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.51.
Adaptive Reuse of a Former School for Infants / ATELIER SPACE
• Architects: ATELIER SPACE
• Location: Middelstegracht 5, 2312 TR Leiden, The Netherlands
• Architect in Charge: Ronald van der Voort
• Area: 694.0 m2
• Project Year: 2016
• Photographs: Brigitte Kroone ManufacturersMHB, Modular, JUNG
• Contractor: Wassenaarse Bouwmaatschappij
LEIDEN SCHOOLHOUSE CONVERSION
Originally built in 1925, the Leiden Schoolhouse Conversion turns a former school for infants into an impressive residential space. Each area was transformed to hold a new function — a prior classroom is now three bedrooms and the former gym has been transformed into a kitchen, dining, and living area — while much of the structure's historic charm was kept intact through the existing tile, doors, skylights, and wooden rafters. On the exterior, what was once a playground is now a courtyard with a sheltered sunken sitting area to enjoy outdoor dining and conversations.
Recently, we completed the adaptive reuse of a former school for infants that was built in Leiden in 1925. The monumental school is now a residence. We maintained all the valuable and historical elements, such as the characteristic tiled floor in the corridor, the premises, the doors, and the sky lights.
All the areas are 4 meters high, and the large windows let in a lot of daylight. What was formerly a children's playground has become a sunny courtyard.
The old school transformed beautifully into a stunning residential space. No major changes were made to the overall structure of the building; all the main areas got a function that is perfectly suitable for that space. One classroom is divided into 3 bedrooms.
In the areas adjacent to the main corridor, the thin concrete floor was replaced by an insulated concrete floor with underfloor heating.
All the roofs have been replaced by insulated roofs. The sky lights were restored, and insulated glass was placed. Additionally, the glass in the wooden window frames was restored with special insulated glass for monuments.
The house is heated and chilled by a heat pump, based on water and air, the electricity is provided by solar panels. The intelligent JUNG KNX building technology embeds living and working worlds into a network of communicating devices. In this way we conveniently regulate lighting, climate, blinds/shutters, security and multimedia.
In the former gym, we created the living, kitchen, and dining areas. The spacious and light space connects beautifully with the courtyard. Because of the narrow profiles of the new steel windows and doors, a lot of light enters the living room, and there’s a wide view of the courtyard.
On the first floor above the living room, we created a guesthouse. We placed the toilet, the technical area, and the storage room all on one side. The historic wooden rafters are still visible, which is important in creating the right atmosphere.
In the courtyard, we developed a conversation pit with plastered brick banks and planters. This area is partly covered to make the pit more intimate.
#Netherlands , #Adaptation , #reuse , #interior_design , #interior_architecture , #stair , #school , #house , #residential , #roof , #garden
@revitalization
Adaptive Reuse of a Former School for Infants / ATELIER SPACE
• Architects: ATELIER SPACE
• Location: Middelstegracht 5, 2312 TR Leiden, The Netherlands
• Architect in Charge: Ronald van der Voort
• Area: 694.0 m2
• Project Year: 2016
• Photographs: Brigitte Kroone ManufacturersMHB, Modular, JUNG
• Contractor: Wassenaarse Bouwmaatschappij
LEIDEN SCHOOLHOUSE CONVERSION
Originally built in 1925, the Leiden Schoolhouse Conversion turns a former school for infants into an impressive residential space. Each area was transformed to hold a new function — a prior classroom is now three bedrooms and the former gym has been transformed into a kitchen, dining, and living area — while much of the structure's historic charm was kept intact through the existing tile, doors, skylights, and wooden rafters. On the exterior, what was once a playground is now a courtyard with a sheltered sunken sitting area to enjoy outdoor dining and conversations.
Recently, we completed the adaptive reuse of a former school for infants that was built in Leiden in 1925. The monumental school is now a residence. We maintained all the valuable and historical elements, such as the characteristic tiled floor in the corridor, the premises, the doors, and the sky lights.
All the areas are 4 meters high, and the large windows let in a lot of daylight. What was formerly a children's playground has become a sunny courtyard.
The old school transformed beautifully into a stunning residential space. No major changes were made to the overall structure of the building; all the main areas got a function that is perfectly suitable for that space. One classroom is divided into 3 bedrooms.
In the areas adjacent to the main corridor, the thin concrete floor was replaced by an insulated concrete floor with underfloor heating.
All the roofs have been replaced by insulated roofs. The sky lights were restored, and insulated glass was placed. Additionally, the glass in the wooden window frames was restored with special insulated glass for monuments.
The house is heated and chilled by a heat pump, based on water and air, the electricity is provided by solar panels. The intelligent JUNG KNX building technology embeds living and working worlds into a network of communicating devices. In this way we conveniently regulate lighting, climate, blinds/shutters, security and multimedia.
In the former gym, we created the living, kitchen, and dining areas. The spacious and light space connects beautifully with the courtyard. Because of the narrow profiles of the new steel windows and doors, a lot of light enters the living room, and there’s a wide view of the courtyard.
