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
NO.52.
Glasgow Women's Library, London,2015
Location: United Kingdom - Glasgow
Designer: Collective Architecture
Project Year: 2015
Info
• Client Glasgow Women's Library
• Additional Notes Location: 19-23 Landressy Street, Bridgeton, Glasgow Type Of Project: Extension, refurbishment and structural alterations to existing Category B Listed Library Client: Glasgow Women’s Library Architects: Collective Architecture Project Architect: Steven Byrne/ Cathy Houston Structural Engineers: Ove Arup & Partners Funding: Various Tender date: February 2014 Site start date: 24 November 2014 Completed: November 2015 Contract duration: 11 months Gross internal floor area: 850sqm Total cost: circa £850K M&E consultant: Ken Boyle Consulting Engineering Quantity Surveyor: EC Harris Ltd CDM consultant: CDM Project Safety Ltd Main contractor: Maxi Construction Ltd
Refurbishment of a Catergory B listed Library in Bridgeton, Glasgow for The Glasgow Women's Library.
Shortlisted for RIBA London Awards 2017.
Collective Architecture won a limited competition to redevelop a Category B' listed library in Bridgeton, Glasgow for The Glasgow Women’s Library. The library, built on 1903, is one of seven “Carnegie” libraries donated to the city. A local landmark, the building is grand in appearance with feature bays, intricate ornamentation and beautifully carved statues.
Glasgow Women’s Library provides a major resource for the City of Glasgow, Scotland and beyond. Their reputation extends nationally with a growing membership and volunteer team. The archive collection has steadily expanded, with items on display for public view and has gained growing importance through its accredited museum status. The library, refurbished for the Glasgow Women’s Library, now caters for an organisation with a national reputation, and provides accommodation which is capable of hosting major events, screenings, talks, exhibitions, as well as offering support services for people across Glasgow.
Throughout the design process, key stakeholder, client and community engagement workshops were crucial to the successful delivery of the project. Collective Architecture worked closely with the Glasgow Women's Library to develop informal reading spaces and an open plan mezzanine area, with new lift access, within the former Main Reading Room. The Reading Room is located above a new ground floor cafe and kitchen and a space for exhibitions. A major requirement was for a new strong room archive, designed over two levels at the rear of the gallery. This houses the permanent collections, as well as special pieces of display which required to be climatically controlled to ensure their survival.
Located to the gable fronting James Street, a new stand alone lift shaft provides accessibility to the existing first floor for all. This has been designed as a feature art work, with CNC cut cladding incorporating significant book titles which were chosen by the Glasgow Women’s Library Board Members.
The Glasgow Women’s Library was project managed by Clyde Gateway, who are responsible for the wider redevelopment of Bridgeton, where the library is situated.
hub West Scotland were involved in the successful delivery of the project.
The building was officially opened to the public on 7th November 2015 by the Rt. Hon. Nicola Sturgeon MSP, First Minister of Scotland, who described The Glasgow Women’s Library as ‘truly a national treasure’. In addition, on the 14th of December 2015 The Glasgow Women’s Library were awarded the title of ‘Recognised Collections of National Significance’ status by Museum Galleries Scotland, joining Scotland’s elite list of must see museum collections. The title covers the entire collection of museum and archive holdings and further cements Glasgow Women’s Library’s status as the only accredited museum dedicated to women’s history in the whole of the UK.
#Additions , #Dialogues with History , #Libraries , #Typography , #Refurbishment , #redevelop , #interior_design , #interior_architecture , #stair
Glasgow Women's Library, London,2015
Location: United Kingdom - Glasgow
Designer: Collective Architecture
Project Year: 2015
Info
• Client Glasgow Women's Library
• Additional Notes Location: 19-23 Landressy Street, Bridgeton, Glasgow Type Of Project: Extension, refurbishment and structural alterations to existing Category B Listed Library Client: Glasgow Women’s Library Architects: Collective Architecture Project Architect: Steven Byrne/ Cathy Houston Structural Engineers: Ove Arup & Partners Funding: Various Tender date: February 2014 Site start date: 24 November 2014 Completed: November 2015 Contract duration: 11 months Gross internal floor area: 850sqm Total cost: circa £850K M&E consultant: Ken Boyle Consulting Engineering Quantity Surveyor: EC Harris Ltd CDM consultant: CDM Project Safety Ltd Main contractor: Maxi Construction Ltd
Refurbishment of a Catergory B listed Library in Bridgeton, Glasgow for The Glasgow Women's Library.
