NO.37.
DM2 Housing Residential Project In Porto, Portugal, 2014
•Architects: OODA
•Location: Rua D. Manuel II, 4050 Porto, Portugal
•Design Team: Diogo Brito, Rodrigo Vilas-Boas, Francisco Lencastre, Francisca Santos, Lourenço Menezes Rodrigues
•Area: 1100.0 sqm
•Project Year: 2014
OODA revives dm2 housing building in historic porto
portuguese architecture studio OODA, has completed the renovation of a 20th-century building in porto’s historic center, resulting in the ‘dm2 housing’ facility. intended primarily for students or other young people, the structure contains 17 units ranging between 28 – 105 sqm, as well as a distinctive semi-grassy parking area behind. a traditional dichromatic ceramic patterning is applied throughout the design, specifically on the front façade, exterior guardrails, and backyard landscape.
the building is composed of varying apartment configurations, ranging between one and two storeys. units are finished with wood floors, white walls, and black detailing. a central corridor is treated with engineered wood panels, and large mirrored walls to elongate the space. exterior façades retain many existing materials to preserve the structure’s legacy. the project serves to renew the property’s relevance for current day living, while respecting historic traditions.
—------------—
From the architect: One of the most demanding tasks in Porto nowadays is the intervention on the major amount of old and historical buildings of Porto´s downtown. This project is a renovation of a 20th century building to convert to a 17 housing unit for students and young people in general.
The DM2 Building, located in downtown Porto (priority intervention zone), in the area of protection of the National Museum Soares dos Reis, is dating the nineteenth century and their original composition the property was intended for a single dwelling taking ornamental and construction of the whole intrinsic characteristics of the buildings at the time, both in functional layout as an ornamental and aesthetic.
However, a later change occurred in late twentieth century, the building has undergone a profound change taking place inside caused by the modification of use required.
The property became divided by several independent floors with features framed in services and trade and lower floors have been completely redesigned and trace assets were hidden in part and / or removed from the particular frames original, wood structure of the floors (now concrete) and traditional skylight at top of stairs . Indeed , the draft D. Manuel intended to rebuild the property, returning the initial function of integral housing, recovering traces of hidden identity, reinterpreting traditional elements and giving the building a new sense of contemporary housing program with a set of typologies ace current market needs. So Manuel II building as a whole distributes 17 apartments T0 and T1 types, ranging in size between 28sqm and 105sqm, spread over 5 floors and are accompanied by a landscaped patio intended for parking.
The rehabilitation now completed, restores the original residential function, underlines the unique formal and constructive characteristics and adapt to a contemporary urban reality of the city of Porto.
#restoration , #revitalization , #rehabilitation , #residential , #lighting , #interior_desigh , #stair
@revitalization
DM2 Housing Residential Project In Porto, Portugal, 2014
•Architects: OODA
•Location: Rua D. Manuel II, 4050 Porto, Portugal
•Design Team: Diogo Brito, Rodrigo Vilas-Boas, Francisco Lencastre, Francisca Santos, Lourenço Menezes Rodrigues
•Area: 1100.0 sqm
•Project Year: 2014
OODA revives dm2 housing building in historic porto
portuguese architecture studio OODA, has completed the renovation of a 20th-century building in porto’s historic center, resulting in the ‘dm2 housing’ facility. intended primarily for students or other young people, the structure contains 17 units ranging between 28 – 105 sqm, as well as a distinctive semi-grassy parking area behind. a traditional dichromatic ceramic patterning is applied throughout the design, specifically on the front façade, exterior guardrails, and backyard landscape.
the building is composed of varying apartment configurations, ranging between one and two storeys. units are finished with wood floors, white walls, and black detailing. a central corridor is treated with engineered wood panels, and large mirrored walls to elongate the space. exterior façades retain many existing materials to preserve the structure’s legacy. the project serves to renew the property’s relevance for current day living, while respecting historic traditions.
—------------—
From the architect: One of the most demanding tasks in Porto nowadays is the intervention on the major amount of old and historical buildings of Porto´s downtown. This project is a renovation of a 20th century building to convert to a 17 housing unit for students and young people in general.
The DM2 Building, located in downtown Porto (priority intervention zone), in the area of protection of the National Museum Soares dos Reis, is dating the nineteenth century and their original composition the property was intended for a single dwelling taking ornamental and construction of the whole intrinsic characteristics of the buildings at the time, both in functional layout as an ornamental and aesthetic.
However, a later change occurred in late twentieth century, the building has undergone a profound change taking place inside caused by the modification of use required.
The property became divided by several independent floors with features framed in services and trade and lower floors have been completely redesigned and trace assets were hidden in part and / or removed from the particular frames original, wood structure of the floors (now concrete) and traditional skylight at top of stairs . Indeed , the draft D. Manuel intended to rebuild the property, returning the initial function of integral housing, recovering traces of hidden identity, reinterpreting traditional elements and giving the building a new sense of contemporary housing program with a set of typologies ace current market needs. So Manuel II building as a whole distributes 17 apartments T0 and T1 types, ranging in size between 28sqm and 105sqm, spread over 5 floors and are accompanied by a landscaped patio intended for parking.
The rehabilitation now completed, restores the original residential function, underlines the unique formal and constructive characteristics and adapt to a contemporary urban reality of the city of Porto.
#restoration , #revitalization , #rehabilitation , #residential , #lighting , #interior_desigh , #stair
@revitalization
Posterity has been inclined to place the blame for the fire at the feet of the Spanish soldiers at Koldinghus, and it is entirely probable that they, unused to the Nordic winter, fired up all too zealously in the castle's fireplace. The real cause, however, was sooner the fact that the maintenance of the chimneys had been neglected – but whatever the case may be, Jutland's last royal castle, which in 1808 still stood in the Baroque form it had attained through Frederik IV's rebuilding in the years around 1720, had been lost. At the time, however, people were most occupied by the fact that the fire had ruined large amounts of grain. In all it was estimated at 6,000 barrels of rye and oats, which people then made a great effort to salvage in the hope that it could be used as cattle feed?
Koldinghus was not rebuild as a royal castle, and very quickly became one of the romantic ruins which the age loved. In 1813 Christian Molbech passed by, and he writes: “Nature, which so likes to beautify death and destruction, had already here and there adorned the red lots with lively grass growth. The castle bailiff's cow wandered calmly in and out of the windows in search of food on the grass-covered gravel slopes between the walls where courtiers lived in days of old, and in the great, vaulted kitchen where the court was cooked for, a lonely pig had made his spacious dwelling”.
#restoration , #renovation , #conservation , #castle , #fire , #recostruction
#lighting , #interior , #refurbishment , #culture , #revitalization
@revitalization
Koldinghus was not rebuild as a royal castle, and very quickly became one of the romantic ruins which the age loved. In 1813 Christian Molbech passed by, and he writes: “Nature, which so likes to beautify death and destruction, had already here and there adorned the red lots with lively grass growth. The castle bailiff's cow wandered calmly in and out of the windows in search of food on the grass-covered gravel slopes between the walls where courtiers lived in days of old, and in the great, vaulted kitchen where the court was cooked for, a lonely pig had made his spacious dwelling”.
#restoration , #renovation , #conservation , #castle , #fire , #recostruction
#lighting , #interior , #refurbishment , #culture , #revitalization
@revitalization
TOWER
15 Observation deck at the top of the Giant Tower
12-14 Tower Rooms, closed at the moment
11 Toys
3rd FLOOR
7 The Ruin Hall
8 Classroom, teaching
9 Temporary Exhibitions
10 The Great Hall
16 Danish Silver 1550-1900
17 Collection of the Erik Fjeldsøe Foundation (Danish Silver 1550-1800)
18 GANGSTEDFONDENS Silver Collection
19 Danish Silver Skønvirke (Thorvald Bindesbøll etc.)
20 Goldsmith Holger Kysters livingroom (early 20th century)
21 Danish Silver 20th Century
2nd FLOOR
6 The Ruin Hall
24 Historicisme (ca. 1830-90)
25 Rococo (approx. 1730-70); Louis Seize (approx. 1760-1800); Empire (approx. 1800-50)
26 Renaissance (approx. 1550-1630)
27 Baroque (approx. 1630-1740)
28 Neoclassicism (1770-1800)
29 The Library Reading Room, porcelain and delft ware
1st FLOOR
1 Tickets, Museum Shop, Wardrobe
4 The Ruin hall
5 King Christian 3.s Chapel (auditorium)
30 The Castle Chapel
31 Church Art, Middle Ages
32-33 Koldinghus History Center
34 Temporary Exhibitions
BASEMENT
2 Basement, toilets
3 The Ruin Hall
35 Café Koldinghus
36 Dungeon
#restoration , #renovation , #conservation , #castle , #fire , #recostruction
#lighting , #interior , #refurbishment , #culture , #revitalization
@revitalization
15 Observation deck at the top of the Giant Tower
12-14 Tower Rooms, closed at the moment
11 Toys
3rd FLOOR
7 The Ruin Hall
8 Classroom, teaching
9 Temporary Exhibitions
10 The Great Hall
16 Danish Silver 1550-1900
17 Collection of the Erik Fjeldsøe Foundation (Danish Silver 1550-1800)
18 GANGSTEDFONDENS Silver Collection
19 Danish Silver Skønvirke (Thorvald Bindesbøll etc.)
20 Goldsmith Holger Kysters livingroom (early 20th century)
21 Danish Silver 20th Century
2nd FLOOR
6 The Ruin Hall
24 Historicisme (ca. 1830-90)
25 Rococo (approx. 1730-70); Louis Seize (approx. 1760-1800); Empire (approx. 1800-50)
26 Renaissance (approx. 1550-1630)
27 Baroque (approx. 1630-1740)
28 Neoclassicism (1770-1800)
29 The Library Reading Room, porcelain and delft ware
1st FLOOR
1 Tickets, Museum Shop, Wardrobe
4 The Ruin hall
5 King Christian 3.s Chapel (auditorium)
30 The Castle Chapel
31 Church Art, Middle Ages
32-33 Koldinghus History Center
34 Temporary Exhibitions
BASEMENT
2 Basement, toilets
3 The Ruin Hall
35 Café Koldinghus
36 Dungeon
#restoration , #renovation , #conservation , #castle , #fire , #recostruction
#lighting , #interior , #refurbishment , #culture , #revitalization
@revitalization
NO.40.
