacy of perspective views across the site.
#Italy, #museum, #lighting, #ruin, #extention, #corten , #bazar , #market , #archeology
@revitalization
Rehabilitation of Roman Tabernae in the Trajan’s Market / Labics
INSTALLATIONS & STRUCTURES, HISTORIC PRESERVATION
•
ROMA, ITALY
Client: Municipality of Rome
Location: Imperial Forum, Rome
Program: New footpath for Trajan’s Forum & Renovation of the Roman Tabernae, Rome
Dates: 1999 - 2004
Gross floor area: 300 sqm (footpath) + 600 sqm (Tabernae)
Cost: 700,000 euro
Design: Nemesi Studio (Maria Claudia Clemente, Michele Molé)
Labics (Maria Claudia Clemente, Francesco Isidori, Marco Sardella)
Architectural team: Daniele Durante, Federico Pitzalis
Consultants: Structural engineering: Studio Ingegneri Associati - Adelio Rossi, Eng.
Services: Riccardo Fibbi arch., Carolina de Camillis arch.
Trajan’s Market is the name given in the early 20th century CE to a complex of buildings in the imperial fora of Rome constructed in 107-110 CE during the reign of Trajan. The complex included a covered market, small shop fronts and a residential apartment block.
Built between the years 100 and 110 A.D, Trajan's Market is believed to be the first covered shopping mall in history.
The projects at Mercati di Traiano is composed of two different projects: the restoration and transformation of an ancient monument in a museal space, and the realization of a pedestrian walkway through Rome’s Imperial Forum.
The restoration and preservation work involved cleaning the ancient walls and stone facades and reintegrating the floors in all tabernae. New bronze floor plates were designed with a geometrical pattern taken from the site creating a background for sevelar smaller interventions, the most significant of which was the reintegration of a portal inside the first taberna and the construction of new public restrooms, both constructed in corteen steel.
The walkway at Campo Carleo re-create an original urban route through the Forum and offers improved disabled access to the site. It links the Forum to the Rione Monti or Suburra – the ancient Roman slums. The monumental wall on which the footpath is hung up is of unique archaeological importance, and the walkway has therefore been differentiated materially, structurally and formally and conceived as an independent and contemporary element. The walkway follows the ancient wall but is detached from it. In contrast to the mass of the ruins, the lightweight walkway is designed as a folded strip which hugs the wall, establishing an intimate and subtle relationship with the monument. Made from corten steel, the footpath blends with the chromatic atmosphere of the background Roman wall, while the discreet stainless steel railing cables ensure the primacy of perspective views across the site.
#Italy, #museum, #lighting, #ruin, #extention, #corten , #bazar , #market , #archeology
@revitalization
NO.170
THE RECONSTRUCTION OF THE COLOSSEUM ARENA
ROMA, ITALY
A competition has been announced for the reconstruction of the Colosseum in Italy. The arena will become a platform for cultural events.
The idea of rebuilding the Colosseum arena was launched by archaeolo-gist Daniele Manacorda in 2014 and supported by Minister Franceschini, who had included the intervention in the Strategic Plan Great Cultural Projects in 2015 for a total funding of 18.5 million euros.
The UNESCO World Heritage Site is one of the most iconic structures in the world, with the Colosseum originally open in 80 A.D. and holding up to 35,000 Romans. Proposals for the renovation are due by 1February 2021. The new floor is expected to be installed by 2023.
Italy's government is seeking bids from engineers to rebuild the floor of the Colosseum in Rome and return it to its former glory.
The retractable floor is expected to feature trap doors and hidden lifts.
"The reconstruction... is a great idea which has gone around the world," Culture Minister Dario Franceschini said in a statement.
"It will be a major technological intervention that will offer visitors the opportunity to, not only see the underground rooms... but also appreciate the beauty of the Colosseum while standing in the center of the arena," he added.
The culture ministry said the redesigned floor, and any trap doors or mechanical components, must be able to close quickly in order to protect the underground spaces from rain.