Shortlisted for RIBA London Awards 2017.
Collective Architecture won a limited competition to redevelop a Category B' listed library in Bridgeton, Glasgow for The Glasgow Women’s Library. The library, built on 1903, is one of seven “Carnegie” libraries donated to the city. A local landmark, the building is grand in appearance with feature bays, intricate ornamentation and beautifully carved statues.
Glasgow Women’s Library provides a major resource for the City of Glasgow, Scotland and beyond. Their reputation extends nationally with a growing membership and volunteer team. The archive collection has steadily expanded, with items on display for public view and has gained growing importance through its accredited museum status. The library, refurbished for the Glasgow Women’s Library, now caters for an organisation with a national reputation, and provides accommodation which is capable of hosting major events, screenings, talks, exhibitions, as well as offering support services for people across Glasgow.
Throughout the design process, key stakeholder, client and community engagement workshops were crucial to the successful delivery of the project. Collective Architecture worked closely with the Glasgow Women's Library to develop informal reading spaces and an open plan mezzanine area, with new lift access, within the former Main Reading Room. The Reading Room is located above a new ground floor cafe and kitchen and a space for exhibitions. A major requirement was for a new strong room archive, designed over two levels at the rear of the gallery. This houses the permanent collections, as well as special pieces of display which required to be climatically controlled to ensure their survival.
Located to the gable fronting James Street, a new stand alone lift shaft provides accessibility to the existing first floor for all. This has been designed as a feature art work, with CNC cut cladding incorporating significant book titles which were chosen by the Glasgow Women’s Library Board Members.
The Glasgow Women’s Library was project managed by Clyde Gateway, who are responsible for the wider redevelopment of Bridgeton, where the library is situated.
hub West Scotland were involved in the successful delivery of the project.
The building was officially opened to the public on 7th November 2015 by the Rt. Hon. Nicola Sturgeon MSP, First Minister of Scotland, who described The Glasgow Women’s Library as ‘truly a national treasure’. In addition, on the 14th of December 2015 The Glasgow Women’s Library were awarded the title of ‘Recognised Collections of National Significance’ status by Museum Galleries Scotland, joining Scotland’s elite list of must see museum collections. The title covers the entire collection of museum and archive holdings and further cements Glasgow Women’s Library’s status as the only accredited museum dedicated to women’s history in the whole of the UK.
#Additions , #Dialogues with History , #Libraries , #Typography , #Refurbishment , #redevelop , #interior_design , #interior_architecture , #stair
NO.142
The Armenian ethnographic museum of new Julfa / Norvik Abkarian, Sara Jaberi, Adib Iravani/ 2019
Name: The Armenian ethnographic museum of new Julfa/
Location: Vank Cathedral, New Jolfa district, Isfahan, Iran/
Architects: Norvik Abkarian, Sara Jaberi, Adib Iravani/
Design team: Vanand Isaghoolian/
Detail Design: Vazrik Melkonian
Environmental graphic design: Ali Gorjian Jolfaee/
Environmental graphic design team: Ramtin Mir Mohammad Sadeghi, Vergineh Mirzakhanian/
Graphic: ADD Studios/
Date: 2018-2019/
Built area: 300 sqm/
Type: Renovation, Cultural, Museum/
Project manager: Norvik Abkarian/
Consultant: Ali Sheikholeslam/
Construction: Poria Shafiee/
Supervision: Norvik Abkarian, Sara Jaberi/
Client: Diocesan Council of the Armenians in Isfahan/
Credit: Finalist in Memar Award, renovation category, 2019/
The Armenian anthropology museum of Isfahan is curated to showcase the culture and life-style of the Armenians from the time of their immigration to Isfahan (1604) until today. Vank Cathedral is one of the most historical churches in Iran, located in Isfahan, New Jolfa. Which was completed in 1664.
Space recognition
Therefore, according to the main idea of design, slight reformation was undertaken in the structure of the historical building to boost the connection between the visitors and the objects in museum. New organization to gain decent circulation Hence, a linear circulation was consid-ered to show the chronological order of Armenian's immigration and the various aspects of their lives including their scientific and industrial influences and developments.
Slight reformation, object oriented design.
To reach this goal, glass boxes with metal profiles were used and environmental graphic in-cluding lighting, spatial proportion and color were applied to the details of each object.