DM2 Housing Residential Project In Porto, Portugal, 2014
• Architects: OODA
• Location: Rua D. Manuel II, 4050 Porto, Portugal
• Design Team: Diogo Brito, Rodrigo Vilas-Boas, Francisco Lencastre, Francisca Santos, Lourenço Menezes Rodrigues
• Area: 1100.0 sqm
• Project Year: 2014
• Photographs: Joao Morgado
OODA revives dm2 housing building in historic porto
portuguese architecture studio OODA, has completed the renovation of a 20th-century building in porto’s historic center, resulting in the ‘dm2 housing’ facility. intended primarily for students or other young people, the structure contains 17 units ranging between 28 – 105 sqm, as well as a distinctive semi-grassy parking area behind. a traditional dichromatic ceramic patterning is applied throughout the design, specifically on the front façade, exterior guardrails, and backyard landscape.
the building is composed of varying apartment configurations, ranging between one and two storeys. units are finished with wood floors, white walls, and black detailing. a central corridor is treated with engineered wood panels, and large mirrored walls to elongate the space. exterior façades retain many existing materials to preserve the structure’s legacy. the project serves to renew the property’s relevance for current day living, while respecting historic traditions.
—------------—
From the architect: One of the most demanding tasks in Porto nowadays is the intervention on the major amount of old and historical buildings of Porto´s downtown. This project is a renovation of a 20th century building to convert to a 17 housing unit for students and young people in general.
The DM2 Building, located in downtown Porto (priority intervention zone), in the area of protection of the National Museum Soares dos Reis, is dating the nineteenth century and their original composition the property was intended for a single dwelling taking ornamental and construction of the whole intrinsic characteristics of the buildings at the time, both in functional layout as an ornamental and aesthetic.
However, a later change occurred in late twentieth century, the building has undergone a profound change taking place inside caused by the modification of use required.
The property became divided by several independent floors with features framed in services and trade and lower floors have been completely redesigned and trace assets were hidden in part and / or removed from the particular frames original, wood structure of the floors (now concrete) and traditional skylight at top of stairs . Indeed , the draft D. Manuel intended to rebuild the property, returning the initial function of integral housing, recovering traces of hidden identity, reinterpreting traditional elements and giving the building a new sense of contemporary housing program with a set of typologies ace current market needs. So Manuel II building as a whole distributes 17 apartments T0 and T1 types, ranging in size between 28sqm and 105sqm, spread over 5 floors and are accompanied by a landscaped patio intended for parking.
The rehabilitation now completed, restores the original residential function, underlines the unique formal and constructive characteristics and adapt to a contemporary urban reality of the city of Porto.
#restoration , #revitalization , #rehabilitation , #residential , #lighting , #interior_desigh , #stair , #Portugal , #typography
@revitalization
DM2 Housing Residential Project In Porto, Portugal, 2014
• Architects: OODA
• Location: Rua D. Manuel II, 4050 Porto, Portugal
• Design Team: Diogo Brito, Rodrigo Vilas-Boas, Francisco Lencastre, Francisca Santos, Lourenço Menezes Rodrigues
• Area: 1100.0 sqm
• Project Year: 2014
• Photographs: Joao Morgado
OODA revives dm2 housing building in historic porto
portuguese architecture studio OODA, has completed the renovation of a 20th-century building in porto’s historic center, resulting in the ‘dm2 housing’ facility. intended primarily for students or other young people, the structure contains 17 units ranging between 28 – 105 sqm, as well as a distinctive semi-grassy parking area behind. a traditional dichromatic ceramic patterning is applied throughout the design, specifically on the front façade, exterior guardrails, and backyard landscape.
the building is composed of varying apartment configurations, ranging between one and two storeys. units are finished with wood floors, white walls, and black detailing. a central corridor is treated with engineered wood panels, and large mirrored walls to elongate the space. exterior façades retain many existing materials to preserve the structure’s legacy. the project serves to renew the property’s relevance for current day living, while respecting historic traditions.
—------------—
From the architect: One of the most demanding tasks in Porto nowadays is the intervention on the major amount of old and historical buildings of Porto´s downtown. This project is a renovation of a 20th century building to convert to a 17 housing unit for students and young people in general.
The DM2 Building, located in downtown Porto (priority intervention zone), in the area of protection of the National Museum Soares dos Reis, is dating the nineteenth century and their original composition the property was intended for a single dwelling taking ornamental and construction of the whole intrinsic characteristics of the buildings at the time, both in functional layout as an ornamental and aesthetic.
However, a later change occurred in late twentieth century, the building has undergone a profound change taking place inside caused by the modification of use required.
The property became divided by several independent floors with features framed in services and trade and lower floors have been completely redesigned and trace assets were hidden in part and / or removed from the particular frames original, wood structure of the floors (now concrete) and traditional skylight at top of stairs . Indeed , the draft D. Manuel intended to rebuild the property, returning the initial function of integral housing, recovering traces of hidden identity, reinterpreting traditional elements and giving the building a new sense of contemporary housing program with a set of typologies ace current market needs. So Manuel II building as a whole distributes 17 apartments T0 and T1 types, ranging in size between 28sqm and 105sqm, spread over 5 floors and are accompanied by a landscaped patio intended for parking.
The rehabilitation now completed, restores the original residential function, underlines the unique formal and constructive characteristics and adapt to a contemporary urban reality of the city of Porto.
#restoration , #revitalization , #rehabilitation , #residential , #lighting , #interior_desigh , #stair , #Portugal , #typography
@revitalization
Below, at the curved wall entry to the mosque, the pixelated and equally structural word Insan (Human) is added to the steel plates, to create a Hegelian dialectic of God/Man. The juxtaposition of both renders the idea of humanity as an integral part of the equation with God, placed in a new dialectic, and becomes a reminder of the humanistic tradition of Islam, as referenced in noted Islamic theologian Mohammad Arkoun’s book Humanisme et Islam – Combats et Propositions (Paris, Vrin, 2005) which places Islam at the origin of the18th century Enlightenment project.
Insan becomes the epicenter of the ground plane of the plaza.
As one moves around the mosque, the planar reading of the mosque formed by the steel plates becomes transparent, while the two words (Allah/Insan) becomes more apparent, and vice versa. The overall lightness of the mosque’s tectonic sits also in a relational contrast to the heaviness of the Moukhtara’s palace stone volumetric.
A fig tree shades the new plaza, and creating a book end along with the existing Olive tree on the other side of the street, alluding to the ‘Fig and Olive’ verse (souret at-teen) in the Quraan and referencing the importance of both trees in Christian tradition as well. At the threshold, the entry to the mosque’s hall, which accommodates both women and men in the same space, is articulated with a chiseled glass façade holding two wooden doors that float within it.
Interior
On the inside of the existing structure, the minimal intervention involved a ‘white-out’ of the concave surfaces of the vaults, using special Lime mix brought from Aleppo in Syria, as well as the introduction of a new skylight that cuts the vaulted space to register the direction of the Quiblah wall towards Makkah, and bring light towards the Mihrab space.
Through the skylight, one can see the minaret in a visual looping of exterior back to the interior, linking visually the disassociation in typical mosques between the sound and the vision.
Similarly, the Mihrab is articulated with a concave reflective polished stainless steel arched wall that, though pointing towards Makkah, implodes this axiality by merging it visually with the wider context, bringing outside in, and distorting the interior spatiality of the mosque.
Towards the back of the mosque where the actual reading of the Quraan would happen, a wooden wall with the word iqra’ (read) is articulated in relief. It references the Islamic scholar Youssef Siddiq’s argument and interpretation that the first word in the Quraan, iqra’, of which the Quraan word is a derivative, argued for a critical and contextual reading of the Quraan as a post-structuralist ‘text’ to be read critically, and not as a meta-narrative to be recited blindly.
The call to prayer, in collaboration with artists Lawrence Abu Hamdan and Nisrine Khodr, was re- interpreted along the same lines as a variation on the normative call to prayer by the idea of having it spoken rather than sung, in a return to the words where the listener focuses on the meaning rather than the melody.
Overall the design of the mosque is a celebration of the ethos of modernity as it relates tectonically to the notion of abstraction, of ephemerality, and representationally to the continuity of the humanism tradition in Islam. It represents a part of a cultural war of ideas that needs to be fought against the fundamentalist forces across religions, a war where architecture is a weapon.
#restoration , #renovation, #mosque , #interior_desigh, #Lebanon , #typography , #lighting ,#landmark
@revitalization
Insan becomes the epicenter of the ground plane of the plaza.