A new floor would "allow the public to fully understand the use and function of this icon of the ancient world", the statement added.
The ministry said cultural events, such as concerts and theatres, could potentially be held in the Colosseum once the floor is installed.
Built 2,000 years ago, the Colosseum was the biggest amphitheater built in the Roman Em-pire, and hosted gladiatorial fights and other public entertainments.
It remains one of Italy's most famous landmarks, and about 7.6 million people visited the site in 2019.
#Italy, #arena, #lighting, #ruin, #archeology, #reconstruction, #elevator, #cultural_center, #amphitheater, #UNESCO, #landmark
@revitalization
THE RECONSTRUCTION OF THE COLOSSEUM ARENA
ROMA, ITALY
A competition has been announced for the reconstruction of the Colosseum in Italy. The arena will become a platform for cultural events.
The idea of rebuilding the Colosseum arena was launched by archaeolo-gist Daniele Manacorda in 2014 and supported by Minister Franceschini, who had included the intervention in the Strategic Plan Great Cultural Projects in 2015 for a total funding of 18.5 million euros.
The UNESCO World Heritage Site is one of the most iconic structures in the world, with the Colosseum originally open in 80 A.D. and holding up to 35,000 Romans. Proposals for the renovation are due by 1February 2021. The new floor is expected to be installed by 2023.
Italy's government is seeking bids from engineers to rebuild the floor of the Colosseum in Rome and return it to its former glory.
The retractable floor is expected to feature trap doors and hidden lifts.
"The reconstruction... is a great idea which has gone around the world," Culture Minister Dario Franceschini said in a statement.
"It will be a major technological intervention that will offer visitors the opportunity to, not only see the underground rooms... but also appreciate the beauty of the Colosseum while standing in the center of the arena," he added.
The culture ministry said the redesigned floor, and any trap doors or mechanical components, must be able to close quickly in order to protect the underground spaces from rain.
A new floor would "allow the public to fully understand the use and function of this icon of the ancient world", the statement added.
The ministry said cultural events, such as concerts and theatres, could potentially be held in the Colosseum once the floor is installed.
Built 2,000 years ago, the Colosseum was the biggest amphitheater built in the Roman Em-pire, and hosted gladiatorial fights and other public entertainments.
It remains one of Italy's most famous landmarks, and about 7.6 million people visited the site in 2019.
#Italy, #arena, #lighting, #ruin, #archeology, #reconstruction, #elevator, #cultural_center, #amphitheater, #UNESCO, #landmark
@revitalization
NO.179
The Reconstruction of the Basilica of Siponto
/ Edoardo Tresoldi
RENOVATION
•
• Architects: Edoardo Tresoldi
• Year: 2016
• Archaeological Park of Siponto
Manfredonia (FG), Italy
• Permanent installation
Commissioned by Ministry of Cultural Heritage and Activities and Tourism
• Awards: "Gold Medal for Italian Architecture" collective show, curated by Lorenza Baroncelli
Triennale Milano, 2018
The basilica of Siponto [...] in Italy’s Puglia region, has long been easy to miss—just another church among the thousands around the country. But these days, the 12th century structure at-tracts a crowd, sometimes even queues. [...]
Art reconstructs time
Archaeology meets contemporary art in the landscape of the Gargano.
The Basilica di Siponto by Edoardo Tresoldi has been awarded the “Gold Medal for Italian Architec-ture – Special Prize to Commission,” considered the most prestigious award in Italian architecture.
The wire mesh sculpture reinterprets the volumes of an Early Christian basilica which formerly sat on the site of the sculpture, adjacent to an existing Romanesque church. The scheme serves as a “bridge towards the memory of the place” allowing the public to contemplate time and history.
The Basilica was inaugurated in March 2016, and has since captivated worldwide attention, provok-ing discussions on new scenarios for the preservation and enhancement of archaeological heritage.