نام: موزه مردم شناسی ارامنه جلفای اصفهان/
آدرس: کلیسای وانک، جلفا، اصفهان/
معماران: نورویک آبکاریان، سارا جابری، ادیب ایروانی/
همکار طراحی: واناند عیسی قلیان
طراح فنی: وازریک ملکنیان
مشاور طرح: علی شیخ الاسلام
تاریخ: شهریور ۱۳۹۷-خرداد ۱۳۹۸
مساحت: ۳۰۰ مترمربع/
نوع: بازسازی، موزه، فرهنگی
کاربری قبلی: انبار، ساختمان اداری، بدون استفاده
سازه بنای موجود: خشت و گل /
مدیر اجرایی: پوریا شفیعی
ناظر معماری: نورویک آبکاریان، سارا جابری
طراح گرافیک محیطی: علی گرجیان جلفایی
همکاران طراحی گرافیک محیطی: رامتین میرمحمد صادقی، ورگینه میرزاخانیان
گرافیک: استودیوهای هَم افزا [استودیو اَد]
مدیر پروژه: نورویک آبکاریان
اعتبار: فینالیست جایزه معمار در بخش بازسازی، ۱۳۹۸/
کارفرما: شورای خلیفه گری ارامنه اصفهان/
ایدهی طراحی موزه مردم شناسی ارامنه اصفهان از وجود نیاز به آشنایی مردم اصفهان و گردشگران از فرهنگ و نوع زندگی ارامنه (از زمان مهاجرت تا به امروز) آغاز شد. به این منظور با موافقت شورای خلیفهگری ارامنه، بخشی از کلیسای وانک که شامل انبار و فضای خالی و بدون استفاده بود به منظور بازسازی انتخاب شد و با جابجایی و سازماندهی جدید به سیرکولاسیونی خطی با یک جهت طراحی شد که متناسب با سناریو چیدمان، (که از بدو مهاجرت ارامنه جلفا و نشان دادن کل دارایی آنها که زمین و آب بود، شروع و با نمایش تأثیرگذاری و پیشرفت و تجارت ادامه یافت و به نوع زندگی آنها در خانواده و مذهب رسید) انجام شد. در طراحی، ایدهی اصلی، دخالت حداقلی در بنای تاریخی و ایجاد حداکثر ارتباط نزدیک و تا حد ممکن فیزیکی با اشیا بود. برای رسیدن به این هدف، کانسپت طراحی اضافه کردن باکسهایی شیشه ای با پروفیل فلزی در نظر گرفته شد که بر اساس نیاز هر بخش، طراحی جزئیات آن اعم از تناسبات، رنگ، نورپردازی و گرافیک محیطی انجام شد.
در این موزه مردم شناسی، فرهنگ، آداب و رسوم، لباس و وسایل زندگی همچنین تجارت ساکنان محله ارمنینشین جلفای اصفهان به نمایش گذاشته شده است.
محدوده مداخلات
با توجه به قدمت بنا، دخل و تصرف ها باید قابل حذف و برگشت پذیر باشد.
#Iran , #church, #museum, #ethnography, #lighting ,#interior_design , #graphic_design , #typography
@revitalization
The Armenian ethnographic museum of new Julfa / Norvik Abkarian, Sara Jaberi, Adib Iravani/ 2019
Name: The Armenian ethnographic museum of new Julfa/
Location: Vank Cathedral, New Jolfa district, Isfahan, Iran/
Architects: Norvik Abkarian, Sara Jaberi, Adib Iravani/
Design team: Vanand Isaghoolian/
Detail Design: Vazrik Melkonian
Environmental graphic design: Ali Gorjian Jolfaee/
Environmental graphic design team: Ramtin Mir Mohammad Sadeghi, Vergineh Mirzakhanian/
Graphic: ADD Studios/
Date: 2018-2019/
Built area: 300 sqm/
Type: Renovation, Cultural, Museum/
Project manager: Norvik Abkarian/
Consultant: Ali Sheikholeslam/
Construction: Poria Shafiee/
Supervision: Norvik Abkarian, Sara Jaberi/
Client: Diocesan Council of the Armenians in Isfahan/
Credit: Finalist in Memar Award, renovation category, 2019/
The Armenian anthropology museum of Isfahan is curated to showcase the culture and life-style of the Armenians from the time of their immigration to Isfahan (1604) until today. Vank Cathedral is one of the most historical churches in Iran, located in Isfahan, New Jolfa. Which was completed in 1664.