As one moves around the mosque, the planar reading of the mosque formed by the steel plates becomes transparent, while the two words (Allah/Insan) becomes more apparent, and vice versa. The overall lightness of the mosque’s tectonic sits also in a relational contrast to the heaviness of the Moukhtara’s palace stone volumetric.
A fig tree shades the new plaza, and creating a book end along with the existing Olive tree on the other side of the street, alluding to the ‘Fig and Olive’ verse (souret at-teen) in the Quraan and referencing the importance of both trees in Christian tradition as well. At the threshold, the entry to the mosque’s hall, which accommodates both women and men in the same space, is articulated with a chiseled glass façade holding two wooden doors that float within it.
Interior
On the inside of the existing structure, the minimal intervention involved a ‘white-out’ of the concave surfaces of the vaults, using special Lime mix brought from Aleppo in Syria, as well as the introduction of a new skylight that cuts the vaulted space to register the direction of the Quiblah wall towards Makkah, and bring light towards the Mihrab space.
Through the skylight, one can see the minaret in a visual looping of exterior back to the interior, linking visually the disassociation in typical mosques between the sound and the vision.
Similarly, the Mihrab is articulated with a concave reflective polished stainless steel arched wall that, though pointing towards Makkah, implodes this axiality by merging it visually with the wider context, bringing outside in, and distorting the interior spatiality of the mosque.
Towards the back of the mosque where the actual reading of the Quraan would happen, a wooden wall with the word iqra’ (read) is articulated in relief. It references the Islamic scholar Youssef Siddiq’s argument and interpretation that the first word in the Quraan, iqra’, of which the Quraan word is a derivative, argued for a critical and contextual reading of the Quraan as a post-structuralist ‘text’ to be read critically, and not as a meta-narrative to be recited blindly.
The call to prayer, in collaboration with artists Lawrence Abu Hamdan and Nisrine Khodr, was re- interpreted along the same lines as a variation on the normative call to prayer by the idea of having it spoken rather than sung, in a return to the words where the listener focuses on the meaning rather than the melody.
Overall the design of the mosque is a celebration of the ethos of modernity as it relates tectonically to the notion of abstraction, of ephemerality, and representationally to the continuity of the humanism tradition in Islam. It represents a part of a cultural war of ideas that needs to be fought against the fundamentalist forces across religions, a war where architecture is a weapon.
#restoration , #renovation, #mosque , #interior_desigh, #Lebanon , #typography , #lighting ,#landmark
@revitalization
CREATIVE HUB
Tallinn Creative Hub is a creative centre in the heart of Tallinn. Its doors are open to visitors of all ages. It is available for hosting a variety of cultural events and activities focussing on the creative industry.
• Concerts
• Festivals
• Performances
• Exhibitions
• Creative industry workshops
• Seminars and lectures
• Conferences
• Gala events
AN INSPIRING SPACE FOR EVENT ORGANISERS
LABS FOR IMAGINATIVE IDEAS
• MakerLab / a universal workshop for creating product samples and prototypes
• Recording studio / a studio for recording and producing sound
• FoodLab / a place for creating and trying out recipes
A CREATIVE ENVIRONMENT FOR INTERDISCIPLINARY COLLABORATION
• Creative education / a programme for developing interdisciplinary collaboration
OPEN URBAN SPACE FOR CULTURE AND MUSIC PROGRAMMES
• Tallinn Creative Hub Garden / a community garden open in summer for people to spend free time in, as well as a venue for creative young individuals and amateurs
• Kanala café / The Creative Hub Garden’s summer café
Creative Hub is a creative centre and a place for cultural events in the heart of Tallinn. Its doors are open for all visitors, and it is the venue for various workshops, seminars, conferences, festivals, exhibitions and much more.
In 1913–1979, this thoroughly renovated building was home to Tallinn City Central Power Station. With the founding of the power station at the time, the use of electric power became common in Estonia. The Creative Hub is named after the former boiler room (Kultuurikatel in Estonian). Completed in 1934, this part of the building with limestone walls is now used by art-minded, creative people. The former power station’s first serious encounter with art occurred in 1977, when Andrei Tarkovsky used the complex as a set for his cult film “Stalker”.
#restoration , #renovation , #industrial , #interior_design , #tower , #Estonia , #landmark , #creative_center , #hub , #cultural_center , #lighting
@revitalization
Tallinn Creative Hub is a creative centre in the heart of Tallinn. Its doors are open to visitors of all ages. It is available for hosting a variety of cultural events and activities focussing on the creative industry.
• Concerts
• Festivals
• Performances
• Exhibitions
• Creative industry workshops
• Seminars and lectures
• Conferences
• Gala events
AN INSPIRING SPACE FOR EVENT ORGANISERS
LABS FOR IMAGINATIVE IDEAS
• MakerLab / a universal workshop for creating product samples and prototypes
• Recording studio / a studio for recording and producing sound
• FoodLab / a place for creating and trying out recipes
A CREATIVE ENVIRONMENT FOR INTERDISCIPLINARY COLLABORATION
• Creative education / a programme for developing interdisciplinary collaboration
OPEN URBAN SPACE FOR CULTURE AND MUSIC PROGRAMMES
• Tallinn Creative Hub Garden / a community garden open in summer for people to spend free time in, as well as a venue for creative young individuals and amateurs
• Kanala café / The Creative Hub Garden’s summer café
Creative Hub is a creative centre and a place for cultural events in the heart of Tallinn. Its doors are open for all visitors, and it is the venue for various workshops, seminars, conferences, festivals, exhibitions and much more.
In 1913–1979, this thoroughly renovated building was home to Tallinn City Central Power Station. With the founding of the power station at the time, the use of electric power became common in Estonia. The Creative Hub is named after the former boiler room (Kultuurikatel in Estonian). Completed in 1934, this part of the building with limestone walls is now used by art-minded, creative people. The former power station’s first serious encounter with art occurred in 1977, when Andrei Tarkovsky used the complex as a set for his cult film “Stalker”.
#restoration , #renovation , #industrial , #interior_design , #tower , #Estonia , #landmark , #creative_center , #hub , #cultural_center , #lighting
@revitalization
The solution for the former wine cellar is remarkable. Now it is a sample and wine tasting room with independent access from the outside. A metal structure, that reminds of the old metal wine racks still present in some homes, was designed a separate piece of furniture, set apart from the walls, to allow a full view of the vaulted room. The ceiling was used for a small lecture hall, with an entrance from the “plaza de armas”.
The stone structure is not covered when its quality and authenticity deserve it. It was cleaned and repointed with a finish similar to that of the exterior walls. A similar criterion was applied to the brick arches and vaults which, against some theories, were never un-plastered and even it they
The exterior openings were closed with stainless steel profile, sandblasted, always accessible and with a minimum impact section to allow the full perception of the medieval opening. The two main halls are directly connected by a spiral staircase with a solid curved wood frame as a banister. The access to this whole area is through a new exterior staircase with metal steps, wrapped in two parallel COR-TEN steel plates.
#restoration , #renovation , #adaptive_reuse , #Rehabilitation , #castle , #tower , #Spain , #landmark , #COR_TEN_steel
@revitalization
The stone structure is not covered when its quality and authenticity deserve it. It was cleaned and repointed with a finish similar to that of the exterior walls. A similar criterion was applied to the brick arches and vaults which, against some theories, were never un-plastered and even it they
The exterior openings were closed with stainless steel profile, sandblasted, always accessible and with a minimum impact section to allow the full perception of the medieval opening. The two main halls are directly connected by a spiral staircase with a solid curved wood frame as a banister. The access to this whole area is through a new exterior staircase with metal steps, wrapped in two parallel COR-TEN steel plates.
#restoration , #renovation , #adaptive_reuse , #Rehabilitation , #castle , #tower , #Spain , #landmark , #COR_TEN_steel
@revitalization
NO.44.
Santa María de Vilanova de la Barca / AleaOlea architecture & landscape
• Architects: AleaOlea architecture & landscape
• Location: 25690 Vilanova de la Barca, Lleida, Spain
• Architect in Charge: AleaOlea architecture & landscape
• Area: 200.0 m2
• Project Year: 2016
• Photographs: Adrià Goula
• Manufacturers: Terreal
• Promoter: Incasol. Institut Català del Sòl. Generalitat de Catalunya
• Constructor: Construccions Jaen-Vallés – Urcotex Inmobiliaria
• Technical Architects: Baldomer Ric
• Owner: Ajuntament de Vilanova de la Barca
The Old Church of Vilanova de la Barca
The Old Church of Vilanova de la Barca (Lleida, Spain) is a 13th-century Gothic building that was partially demolished in 1936 because of the bombings of Spanish Civil War. Since then, the church was in a general state of ruin preserving just its apse, some fragments of the naves and the western façade. The main aim of the project was the restoration of the original appearance of the church and its transformation in a new multi-purpose hall. The most important part of this intervention has focused on the covering elements. The project establishes a new brick façade based on a latticework texture and a new gabled Arab tile roof. The whole system is conceived as a new architectural ceramic shell that is gently supported on the remains of the ancient walls. From outside, the perception of the old church is restored, meanwhile inside the building, the project intensifies the entrance of natural light due to the new windows, the new proposed patio or thanks to the white rendering walls that have been introduced. Thus, the project establishes an architectural dialogue between the old and the new, past and present.