On the first floor above the living room, we created a guesthouse. We placed the toilet, the technical area, and the storage room all on one side. The historic wooden rafters are still visible, which is important in creating the right atmosphere.
In the courtyard, we developed a conversation pit with plastered brick banks and planters. This area is partly covered to make the pit more intimate.
#Netherlands , #Adaptation , #reuse , #interior_design , #interior_architecture , #stair , #school , #house , #residential , #roof , #garden
@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
Spaces around the main structure were renovated into open-air exhibition halls. The temple now looks like a museum of Chinese architectural history, or a rural architecture classroom. The relic is revived. Its value is manifested. Its charm will since endure.
For architects, the design in the field of cultural relics’ protection has always been conservative. At the same time we also opposed radicals ideas but would not give up the exploration of new innovations in the existing environment as well as producing new ideas to conserve the cultural relics in present context. The sustenance of a cultural relic cannot simply rely on a singular village, but also the support of tourism, and special outreach to the public. The project of the environmental improvement of the Five Dragons Temple is a new exploration in cultural relics environmental design. It break the usual conservative approach and uses a spatial sequence of etiquette to accentuate the history, rather than using the sense of history to highlight its “originality”. Frankly speaking, the spatial sequence did not derive from the original path of worship, but instead is a route for narrative for the present day. The narration first directs the respect towards the cultural relics, thus awakening the culture and customs of the locals in which are difficult to find nowadays in remote villages. By doing so, it integrates into the present village lives the missing pieces of folk culture that has been passed down since ancient times.
#China , #Access , #Adaptation , #refurbishment , #temple , #interior_design , #stair , #landscape
@revitalization
For architects, the design in the field of cultural relics’ protection has always been conservative. At the same time we also opposed radicals ideas but would not give up the exploration of new innovations in the existing environment as well as producing new ideas to conserve the cultural relics in present context. The sustenance of a cultural relic cannot simply rely on a singular village, but also the support of tourism, and special outreach to the public. The project of the environmental improvement of the Five Dragons Temple is a new exploration in cultural relics environmental design. It break the usual conservative approach and uses a spatial sequence of etiquette to accentuate the history, rather than using the sense of history to highlight its “originality”. Frankly speaking, the spatial sequence did not derive from the original path of worship, but instead is a route for narrative for the present day. The narration first directs the respect towards the cultural relics, thus awakening the culture and customs of the locals in which are difficult to find nowadays in remote villages. By doing so, it integrates into the present village lives the missing pieces of folk culture that has been passed down since ancient times.
#China , #Access , #Adaptation , #refurbishment , #temple , #interior_design , #stair , #landscape
@revitalization
They were for later: the monumental lighting and for the night visit; the intervention in the upper viewpoint and its access from the stands; and the treatment of the portico, since archaeological investigations are allowing for more complex interpretations than previously available.
The current works Given the time constraints for the execution of the works, at this moment they will be carried out: the intervention in the stands, a first phase of execution of infrastructure and restoration of the stage and orchestra, as well as the adaptation of accesses and interior tours.
The archaeological ruins of the Itálica theater that we can see today, and what we can know about them, are the result of a long process of excavations and interventions, which are already part of its history. It is, therefore, our starting point.
Returning the initial use to the Teatro de Itálica means recovering an activity that has been preserved over time, and which today is still alive and functionally linked to the architecture with which it was born and evolved.
The “stage box”, now ephemeral and removable, will have the triple function of sheltering the tight reconstruction of the stage front, serving as a screen that isolates the scope of performances from outside noise and equipping it with the necessary infrastructures to develop a certain type of show.
Furthermore, this intervention now is understood as the mere start of a process, time-consuming, but correctly planned, which will conclude with the stated objectives of recovering the monument, including anastilosis or reconstruction of the front of the stage, allowing musealization. of a large number of original pieces preserved
#Spain , #theater , #museum , #excavation , #archeology, #Anastylosis , #adaptation
@revitalization
The current works Given the time constraints for the execution of the works, at this moment they will be carried out: the intervention in the stands, a first phase of execution of infrastructure and restoration of the stage and orchestra, as well as the adaptation of accesses and interior tours.
The archaeological ruins of the Itálica theater that we can see today, and what we can know about them, are the result of a long process of excavations and interventions, which are already part of its history. It is, therefore, our starting point.
Returning the initial use to the Teatro de Itálica means recovering an activity that has been preserved over time, and which today is still alive and functionally linked to the architecture with which it was born and evolved.
The “stage box”, now ephemeral and removable, will have the triple function of sheltering the tight reconstruction of the stage front, serving as a screen that isolates the scope of performances from outside noise and equipping it with the necessary infrastructures to develop a certain type of show.
Furthermore, this intervention now is understood as the mere start of a process, time-consuming, but correctly planned, which will conclude with the stated objectives of recovering the monument, including anastilosis or reconstruction of the front of the stage, allowing musealization. of a large number of original pieces preserved
#Spain , #theater , #museum , #excavation , #archeology, #Anastylosis , #adaptation
@revitalization