Space recognition
Therefore, according to the main idea of design, slight reformation was undertaken in the structure of the historical building to boost the connection between the visitors and the objects in museum. New organization to gain decent circulation Hence, a linear circulation was consid-ered to show the chronological order of Armenian's immigration and the various aspects of their lives including their scientific and industrial influences and developments.
Slight reformation, object oriented design.
To reach this goal, glass boxes with metal profiles were used and environmental graphic in-cluding lighting, spatial proportion and color were applied to the details of each object.
نام: موزه مردم شناسی ارامنه جلفای اصفهان/
آدرس: کلیسای وانک، جلفا، اصفهان/
معماران: نورویک آبکاریان، سارا جابری، ادیب ایروانی/
همکار طراحی: واناند عیسی قلیان
طراح فنی: وازریک ملکنیان
مشاور طرح: علی شیخ الاسلام
تاریخ: شهریور ۱۳۹۷-خرداد ۱۳۹۸
مساحت: ۳۰۰ مترمربع/
نوع: بازسازی، موزه، فرهنگی
کاربری قبلی: انبار، ساختمان اداری، بدون استفاده
سازه بنای موجود: خشت و گل /
مدیر اجرایی: پوریا شفیعی
ناظر معماری: نورویک آبکاریان، سارا جابری
طراح گرافیک محیطی: علی گرجیان جلفایی
همکاران طراحی گرافیک محیطی: رامتین میرمحمد صادقی، ورگینه میرزاخانیان
گرافیک: استودیوهای هَم افزا [استودیو اَد]
مدیر پروژه: نورویک آبکاریان
اعتبار: فینالیست جایزه معمار در بخش بازسازی، ۱۳۹۸/
کارفرما: شورای خلیفه گری ارامنه اصفهان/
ایدهی طراحی موزه مردم شناسی ارامنه اصفهان از وجود نیاز به آشنایی مردم اصفهان و گردشگران از فرهنگ و نوع زندگی ارامنه (از زمان مهاجرت تا به امروز) آغاز شد. به این منظور با موافقت شورای خلیفهگری ارامنه، بخشی از کلیسای وانک که شامل انبار و فضای خالی و بدون استفاده بود به منظور بازسازی انتخاب شد و با جابجایی و سازماندهی جدید به سیرکولاسیونی خطی با یک جهت طراحی شد که متناسب با سناریو چیدمان، (که از بدو مهاجرت ارامنه جلفا و نشان دادن کل دارایی آنها که زمین و آب بود، شروع و با نمایش تأثیرگذاری و پیشرفت و تجارت ادامه یافت و به نوع زندگی آنها در خانواده و مذهب رسید) انجام شد. در طراحی، ایدهی اصلی، دخالت حداقلی در بنای تاریخی و ایجاد حداکثر ارتباط نزدیک و تا حد ممکن فیزیکی با اشیا بود. برای رسیدن به این هدف، کانسپت طراحی اضافه کردن باکسهایی شیشه ای با پروفیل فلزی در نظر گرفته شد که بر اساس نیاز هر بخش، طراحی جزئیات آن اعم از تناسبات، رنگ، نورپردازی و گرافیک محیطی انجام شد.
در این موزه مردم شناسی، فرهنگ، آداب و رسوم، لباس و وسایل زندگی همچنین تجارت ساکنان محله ارمنینشین جلفای اصفهان به نمایش گذاشته شده است.
محدوده مداخلات
با توجه به قدمت بنا، دخل و تصرف ها باید قابل حذف و برگشت پذیر باشد.
#Iran , #church, #museum, #ethnography, #lighting ,#interior_design , #graphic_design , #typography
@revitalization
NO.144
Champollion Museum- The Scriptures of the World
Musée Champollion - Les écritures du monde / Agence Moatti et Rivière
Description
Restoration and reconversion of a 14th century building.
Creation of permanent and temporary exhibition rooms.
Location: Figeac, France
Competition: winning project, October 2001
Year completed: 2007 (Year began 2005)
Studios: Agence Moatti et Rivière
Authors: Alain Moatti (1957 France); Henri Rivière (1965 France)
Collaborators
Project architect: Val de Vincelles Graphic design: Pierre di Sciullo Collaborator (external): Pascal Payeur, Fr Rat Engineering: Betom Toulouse Lighting: Fran Gaunand Façades: Concepta Furniture: Goppion Construction company: MGE Interiors: Goubie Others: Etandex Construction: Sotraco
Map: LatLng: (44.609741, 2.034501)
Area: 1,300 m2 HON.