#restoration , #preservation , #adaptive_reuse , #Rehabilitation , #Church , #multi_purpose , #Spain
@revitalization
Santa María de Vilanova de la Barca / AleaOlea architecture & landscape
• Architects: AleaOlea architecture & landscape
• Location: 25690 Vilanova de la Barca, Lleida, Spain
• Architect in Charge: AleaOlea architecture & landscape
• Area: 200.0 m2
• Project Year: 2016
• Photographs: Adrià Goula
• Manufacturers: Terreal
• Promoter: Incasol. Institut Català del Sòl. Generalitat de Catalunya
• Constructor: Construccions Jaen-Vallés – Urcotex Inmobiliaria
• Technical Architects: Baldomer Ric
• Owner: Ajuntament de Vilanova de la Barca
The Old Church of Vilanova de la Barca
The Old Church of Vilanova de la Barca (Lleida, Spain) is a 13th-century Gothic building that was partially demolished in 1936 because of the bombings of Spanish Civil War. Since then, the church was in a general state of ruin preserving just its apse, some fragments of the naves and the western façade. The main aim of the project was the restoration of the original appearance of the church and its transformation in a new multi-purpose hall. The most important part of this intervention has focused on the covering elements. The project establishes a new brick façade based on a latticework texture and a new gabled Arab tile roof. The whole system is conceived as a new architectural ceramic shell that is gently supported on the remains of the ancient walls. From outside, the perception of the old church is restored, meanwhile inside the building, the project intensifies the entrance of natural light due to the new windows, the new proposed patio or thanks to the white rendering walls that have been introduced. Thus, the project establishes an architectural dialogue between the old and the new, past and present.
#restoration , #preservation , #adaptive_reuse , #Rehabilitation , #Church , #multi_purpose , #Spain
@revitalization
Tatiane Freitas
In her day to day before graduating from Fashion school, or been naturally driven to design, Tati Freitas was already looking into ways to create objects which could be both confortable and admired. Craft wood is her most common material, and that which gives her objects its forms, but she’s also been developing with more brute substances, like cement, and the sensible acrilic.
This mix demonstrates her clear wish to create pieces which will endure the harshness of time, and therefore bring to their new owners the memories evoked in her, many lost in histo- ry. A recurring creative subject, which permeates most of her work, is transforming common objects with a balance between the eternal struggle which we all live, the concept of “Past x Present”, “Old x Young”. The memory they bring does not remain trapped in the past, but also adjournes with the contemporary days.
In this relation between memory and indentity, Tati relates to Ricœur’s metaphors, where the hero/artist merge, following the thought where our identity is also a reflect of what we did and can do. In the artists case, by revisiting her past she brings back her own narrative, and search for the young and free heart and mind, full of memories, which are continue to be written everyday.
#Brazil , #chair , #interior_design , #interior_architecture , #design , #restoration
@revitalization
In her day to day before graduating from Fashion school, or been naturally driven to design, Tati Freitas was already looking into ways to create objects which could be both confortable and admired. Craft wood is her most common material, and that which gives her objects its forms, but she’s also been developing with more brute substances, like cement, and the sensible acrilic.
This mix demonstrates her clear wish to create pieces which will endure the harshness of time, and therefore bring to their new owners the memories evoked in her, many lost in histo- ry. A recurring creative subject, which permeates most of her work, is transforming common objects with a balance between the eternal struggle which we all live, the concept of “Past x Present”, “Old x Young”. The memory they bring does not remain trapped in the past, but also adjournes with the contemporary days.
In this relation between memory and indentity, Tati relates to Ricœur’s metaphors, where the hero/artist merge, following the thought where our identity is also a reflect of what we did and can do. In the artists case, by revisiting her past she brings back her own narrative, and search for the young and free heart and mind, full of memories, which are continue to be written everyday.
#Brazil , #chair , #interior_design , #interior_architecture , #design , #restoration
@revitalization
NO.48.
Tainaron Blue Retreat / Kostas Zouvelos + Kassiani Theodorakakou
• Architects: Kostas Zouvelos, Kassiani Theodorakakou
• Location: Asiata, Sminos 232 00, Greece
• Area: 191.0 sqm
• Project Year: 2014
• Photographs: George Meitner
Tainaron Blue Retreat is housed in an early 19th-century stone tower that boasts stunning panoramic views of the southernmost slope of Taygetos mountain and the sea. Perfectly situated in an idyllic location, it is an ideal place to watch the magical sunset over the sea or witness the serene beauty of a new day dawning.
This traditional tower is a perfect example of the defensive architecture of the area. With their simple and austere beauty, the imposing towers of Mani resist the passage of time and offer a fascinating journey into the past. In times of conflict, they served to control and repel hostile attacks, while in times of peace and prosperity they were used as residential places and courtyards.
During the conversion of this three-story tower into a guest house we encountered considerable difficulties. We had to adapt to the specific characteristics of the architecture of Mani and at the same time ensure that the interior spaces keep pace with modern aesthetics. The structure inside and outside of the tower had to remain unchanged, while all modern facilities and infrastructure had to be settled imperceptibly.
As the formation of the exterior spaces had to ensure minimum interference, the addition of a water surface area was adapted to the specific environment and respected the topography of the landscape, resulting in an even and unified set of buildings and space with intensity and character.
The Tainaron Blue Retreat offers you the quaint and unique experience of staying in a tower that comes from the past, with its traditional narrow stairs and wooden ladders. Its three vintage rooms, with unobstructed sea and mountain views, are equipped with beautiful Coco-mat linen and ecological O-live toiletries and are embellished with works of art created by sculptor Nikos Karalis.
Surrounded by a beautiful landscape and breathtaking views, Tainaron Blue Retreat
welcomes its guests offering excellent cuisine combined with impeccable service and warm hospitality.
Unwind and rejuvenate in the midst of nature with a glass of wine, enjoying the unobstructed view
in one of the most exciting locations in Greece.
#Grece , #tower , #interior_design , #interior_architecture , #landscape , #restoration , #revitalization , #rehabilitation , #hotel , #lighting, #stair
@revitalization
Tainaron Blue Retreat / Kostas Zouvelos + Kassiani Theodorakakou
• Architects: Kostas Zouvelos, Kassiani Theodorakakou
• Location: Asiata, Sminos 232 00, Greece
• Area: 191.0 sqm
• Project Year: 2014
• Photographs: George Meitner
Tainaron Blue Retreat is housed in an early 19th-century stone tower that boasts stunning panoramic views of the southernmost slope of Taygetos mountain and the sea. Perfectly situated in an idyllic location, it is an ideal place to watch the magical sunset over the sea or witness the serene beauty of a new day dawning.
This traditional tower is a perfect example of the defensive architecture of the area. With their simple and austere beauty, the imposing towers of Mani resist the passage of time and offer a fascinating journey into the past. In times of conflict, they served to control and repel hostile attacks, while in times of peace and prosperity they were used as residential places and courtyards.
During the conversion of this three-story tower into a guest house we encountered considerable difficulties. We had to adapt to the specific characteristics of the architecture of Mani and at the same time ensure that the interior spaces keep pace with modern aesthetics. The structure inside and outside of the tower had to remain unchanged, while all modern facilities and infrastructure had to be settled imperceptibly.
As the formation of the exterior spaces had to ensure minimum interference, the addition of a water surface area was adapted to the specific environment and respected the topography of the landscape, resulting in an even and unified set of buildings and space with intensity and character.
The Tainaron Blue Retreat offers you the quaint and unique experience of staying in a tower that comes from the past, with its traditional narrow stairs and wooden ladders. Its three vintage rooms, with unobstructed sea and mountain views, are equipped with beautiful Coco-mat linen and ecological O-live toiletries and are embellished with works of art created by sculptor Nikos Karalis.
Surrounded by a beautiful landscape and breathtaking views, Tainaron Blue Retreat
welcomes its guests offering excellent cuisine combined with impeccable service and warm hospitality.
Unwind and rejuvenate in the midst of nature with a glass of wine, enjoying the unobstructed view
in one of the most exciting locations in Greece.
#Grece , #tower , #interior_design , #interior_architecture , #landscape , #restoration , #revitalization , #rehabilitation , #hotel , #lighting, #stair
@revitalization
NO.49.
Tourist Access Adaptation to the Domes of The Cathedral of Malaga / Marina Uno Arquitectos
•Architects: Marina Uno Arquitectos
•Location: Calle Molina Lario, 9, 29015 Malaga, Spain
•Architect in Charge: Gabriel Ruiz Cabrero, Juan Manuel Snchez La Chica, Adolfo de la Torre Prieto
•Area: 247.0 m2
•Project Year: 2014
•Photographs: Imagen Subliminal, Lluis Casals
•Techincal Architect: Pablo Cassesnoves Campodarve
The result of the building process in which Malaga’s cathedral has been immersed in since 1524 is that even though it possesses a notable architectural unity, it is lacking a clearly defined style. Over these—practically—five hundred years, there have been periods of considerable advance in its construction, like the 16th century, during which the fortress-like apse was built with airs of the Renaissance, and the 18th century, in which the choir nave and the main facade were materialized with the looks of a Baroque palace. The cathedral’s governing body insistence on maintaining the unity of the temple, made the 18th century architects realize a project that, even though it belongs to its day, is laid out upon previously built parts.
Towards the end of the 18th century, due to a lack of funds, all work was stopped. Two sacristies, the southern tower and the roofs were never built.