The award follows another accolade bestowed on the Basilica, which was awarded the Riccar-do Francovich Archaeological Prize in 2016 for acknowledging “the site’s capacity to combine aca-demic rigor with an effective communication to the non-specialized audience.”
The intervention realized in the Archaeological Park of Siponto reinterprets the volumes of the an-cient Early Christian basilica located close to the existing Romanesque church, which was erected 600 years later. Promoted by the MIBACT Regional Secretariat and the Archaeological Superintend-ency of Apulia, the project is linked to a conservative intervention.
The majestic wire mesh transparent sculpture presents itself as a contemporary artefact perfectly integrated with the surroundings, and establishes a new dialogue between ancient and contempo-rary, opening up new scenarios for preservation and enhancement of the historical and archaeologi-cal heritage. Detached by strong visual and volumetric decompositions and cherished by the atmos-pheric factors, the installation outlines as a bridge towards the memory of the place and allows the public to relate with time and history.
The visual power is based on the essential necessity to coincide art, landscape, history and sur-rounding environment, and configures itself as an artistic development of the classical concept of restoration, an innovative reinterpretation of archaeology realized with the support of contemporary art.
#Italy, #basilica, #church, #instalation, #lighting, #mesh, #museum, #archeological_park, #archeological_site, #ruin, #landmark, #sculpture, #awards
@revitalization
The Reconstruction of the Basilica of Siponto
/ Edoardo Tresoldi
RENOVATION
•
• Architects: Edoardo Tresoldi
• Year: 2016
• Archaeological Park of Siponto
Manfredonia (FG), Italy
• Permanent installation
Commissioned by Ministry of Cultural Heritage and Activities and Tourism
• Awards: "Gold Medal for Italian Architecture" collective show, curated by Lorenza Baroncelli
Triennale Milano, 2018
The basilica of Siponto [...] in Italy’s Puglia region, has long been easy to miss—just another church among the thousands around the country. But these days, the 12th century structure at-tracts a crowd, sometimes even queues. [...]
Art reconstructs time
Archaeology meets contemporary art in the landscape of the Gargano.
The Basilica di Siponto by Edoardo Tresoldi has been awarded the “Gold Medal for Italian Architec-ture – Special Prize to Commission,” considered the most prestigious award in Italian architecture.
The wire mesh sculpture reinterprets the volumes of an Early Christian basilica which formerly sat on the site of the sculpture, adjacent to an existing Romanesque church. The scheme serves as a “bridge towards the memory of the place” allowing the public to contemplate time and history.
The Basilica was inaugurated in March 2016, and has since captivated worldwide attention, provok-ing discussions on new scenarios for the preservation and enhancement of archaeological heritage.
The award follows another accolade bestowed on the Basilica, which was awarded the Riccar-do Francovich Archaeological Prize in 2016 for acknowledging “the site’s capacity to combine aca-demic rigor with an effective communication to the non-specialized audience.”
The intervention realized in the Archaeological Park of Siponto reinterprets the volumes of the an-cient Early Christian basilica located close to the existing Romanesque church, which was erected 600 years later. Promoted by the MIBACT Regional Secretariat and the Archaeological Superintend-ency of Apulia, the project is linked to a conservative intervention.
The majestic wire mesh transparent sculpture presents itself as a contemporary artefact perfectly integrated with the surroundings, and establishes a new dialogue between ancient and contempo-rary, opening up new scenarios for preservation and enhancement of the historical and archaeologi-cal heritage. Detached by strong visual and volumetric decompositions and cherished by the atmos-pheric factors, the installation outlines as a bridge towards the memory of the place and allows the public to relate with time and history.
The visual power is based on the essential necessity to coincide art, landscape, history and sur-rounding environment, and configures itself as an artistic development of the classical concept of restoration, an innovative reinterpretation of archaeology realized with the support of contemporary art.
#Italy, #basilica, #church, #instalation, #lighting, #mesh, #museum, #archeological_park, #archeological_site, #ruin, #landmark, #sculpture, #awards
@revitalization