Cost: 4.1 million euros excluding tax.
Project management: City of Figeac (Lot)
Typographic Moucharaby
The museum is housed in three buildings in the heritage area of the old town and articulates three themes: signify the activities of writing and deciphering texts in urban space, take part in public space, extend the history of these places.
The screen façade on place Champollion enables identification of the museum: it is a meta-phor of writing and deciphering. The old stone façade ensures continuity with the urban fabric and houses of Figeac. The screen façade is set back from the alignment and designed as a composition in glass and copper animated by alphabets. This is the polyglot typographic moucharabieh.
Between these two façades are loggias open to the public, and high up, the soleilo, a feature borrowed from the vernacular architecture of the Figeac region. The depth of the façade forms a public transition space between square and museum.
The façade reflects a blend of artisan and industrial processes.
It expresses poetic modernity inspired by living vibrating light - light that breathes and measures time. Luminous and mysterious by day, at night it is part of the lights of the town.
The façade is composed of a sheet of copper laid over a polymer film. Layered glass carries the copper sheet and film between two separating sheets of PVB.
Graphic artist designed the overall composition of this façade; he etched each letter so that it appears in positive on the copper sheet.
The world famous egyptologist Jean-François Champollion (1790-1832) was born in Figeac; he is the tutelary figure of this museum.
From the origins of writing to the new territories of telematic networks, the museographic itin-erary proposes several modes of entrance: graphics (the design and creation of signs, their evolution, the role of the support, handwriting, composition) ; systems and grammars (the con-struction of words and sentences, the relationship to language, phonetics); and usages (func-tions and power of writing, civilizations and society).
#France , #museum, #house, #lighting ,#interior_design , #typography , #cultural_center, #graphic_design
@revitalization
Champollion Museum- The Scriptures of the World
Musée Champollion - Les écritures du monde / Agence Moatti et Rivière
Description
Restoration and reconversion of a 14th century building.
Creation of permanent and temporary exhibition rooms.
Location: Figeac, France
Competition: winning project, October 2001
Year completed: 2007 (Year began 2005)
Studios: Agence Moatti et Rivière
Authors: Alain Moatti (1957 France); Henri Rivière (1965 France)
Collaborators
Project architect: Val de Vincelles Graphic design: Pierre di Sciullo Collaborator (external): Pascal Payeur, Fr Rat Engineering: Betom Toulouse Lighting: Fran Gaunand Façades: Concepta Furniture: Goppion Construction company: MGE Interiors: Goubie Others: Etandex Construction: Sotraco
Map: LatLng: (44.609741, 2.034501)
Area: 1,300 m2 HON.
Cost: 4.1 million euros excluding tax.
Project management: City of Figeac (Lot)
Typographic Moucharaby
The museum is housed in three buildings in the heritage area of the old town and articulates three themes: signify the activities of writing and deciphering texts in urban space, take part in public space, extend the history of these places.
The screen façade on place Champollion enables identification of the museum: it is a meta-phor of writing and deciphering. The old stone façade ensures continuity with the urban fabric and houses of Figeac. The screen façade is set back from the alignment and designed as a composition in glass and copper animated by alphabets. This is the polyglot typographic moucharabieh.
Between these two façades are loggias open to the public, and high up, the soleilo, a feature borrowed from the vernacular architecture of the Figeac region. The depth of the façade forms a public transition space between square and museum.
The façade reflects a blend of artisan and industrial processes.
It expresses poetic modernity inspired by living vibrating light - light that breathes and measures time. Luminous and mysterious by day, at night it is part of the lights of the town.
The façade is composed of a sheet of copper laid over a polymer film. Layered glass carries the copper sheet and film between two separating sheets of PVB.
Graphic artist designed the overall composition of this façade; he etched each letter so that it appears in positive on the copper sheet.
The world famous egyptologist Jean-François Champollion (1790-1832) was born in Figeac; he is the tutelary figure of this museum.
From the origins of writing to the new territories of telematic networks, the museographic itin-erary proposes several modes of entrance: graphics (the design and creation of signs, their evolution, the role of the support, handwriting, composition) ; systems and grammars (the con-struction of words and sentences, the relationship to language, phonetics); and usages (func-tions and power of writing, civilizations and society).
#France , #museum, #house, #lighting ,#interior_design , #typography , #cultural_center, #graphic_design
@revitalization