The unfinished situation of Malaga’s cathedral, with its lack of a roof covering which leaves the outer surfaces of the vaults visible from the outside, has generated a space that is a kind of elevated plaza above the city. This space is situated forty meters above the ground floor and offers visitors a three hundred and sixty degree perspective above the city. With the goal of making it easier to reach this space, the current project is carried out to improve of certain itineraries, including the adaptation of the ascent to this privileged place, upgrading security and lighting conditions, in accordance to the activity that is to take place.
But the design is not merely a way of making this privileged space accessible, it also becomes a true promenade architecturale, an artistic itinerary. The tour provides an ascent through stairways of diverse geometries and extraordinary masonry work, strolls on the terraces over the chapels and views to the interior of the temple from above. Multiple romos covered by stone vaults mark the ascent, serving as resting spaces along the itinerary as well as possible exhibition areas.
The itinerary through these spaces and the contemplation of the views from the upper levels of the cathedral’s vaults not only allows to grasp the entire building and its historical evolution, but it also helps to understand the city that has grown at its feet.
Basically, the intervention has three parts: a system of railings that avert the risk of falling has been placed; a series of platforms and stairs to overcome the existing drops have been built to generate contemplation and resting spaces, and a lighting system has been installed that allows night tours.
In contrast with the overwhelming presence of masonry work, we have used materials such as wood and metal for this installation. Even though they have a degree of presence within the space, they can be disassembled. Each and every one of the elements added by this intervention has been anchored into the joints of the masonry work so that, if deemed necessary, everything can be removed without leaving a trace.
#Spain , #Access , #Adaptation , #roof , #restoration , #cathedral , #church ,#lighting , #interior_design , #interior_architecture , #stair , #landscape
@revitalization
Tourist Access Adaptation to the Domes of The Cathedral of Malaga / Marina Uno Arquitectos
•Architects: Marina Uno Arquitectos
•Location: Calle Molina Lario, 9, 29015 Malaga, Spain
•Architect in Charge: Gabriel Ruiz Cabrero, Juan Manuel Snchez La Chica, Adolfo de la Torre Prieto
•Area: 247.0 m2
•Project Year: 2014
•Photographs: Imagen Subliminal, Lluis Casals
•Techincal Architect: Pablo Cassesnoves Campodarve
The result of the building process in which Malaga’s cathedral has been immersed in since 1524 is that even though it possesses a notable architectural unity, it is lacking a clearly defined style. Over these—practically—five hundred years, there have been periods of considerable advance in its construction, like the 16th century, during which the fortress-like apse was built with airs of the Renaissance, and the 18th century, in which the choir nave and the main facade were materialized with the looks of a Baroque palace. The cathedral’s governing body insistence on maintaining the unity of the temple, made the 18th century architects realize a project that, even though it belongs to its day, is laid out upon previously built parts.
Towards the end of the 18th century, due to a lack of funds, all work was stopped. Two sacristies, the southern tower and the roofs were never built.
The unfinished situation of Malaga’s cathedral, with its lack of a roof covering which leaves the outer surfaces of the vaults visible from the outside, has generated a space that is a kind of elevated plaza above the city. This space is situated forty meters above the ground floor and offers visitors a three hundred and sixty degree perspective above the city. With the goal of making it easier to reach this space, the current project is carried out to improve of certain itineraries, including the adaptation of the ascent to this privileged place, upgrading security and lighting conditions, in accordance to the activity that is to take place.
But the design is not merely a way of making this privileged space accessible, it also becomes a true promenade architecturale, an artistic itinerary. The tour provides an ascent through stairways of diverse geometries and extraordinary masonry work, strolls on the terraces over the chapels and views to the interior of the temple from above. Multiple romos covered by stone vaults mark the ascent, serving as resting spaces along the itinerary as well as possible exhibition areas.
The itinerary through these spaces and the contemplation of the views from the upper levels of the cathedral’s vaults not only allows to grasp the entire building and its historical evolution, but it also helps to understand the city that has grown at its feet.
Basically, the intervention has three parts: a system of railings that avert the risk of falling has been placed; a series of platforms and stairs to overcome the existing drops have been built to generate contemplation and resting spaces, and a lighting system has been installed that allows night tours.
In contrast with the overwhelming presence of masonry work, we have used materials such as wood and metal for this installation. Even though they have a degree of presence within the space, they can be disassembled. Each and every one of the elements added by this intervention has been anchored into the joints of the masonry work so that, if deemed necessary, everything can be removed without leaving a trace.
#Spain , #Access , #Adaptation , #roof , #restoration , #cathedral , #church ,#lighting , #interior_design , #interior_architecture , #stair , #landscape
@revitalization
NO.50.
دانشکده هنر و معماری دانشگاه خلیج فارس، ایران، 1395
مکان : ایران، بوشهر
سال شروع پروژه : 1386
سال پایان فاز نخست : 1395
کارفرما : مشارکت ارگان های دولتی
با تشکر و سپاس فراوان از جناب آقای دکتر محمدسعید ایزدی که تصاویر و اطلاعات را برای نشر در اختیار کانال قرار دادند.
دوستان دیگر نیز چناچه اسناد و مدارکی درخصوص پروژه های با موضوعات مشابه داشته باشند با حفظ و ذکر نام ایشان منتشر خواهد شد.
#conservation , #restoration , #house , #adaption , #redevelop
#compatible_use , #interior , #culture , #revitalization , #lighting
#educated, #College, #addition, #extention
@revitalization
دانشکده هنر و معماری دانشگاه خلیج فارس، ایران، 1395
مکان : ایران، بوشهر
سال شروع پروژه : 1386
سال پایان فاز نخست : 1395
کارفرما : مشارکت ارگان های دولتی
با تشکر و سپاس فراوان از جناب آقای دکتر محمدسعید ایزدی که تصاویر و اطلاعات را برای نشر در اختیار کانال قرار دادند.
دوستان دیگر نیز چناچه اسناد و مدارکی درخصوص پروژه های با موضوعات مشابه داشته باشند با حفظ و ذکر نام ایشان منتشر خواهد شد.
#conservation , #restoration , #house , #adaption , #redevelop
#compatible_use , #interior , #culture , #revitalization , #lighting
#educated, #College, #addition, #extention
@revitalization
The Studio
The team’s studio is located in the factory silos over four floors connected by a spiral staircase.
Reflecting the company’s culture, the highly functional floor layout encourages team work and provides a perfect environment for individual concentration and creativity.
Ricardo Bofill’s office on the first floor is a minimalist space with 4 meters ceiling height and pristine white walls and carpet.
Furnished with RBTA designs, except for the vintage wicker Thonet chairs, the workspace is a bright and spacious open floor plan flooded with natural light and a view looking into the gardens.
The underground galleries contain the model workshop and the archive rooms.
The doors, windows and decorative elements are clear references to a cultured, historical architecture, in contrast to what might be described as the industrial vernacular of the original factory.
La Catedral
As part of the creative renewal and adaptative reuse of the cement plant, the factory hall was transformed into a conference and exhibition room, generous in size with floor to ceiling heights of 10 meters.
With slightly oxidized surfaces, the raw concrete walls preserve the industrial aesthetics and spatial quality, the memory of the structure’s former use.
The minimal architecture intervention in La Catedral is aesthetically striking and visually strong, with very few pieces designed by Taller Design: a wood and steel conference table, black leather sofa, chairs and armchairs, a steel and glass coffee table and a smaller meeting table under the huge hoppers.
The Gardens
Once the spaces had been defined, cleaned of cement, it was necessary to provide a green plinth to the remaining volumes; plants would climb walls and hang from the roofs.
The site, largely covered with grass, is bordered by groups of eucalyptus, palms, olive and prune tree, mimosas, and climbing plants that wrap the exposed concrete walls, giving the building this mysterious aspect of romantic ruin that makes it unique and unrepeatable.
The Residence
Cosmopolitan by definition, Ricardo Bofill returns always to the factory, that old industrial building that he never ceases to renew for the past forty years, enlarging and embellishing its spaces as writing the history of his life, a biography in constant evolution.
“The factory is a magic place which strange atmosphere is difficult to be perceived by a profane eye. I like the life to be perfectly programmed here, ritualised, in total contrast with my turbulent nomad life”
In the upper part of the factory Ricardo Bofill transformed a huge volume of brute cement into the main living room. It is a perfect cube with a sequence of arc windows whose regular rhythm evokes the metaphysical perspectives of De Chirico.
“Domestic, monumental, brutalist and conceptual”, that’s how Ricardo Bofill defines this room of enormous dimensions.
The kitchen-dining room located in the ground floor is the meeting point for the family. In the middle of the room, a white marble rectangular table supported on ironwork legs surrounded with Thonet chairs, seat and backrest with wickerwork. Two-sided fireplaces designed by the architect Oscar Tusquets, add warmth, charm, and ambience to the room.
With traditional Moroccan wall finish, the “pink” room on the middle floor of the house provides a smaller and more private living area. Designed by the studio, the generous rectangular dining table was made of one single piece of Alicante red marble. Same material was used for the coffee table in front of the black leather sofa. The chairs and stools are re-editions of Antonio Gaudi’s designs. A large fireplace dominates the room.
#Spain, #Adaptation , #silo , #Structural_Consolidation #Structural_Consolidation , #cathedral , #Apartments , #lighting , #interior_design , #stair , #landscape , #Offices , #studios #Restoration #Structural_Consolidation
@revitalization
The team’s studio is located in the factory silos over four floors connected by a spiral staircase.
Reflecting the company’s culture, the highly functional floor layout encourages team work and provides a perfect environment for individual concentration and creativity.
Ricardo Bofill’s office on the first floor is a minimalist space with 4 meters ceiling height and pristine white walls and carpet.
Furnished with RBTA designs, except for the vintage wicker Thonet chairs, the workspace is a bright and spacious open floor plan flooded with natural light and a view looking into the gardens.
The underground galleries contain the model workshop and the archive rooms.
The doors, windows and decorative elements are clear references to a cultured, historical architecture, in contrast to what might be described as the industrial vernacular of the original factory.
La Catedral
As part of the creative renewal and adaptative reuse of the cement plant, the factory hall was transformed into a conference and exhibition room, generous in size with floor to ceiling heights of 10 meters.
With slightly oxidized surfaces, the raw concrete walls preserve the industrial aesthetics and spatial quality, the memory of the structure’s former use.
The minimal architecture intervention in La Catedral is aesthetically striking and visually strong, with very few pieces designed by Taller Design: a wood and steel conference table, black leather sofa, chairs and armchairs, a steel and glass coffee table and a smaller meeting table under the huge hoppers.
The Gardens
Once the spaces had been defined, cleaned of cement, it was necessary to provide a green plinth to the remaining volumes; plants would climb walls and hang from the roofs.
The site, largely covered with grass, is bordered by groups of eucalyptus, palms, olive and prune tree, mimosas, and climbing plants that wrap the exposed concrete walls, giving the building this mysterious aspect of romantic ruin that makes it unique and unrepeatable.
The Residence
Cosmopolitan by definition, Ricardo Bofill returns always to the factory, that old industrial building that he never ceases to renew for the past forty years, enlarging and embellishing its spaces as writing the history of his life, a biography in constant evolution.
“The factory is a magic place which strange atmosphere is difficult to be perceived by a profane eye. I like the life to be perfectly programmed here, ritualised, in total contrast with my turbulent nomad life”
In the upper part of the factory Ricardo Bofill transformed a huge volume of brute cement into the main living room. It is a perfect cube with a sequence of arc windows whose regular rhythm evokes the metaphysical perspectives of De Chirico.
“Domestic, monumental, brutalist and conceptual”, that’s how Ricardo Bofill defines this room of enormous dimensions.
The kitchen-dining room located in the ground floor is the meeting point for the family. In the middle of the room, a white marble rectangular table supported on ironwork legs surrounded with Thonet chairs, seat and backrest with wickerwork. Two-sided fireplaces designed by the architect Oscar Tusquets, add warmth, charm, and ambience to the room.
With traditional Moroccan wall finish, the “pink” room on the middle floor of the house provides a smaller and more private living area. Designed by the studio, the generous rectangular dining table was made of one single piece of Alicante red marble. Same material was used for the coffee table in front of the black leather sofa. The chairs and stools are re-editions of Antonio Gaudi’s designs. A large fireplace dominates the room.
#Spain, #Adaptation , #silo , #Structural_Consolidation #Structural_Consolidation , #cathedral , #Apartments , #lighting , #interior_design , #stair , #landscape , #Offices , #studios #Restoration #Structural_Consolidation
@revitalization
NO.60.
Medieval Mile Museum Kilkenny Ireland / McCullough Mulvin Architects
• Architects: McCullough Mulvin Architects
• Location: Kilkenny, Ireland
• Lead Architects: Niall McCullough, Ronan O’Connor
• Area: 700.0 m2
• Project Year :2017
• Photographs: Christian Richters
• Manufacturers: Flos
St Mary’s Hall, formerly St Mary’s Church, High Street, Kilkenny was founded in the thirteenth century as the parish church of the City. In use as a Parish and Masonic Hall since the mid-20th century, it was purchased by Kilkenny Borough Council in 2010 with assistance from Kilkenny County Council and the Department of Environment, Heritage and Local Government.
The building is a cruciform 13th century stone structure with a later tower at its Western end; it sits in a substantial walled graveyard to the rear of High Street. The graveyard has recently been opened as a garden to the public; it contains many important tombs and monuments from the Middle Ages to the 20th century.
The church had acquired depth and complexity in monuments and nave aisles, elements which were later shorn off, the aisles removed, the chancel demolished- a shape expanding and contracting, already through a violent cycle of change. As found, the interior was cut up into separate rooms and levels to make a parish hall.
The project intention was to restore the church as a museum, retaining some of the 20th century interventions, and to honour its medieval spatial complexity by re-constructing the North aisle and chancel to the original plan but a different internal section and materiality using the base of the original walls in an non-interventive way. The chancel room overlooks the town, re-establishing its dominant form in the urban landscape; the space beneath it becomes a tomb-filled undercroft. Both of the new gabled elements are finished in lead, with rooflights directed to levels of archaeology below.
The St.Mary's project is in essence a conservation project. The design team led by McCullough Mulvin Architects commenced work on the project in March 2012. The Part 8 Planning process was conducted in late 2013. Initial works were three-fold consisting of:
1. Archaeological excavation and extensive surveys of the church fabric with a view to analysing its structure and fabric for conservation purposes and in preparation of contract documents using Public Works Contract.
2. Careful removal of the 1960's interventions in the church- This work was completed in late July 2014 using an Enabling Works Contract by local firm, Ashgrove Construction.
3. Monuments Room: Monuments have been removed from the floor and walls (where necessary) under strict Archaeological/Conservation supervision, placed in protective packing and stored for re-use in the completed project.
The project includes for full restoration of the existing building and two modern extensions, one to the north on the footprint of the original north aisle & the "Kilkenny Room" which will replicate the former Chancel to the east.Graveyard-Memorial Repairs & RestorationPhase 1 of a programme of conservation & repair of 20 monuments was completed in March 2014.
This project included the Shee Mausoleum and those located in the former unroofed Chancel area at the East end of the church where a new room to be called the Kilkenny Room will be constructed.
Following a two stage tender process Duggan Brothers Contractors Ltd., Templemore, Co. Tipperary were appointed as Main Contractors for the project and work commenced on 9th February 2015. Contract sum is € 4.09 million excluding VAT. The project is due for completion in mid-2016.
The installation of the crane was completed on 13th May and is a most welcome addition to the Kilkenny skyline! Regular up-dates will be provided as work progresses on this exciting project.
#Ireland , #church, #archeology, #landmark , #museum , #lighting , #interior_design , #historic_site , #extention , #restoration , #addition , #interior_design , #vitrine , #event , #children
@revitalization
Medieval Mile Museum Kilkenny Ireland / McCullough Mulvin Architects
• Architects: McCullough Mulvin Architects
• Location: Kilkenny, Ireland
• Lead Architects: Niall McCullough, Ronan O’Connor
• Area: 700.0 m2
• Project Year :2017
• Photographs: Christian Richters
• Manufacturers: Flos
St Mary’s Hall, formerly St Mary’s Church, High Street, Kilkenny was founded in the thirteenth century as the parish church of the City. In use as a Parish and Masonic Hall since the mid-20th century, it was purchased by Kilkenny Borough Council in 2010 with assistance from Kilkenny County Council and the Department of Environment, Heritage and Local Government.
The building is a cruciform 13th century stone structure with a later tower at its Western end; it sits in a substantial walled graveyard to the rear of High Street. The graveyard has recently been opened as a garden to the public; it contains many important tombs and monuments from the Middle Ages to the 20th century.
The church had acquired depth and complexity in monuments and nave aisles, elements which were later shorn off, the aisles removed, the chancel demolished- a shape expanding and contracting, already through a violent cycle of change. As found, the interior was cut up into separate rooms and levels to make a parish hall.
The project intention was to restore the church as a museum, retaining some of the 20th century interventions, and to honour its medieval spatial complexity by re-constructing the North aisle and chancel to the original plan but a different internal section and materiality using the base of the original walls in an non-interventive way. The chancel room overlooks the town, re-establishing its dominant form in the urban landscape; the space beneath it becomes a tomb-filled undercroft. Both of the new gabled elements are finished in lead, with rooflights directed to levels of archaeology below.
The St.Mary's project is in essence a conservation project. The design team led by McCullough Mulvin Architects commenced work on the project in March 2012. The Part 8 Planning process was conducted in late 2013. Initial works were three-fold consisting of:
1. Archaeological excavation and extensive surveys of the church fabric with a view to analysing its structure and fabric for conservation purposes and in preparation of contract documents using Public Works Contract.
2. Careful removal of the 1960's interventions in the church- This work was completed in late July 2014 using an Enabling Works Contract by local firm, Ashgrove Construction.
3. Monuments Room: Monuments have been removed from the floor and walls (where necessary) under strict Archaeological/Conservation supervision, placed in protective packing and stored for re-use in the completed project.
The project includes for full restoration of the existing building and two modern extensions, one to the north on the footprint of the original north aisle & the "Kilkenny Room" which will replicate the former Chancel to the east.Graveyard-Memorial Repairs & RestorationPhase 1 of a programme of conservation & repair of 20 monuments was completed in March 2014.
This project included the Shee Mausoleum and those located in the former unroofed Chancel area at the East end of the church where a new room to be called the Kilkenny Room will be constructed.
Following a two stage tender process Duggan Brothers Contractors Ltd., Templemore, Co. Tipperary were appointed as Main Contractors for the project and work commenced on 9th February 2015. Contract sum is € 4.09 million excluding VAT. The project is due for completion in mid-2016.
The installation of the crane was completed on 13th May and is a most welcome addition to the Kilkenny skyline! Regular up-dates will be provided as work progresses on this exciting project.
#Ireland , #church, #archeology, #landmark , #museum , #lighting , #interior_design , #historic_site , #extention , #restoration , #addition , #interior_design , #vitrine , #event , #children
@revitalization
مرمت تزیینات:
تزیینات حیاط رییسیان در حد بقیه حیاط های مجموعه نیست. صرفاً سطوح محدودی از اندودها و قطاربندی و.. که ارزش های مطلوبی دارند ملاحظه می شود. به عنوان مثال اندود و نقش کندهایی روی گچ در یکی از فضاها باقی مانده که به دلیل نداشتن روزن به حیاط، به نظر می رسد در ترکیب دیگری کار می کرده و مربوط به بنای دیگری بوده است.
کلیه تزیینات و اندودهای قدیمی حفاظت شده و برای ایجاد وضوح بیشتر با به کار گیری اصول مرمتی سعی در خواناتر کردن آنها شده است.
این حیاط پیش از ساخت بنا محل گودال خشت مال ها بوده لذا در زمان ساخت از قسمت هایی که در دل خاک کنده بودند بهره گرفته و سپس دیوارهای تکمیلی چیده شده اند. همچنین برخی قسمت ها از زلزله سال 1192 ه.ق. باقی مانده و در ادامه آنها دیوارها اضافه شده اند. در احیای بنا این قسمت ها به صورت ویترین نشان داده شده یا تثبیت و حفاظت شده تا ضمن افزودن بر ارزش ها، آنچه بر بنا گذشته برای اهل فن قابل شناسایی باشد.
#Iran, #house , #landscape, #hotel , #stair , #lighting , #restoration , #glass , #metal , #interior_design
@revitalization
تزیینات حیاط رییسیان در حد بقیه حیاط های مجموعه نیست. صرفاً سطوح محدودی از اندودها و قطاربندی و.. که ارزش های مطلوبی دارند ملاحظه می شود. به عنوان مثال اندود و نقش کندهایی روی گچ در یکی از فضاها باقی مانده که به دلیل نداشتن روزن به حیاط، به نظر می رسد در ترکیب دیگری کار می کرده و مربوط به بنای دیگری بوده است.
کلیه تزیینات و اندودهای قدیمی حفاظت شده و برای ایجاد وضوح بیشتر با به کار گیری اصول مرمتی سعی در خواناتر کردن آنها شده است.
این حیاط پیش از ساخت بنا محل گودال خشت مال ها بوده لذا در زمان ساخت از قسمت هایی که در دل خاک کنده بودند بهره گرفته و سپس دیوارهای تکمیلی چیده شده اند. همچنین برخی قسمت ها از زلزله سال 1192 ه.ق. باقی مانده و در ادامه آنها دیوارها اضافه شده اند. در احیای بنا این قسمت ها به صورت ویترین نشان داده شده یا تثبیت و حفاظت شده تا ضمن افزودن بر ارزش ها، آنچه بر بنا گذشته برای اهل فن قابل شناسایی باشد.
#Iran, #house , #landscape, #hotel , #stair , #lighting , #restoration , #glass , #metal , #interior_design
@revitalization
NO.138
Convento de San Andrés Restoration / Sánchez Gil Arquitectos
RESTORATION
•
SALAMANCA, SPAIN
• Architects: Sánchez Gil Arquitectos
• Area: 1025 m²
• Year: 2018
• Manufacturers: AutoDesk, Cantera Sanchón, Ladrillo Pacheco Horcajo-Medianero, TEJAS BORJA
• Lead Architects: Emilio Sánchez Gil, Fernando Sánchez Cuadrado, Emilio Sánchez Cuadrado
• Client: Ayuntamiento de Salamanca
• Collaborators: Francisco Rodríguez Nieto, José Francisco González Hernández, Mª José Hernán-dez Gómez
• Supervision And Direction: Carmen del Olmo, Luis San Matías (DEO), María Tío (DEO), Carlos Macarro (arqueología)
• Construction Company: Arquepec
Text description provided by the architects. The convent of San Andrés was one of the most praised buildings in Salamanca until its destruction in the mid-19th century. Only small service units attached to the main construction have survived to this day, consisting of a trade house with sheds and a notable ice pit, built during the 18th century. Given the general deterioration and the wish to incorporate the existing remains into the city's tourist offer, the project is drafted, with the aim of integrating the various existing disconnected elements into an orderly, logical and attractive route: the ice pit, a section of the wall, the sheds, the rest of the northeast tower of the convent and access to the underground galleries. Ceramic materials were chosen to be used as a conductive thread, in the form of tiles, bricks in floorings and lattices and roof tiles, as this is the pre-existing material that has been preserved in some areas, endowed with great expressive value and reflecting a long tradition.
The walls and vaults of the ice pit have been restored, illuminated by the overhead light, while the original access has been signposted by a brick latticework, which allows the entrance of dim diffuse light, and minimizes the impact of the adjacent modern building. When clearing the storage space, the rock-cut gallery that was made to house the drainage duct appeared blinded on the lower level. It was incorporated into the project to allow access all the way to the endpoint of the space at the end of the route, notably enriching the visit. In the “office” building, the recovery of the historical volume was prioritised. Although the original masonry walls have completely disappeared, the mimetic reproduction of the tall body was seen as meaningless. For this reason, the space is delimited by means of a neutral brick latticework that defines the layout while creating subtle light and shadow effects, being protected with a tile cover similar to the original, also manifested on the rear facade using similar materials.
The original levels have been recovered on the ground floor of the sheds. Fragments of the original brick paving appeared and served as a template for the rest of the flooring. From this space and through the foundations corresponding to the northeast tower of the convent, a silent space punctuated with the presence of a solitary cypress, one enters the cellar that leads to the underground galleries that were filled with rubble and completely flooded. The ceramic material, in its different manifestations and uses, such as stairs, floorings, walls, roofs, water collectors, exposed ceilings, garden curbs, benches, etc. is the common thread of the present proposal.
#Spain, #convent, #restoration, #lighying
@revitalization
Convento de San Andrés Restoration / Sánchez Gil Arquitectos
RESTORATION
•
SALAMANCA, SPAIN
• Architects: Sánchez Gil Arquitectos
• Area: 1025 m²
• Year: 2018
• Manufacturers: AutoDesk, Cantera Sanchón, Ladrillo Pacheco Horcajo-Medianero, TEJAS BORJA
• Lead Architects: Emilio Sánchez Gil, Fernando Sánchez Cuadrado, Emilio Sánchez Cuadrado
• Client: Ayuntamiento de Salamanca
• Collaborators: Francisco Rodríguez Nieto, José Francisco González Hernández, Mª José Hernán-dez Gómez
• Supervision And Direction: Carmen del Olmo, Luis San Matías (DEO), María Tío (DEO), Carlos Macarro (arqueología)
• Construction Company: Arquepec
Text description provided by the architects. The convent of San Andrés was one of the most praised buildings in Salamanca until its destruction in the mid-19th century. Only small service units attached to the main construction have survived to this day, consisting of a trade house with sheds and a notable ice pit, built during the 18th century. Given the general deterioration and the wish to incorporate the existing remains into the city's tourist offer, the project is drafted, with the aim of integrating the various existing disconnected elements into an orderly, logical and attractive route: the ice pit, a section of the wall, the sheds, the rest of the northeast tower of the convent and access to the underground galleries. Ceramic materials were chosen to be used as a conductive thread, in the form of tiles, bricks in floorings and lattices and roof tiles, as this is the pre-existing material that has been preserved in some areas, endowed with great expressive value and reflecting a long tradition.
The walls and vaults of the ice pit have been restored, illuminated by the overhead light, while the original access has been signposted by a brick latticework, which allows the entrance of dim diffuse light, and minimizes the impact of the adjacent modern building. When clearing the storage space, the rock-cut gallery that was made to house the drainage duct appeared blinded on the lower level. It was incorporated into the project to allow access all the way to the endpoint of the space at the end of the route, notably enriching the visit. In the “office” building, the recovery of the historical volume was prioritised. Although the original masonry walls have completely disappeared, the mimetic reproduction of the tall body was seen as meaningless. For this reason, the space is delimited by means of a neutral brick latticework that defines the layout while creating subtle light and shadow effects, being protected with a tile cover similar to the original, also manifested on the rear facade using similar materials.
The original levels have been recovered on the ground floor of the sheds. Fragments of the original brick paving appeared and served as a template for the rest of the flooring. From this space and through the foundations corresponding to the northeast tower of the convent, a silent space punctuated with the presence of a solitary cypress, one enters the cellar that leads to the underground galleries that were filled with rubble and completely flooded. The ceramic material, in its different manifestations and uses, such as stairs, floorings, walls, roofs, water collectors, exposed ceilings, garden curbs, benches, etc. is the common thread of the present proposal.
#Spain, #convent, #restoration, #lighying
@revitalization
NO.149
Symmons Plains / Cumulus Studio
HOUSES, RESTORATION
•
PERTH, AUSTRALIA
• Architects: Cumulus Studio
• Area: 1258 m²
• Year: 2019
• Manufacturers: AXOR, Dulux, Elton Group, Viridian, Murobond
• Architects In Charge: Todd Henderson, Pippa Jensen
• Builder: Mark Darke Building & Joinery
• Heritage Stonemasons: Past and Present Stonemasons
• Structure: Brierley Consulting Engineers
• Lighting: Southern Lighting and Casa Monde
• Heritage Consultant: Praxis Environment
• Project Cost: $1,500,001 AUD - $2,000,000 AUD
The Symmons Plains project combines extensive heritage restoration works with functional, sensitive additions.
The Symmons Plains homestead was established in 1839 by John Arndell Youl, a Tasmanian colonist famous for introducing brown trout to Australia. Seven generations of the Youl family lived and farmed the expansive property until it was sold to our client in 2011. Over the years, the Youl family made a number of ambitious additions to the property, most notably the tennis court, airstrip and the world-class Symmons Plains raceway.
Understanding the significant heritage value of their new property, our clients approached the project with a clear vision; firstly to restore the property to its former glory, then introduce new func-tional, contemporary elements that would remain sensitive to the original architecture.
Initial restoration works began with the reinstatement of decaying slaked lime mortar and removal of poor cement repairs. Two specialist restoration stonemasons from England were contracted to assist with the extensive exterior works, utilising traditional lime mortar preparation techniques which can take up to 12 months to mature on site. Further restoration works involved removing inconsistent alterations, such as the rear 1960s laundry and loggia, creating a clean, honest, canvas from which to replan.
As is typical of early Georgian homes, the original homestead was quite stripped back, austere and utilitarian, free from the detail and decoration of later Tasmanian heritage properties. The new light-weight steel and glass insertions reflect this simplicity in form and proportion, while their transpar-ency and reduced height allow the heritage structures to take prominence in the design.
The new intervention, a long extruded tube connects both outbuildings and the rear wing of the homestead into one single consolidated structure. This connection activates the entire cluster of buildings, transforming forgotten spaces used intermittently for storage, supplies and farm vehicles into living, social additions to the family home.
Steel has been used to represent the transition between old and new. Beginning with the clear separation in the steel (new) and stone (old) buildings visible seen from the exterior, the user begins to create an association between what is ‘steel’ and what is ‘new’. This is reflected beyond the steel-framed insertions – from the floating staircase and balustrades within the granary down to subtle thresholds, shelving and benchtop details within the central homestead.
#Australia , #house , #restoration , #interior_design , #stair , #glass
@revitalization
Symmons Plains / Cumulus Studio
HOUSES, RESTORATION
•
PERTH, AUSTRALIA
• Architects: Cumulus Studio
• Area: 1258 m²
• Year: 2019
• Manufacturers: AXOR, Dulux, Elton Group, Viridian, Murobond
• Architects In Charge: Todd Henderson, Pippa Jensen
• Builder: Mark Darke Building & Joinery
• Heritage Stonemasons: Past and Present Stonemasons
• Structure: Brierley Consulting Engineers
• Lighting: Southern Lighting and Casa Monde
• Heritage Consultant: Praxis Environment
• Project Cost: $1,500,001 AUD - $2,000,000 AUD
The Symmons Plains project combines extensive heritage restoration works with functional, sensitive additions.
The Symmons Plains homestead was established in 1839 by John Arndell Youl, a Tasmanian colonist famous for introducing brown trout to Australia. Seven generations of the Youl family lived and farmed the expansive property until it was sold to our client in 2011. Over the years, the Youl family made a number of ambitious additions to the property, most notably the tennis court, airstrip and the world-class Symmons Plains raceway.
Understanding the significant heritage value of their new property, our clients approached the project with a clear vision; firstly to restore the property to its former glory, then introduce new func-tional, contemporary elements that would remain sensitive to the original architecture.
Initial restoration works began with the reinstatement of decaying slaked lime mortar and removal of poor cement repairs. Two specialist restoration stonemasons from England were contracted to assist with the extensive exterior works, utilising traditional lime mortar preparation techniques which can take up to 12 months to mature on site. Further restoration works involved removing inconsistent alterations, such as the rear 1960s laundry and loggia, creating a clean, honest, canvas from which to replan.
As is typical of early Georgian homes, the original homestead was quite stripped back, austere and utilitarian, free from the detail and decoration of later Tasmanian heritage properties. The new light-weight steel and glass insertions reflect this simplicity in form and proportion, while their transpar-ency and reduced height allow the heritage structures to take prominence in the design.
The new intervention, a long extruded tube connects both outbuildings and the rear wing of the homestead into one single consolidated structure. This connection activates the entire cluster of buildings, transforming forgotten spaces used intermittently for storage, supplies and farm vehicles into living, social additions to the family home.
Steel has been used to represent the transition between old and new. Beginning with the clear separation in the steel (new) and stone (old) buildings visible seen from the exterior, the user begins to create an association between what is ‘steel’ and what is ‘new’. This is reflected beyond the steel-framed insertions – from the floating staircase and balustrades within the granary down to subtle thresholds, shelving and benchtop details within the central homestead.
#Australia , #house , #restoration , #interior_design , #stair , #glass
@revitalization
NO.181
Convent Saint François / Amelia Tavella Architectes
MONASTERY, RESTORATION, EXTENSION
•
• Architects: Amelia Tavella Architectes
• Area: 1000 m²
• Year: 2021
• Manufacturers: Schuco, Terre Cuite des Launes
• Lead Architect: Amelia Tavella
• Acoustic Consulting: Acoustique & Conseil
• Structural Engineer: ISB
• Historic Building Advisor: A-C Perrot
• Economist: Ingenia
• Fluids Engineers: G2I
• City: Sainte-Lucie-de-Tallano
• Country: France
• Awards: TECU ARCHITECTURE AWARD 2022
An intervention of rehabilitation and extension leads to a reflection on the theme of conservation in a process of metamorphosis that embraces the ruin and returns it to contemporaneity.
The complex, perched in the wild Corsican landscape amidst rocks, woods, olive groves and small villages, appears as a fortress in which the passage of time and inactivity have allowed nature to freely take possession of the building, almost acting, before its resurrection, as a protective “armour” and structural support, like the roots of a fig tree that have become an integral part of the façade.
Here, the architect chose to conserve the ruins and replace the missing part of the volume with a perforated copper structure that re-proposes the sil-houette of the pre-existing building, while declaring the contemporary char-acter of the ex-novo building as the site of a cultural center (“Maison du Territoire”).
The choice of copper was justified by the material’s durability and ability to transform over time from a tactile and chromatic point of view, allowing the composition to narrate an evolving tale beyond any intent of “crystallizing” history.
The walls of the copper building, perforated with small panels that allow light to filter into the interior corridors, evoke the suggestion of a mashrabiyya – the traditional grid used in the architecture of Arab coun-tries to facilitate natural ventilation and control lighting – or of the stained-glass window of a church, with vibrant plays of light and shadow projected onto the interior stone walls.
A work that, tiptoeing in the footsteps of the past, exudes love for the place and its historical memory, for the building and its natural transformation from what it was into what it will be and into what it will one day no longer be, in the intimate conviction of impermanence as the only possible form of reality.
#France, #Corsica, #monastery, #convent, #ruin, #extention, #restoration, #rehabilitation, #moucharabieh, #mashrabiyya #copper, #cultural_center, #awards
@revitalization
Convent Saint François / Amelia Tavella Architectes
MONASTERY, RESTORATION, EXTENSION
•
• Architects: Amelia Tavella Architectes
• Area: 1000 m²
• Year: 2021
• Manufacturers: Schuco, Terre Cuite des Launes
• Lead Architect: Amelia Tavella
• Acoustic Consulting: Acoustique & Conseil
• Structural Engineer: ISB
• Historic Building Advisor: A-C Perrot
• Economist: Ingenia
• Fluids Engineers: G2I
• City: Sainte-Lucie-de-Tallano
• Country: France
• Awards: TECU ARCHITECTURE AWARD 2022
An intervention of rehabilitation and extension leads to a reflection on the theme of conservation in a process of metamorphosis that embraces the ruin and returns it to contemporaneity.
The complex, perched in the wild Corsican landscape amidst rocks, woods, olive groves and small villages, appears as a fortress in which the passage of time and inactivity have allowed nature to freely take possession of the building, almost acting, before its resurrection, as a protective “armour” and structural support, like the roots of a fig tree that have become an integral part of the façade.
Here, the architect chose to conserve the ruins and replace the missing part of the volume with a perforated copper structure that re-proposes the sil-houette of the pre-existing building, while declaring the contemporary char-acter of the ex-novo building as the site of a cultural center (“Maison du Territoire”).
The choice of copper was justified by the material’s durability and ability to transform over time from a tactile and chromatic point of view, allowing the composition to narrate an evolving tale beyond any intent of “crystallizing” history.
The walls of the copper building, perforated with small panels that allow light to filter into the interior corridors, evoke the suggestion of a mashrabiyya – the traditional grid used in the architecture of Arab coun-tries to facilitate natural ventilation and control lighting – or of the stained-glass window of a church, with vibrant plays of light and shadow projected onto the interior stone walls.
A work that, tiptoeing in the footsteps of the past, exudes love for the place and its historical memory, for the building and its natural transformation from what it was into what it will be and into what it will one day no longer be, in the intimate conviction of impermanence as the only possible form of reality.
#France, #Corsica, #monastery, #convent, #ruin, #extention, #restoration, #rehabilitation, #moucharabieh, #mashrabiyya #copper, #cultural_center, #awards
@revitalization