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
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
3) the “Vela” North;
4) the bastion of Savoy (until new garden and part towards the outside courtyard).
#Italy , #ruin , #castle , #lighting , #stair , #archeology , #muesum , #mariage , #hall
@revitalization
4) the bastion of Savoy (until new garden and part towards the outside courtyard).
#Italy , #ruin , #castle , #lighting , #stair , #archeology , #muesum , #mariage , #hall
@revitalization
NO.108.
Restoration of Castello dei Doria a Dolceacqua / LD+SR architetti
RESTORATION, DOLCEACQUA, ITALY
• Architects: LD+SR architetti
• Year:2015
• Lead Architects: Luca Dolmetta, Silvia Rizzo architetti
• Project Team: Arch. Danilo Cupioli, Arch. Paola Pilotto, Arch. Amir Reza Arya
• Structural Engineering : Ing. Mauro Cevoli
• Installations : Ing. Alberto Frisoni
• Designers: Arch. William Meli, Arch. Bernardet Urbanovics
• Cse : Ing. Claudio Perrino
Text description provided by the architects. After widespread interventions of restoration undertaken since the early 90 's, 2012-2015 covered the restoration and consolidation of certain portions of the main external walls of the Castle (sailing North, Savoy bastion minor), the recovery of the main open spaces that surround it in diffuse form the complex, the establishment of a system of trails that leads the visitor to discover different points of perception of landscapes that surround the monument. The "value" of the Castle is the close relationship between Castle and place where it fits. A relationship was so charming by bringing Claude Monet repeatedly to visit Dolceacqua and capture bridge and Castle in a famous painting by 1884 housed in the Musée Marmottan Monet in Paris.
The Castle situated in a dominant position overlooking the village below is in extreme point advantage to control the Valley of the river of the Nervia Valley. The project seeks to enhance the strategic position, making travel to the visitor the different stages of completion of the building discover some enclosed spaces created in the few portions of the building survived the various bombings and ensuing fires over time, but especially a guided path towards the various land control points.
The restoration and strengthening of masonry degraded extensively featured in significant form the surgery completed in 2015. Any need for structural reinforcement or static improvement though it was turned into an architectural project, also of iron parts that, depending on the requirement, have become paths, passages, elements of reconstruction of portions of walls partly missing or being complete detachment. Items always perceived as new parts, reversible and always side by side with existing fit evident
#Italy, #castle , #landscape, #metal , #stair , #museum , #landmark , #installation
@revitalization
Restoration of Castello dei Doria a Dolceacqua / LD+SR architetti
RESTORATION, DOLCEACQUA, ITALY
• Architects: LD+SR architetti
• Year:2015
• Lead Architects: Luca Dolmetta, Silvia Rizzo architetti
• Project Team: Arch. Danilo Cupioli, Arch. Paola Pilotto, Arch. Amir Reza Arya
• Structural Engineering : Ing. Mauro Cevoli
• Installations : Ing. Alberto Frisoni
• Designers: Arch. William Meli, Arch. Bernardet Urbanovics
• Cse : Ing. Claudio Perrino
Text description provided by the architects. After widespread interventions of restoration undertaken since the early 90 's, 2012-2015 covered the restoration and consolidation of certain portions of the main external walls of the Castle (sailing North, Savoy bastion minor), the recovery of the main open spaces that surround it in diffuse form the complex, the establishment of a system of trails that leads the visitor to discover different points of perception of landscapes that surround the monument. The "value" of the Castle is the close relationship between Castle and place where it fits. A relationship was so charming by bringing Claude Monet repeatedly to visit Dolceacqua and capture bridge and Castle in a famous painting by 1884 housed in the Musée Marmottan Monet in Paris.
The Castle situated in a dominant position overlooking the village below is in extreme point advantage to control the Valley of the river of the Nervia Valley. The project seeks to enhance the strategic position, making travel to the visitor the different stages of completion of the building discover some enclosed spaces created in the few portions of the building survived the various bombings and ensuing fires over time, but especially a guided path towards the various land control points.
The restoration and strengthening of masonry degraded extensively featured in significant form the surgery completed in 2015. Any need for structural reinforcement or static improvement though it was turned into an architectural project, also of iron parts that, depending on the requirement, have become paths, passages, elements of reconstruction of portions of walls partly missing or being complete detachment. Items always perceived as new parts, reversible and always side by side with existing fit evident
#Italy, #castle , #landscape, #metal , #stair , #museum , #landmark , #installation
@revitalization
Carriage House
The carriage house underwent a complex development. The archive and transformer station were located here. Both existing operations are removed on the ground floor and replaced thanks to the location of the carriage house by the function of a café. The second floor is used for the office of the administrator of the chateau complex. The subsequently placed partitions and the modern staircase were removed throughout the building. New masses were set into the space modified in this way in the places where the carriages had once stood. These new elements are the necessary social facilities of the café, bar and seating and are made of translucent laminate. The big question was the exterior appearance of the carriage house, which was regrettably modified in the 1970s, when the ground floor of the building was raised by a floor and again during the actual implementation by ca 70 cm. Mainly, the presentation of the ledge deformed the material solution of the entire building. Therefore, there was a correction of the ledge by the removal of the beams, thanks to which the overall height of the carriage house was slightly reduced. With regard to the exterior facade, the decorative ledges have been removed, which are not proved in any of the original drawings or photographic documentation. The outer appearance of the carriage house should blend in with other buildings with which it had formed a complete configuration in the past, so the outer facade was covered with a light lime stucco.
Children’s Pavilion
An important element is the seasonal building of the summer pavilion, which provides a natural base for children’s activities. This object is a summer pavilion - a tent made up of triangular segments of a lightweight steel construction, where the panelling forms a translucent canvas. The tent is inspired by a child’s dragon that has dragged into the chateau gardens and separated the farm buildings from the English Park. The summer pavilion with a children’s program uses the natural connection to the café located in the carriage house and thus allows also seating. The object is divided into three parts, and mainly thanks to the choice of different activities for the differently aged children from the youngest with access only with the parents to the oldest, where more demanding activities are expected for the greater autonomy of children.
English Park
Part of the overall modifications was also the resolution of the English park, where the main emphasis is placed on the element of water. Since there were water elements in the park in the past, we tried to restore them. The water element naturally starts at the highest point where the chateau pond is preserved. The water management route starts from the greatest distance between the trees and is designed using computer technology with Voronoi geometry. The route of the water element ends in a grotto, which we restored according to the original documentation. The route of the water element is completed in a grotto, which we have restored according to the original documentation. The English Park was disturbed by a large monumental stage from the 1950s, which we have removed and replaced by a mobile alternative, which enables the stage to be built from mobile parts. Within the resolution of the entire park, several small elements were further designed, such as an aviary for peacocks, which is based on the shape of a bushel on which peasants can sit. Another small element is benches representing a kind of crystal, inspired by the chateau sgraffito.
Material Used :
1. Translucent laminate
2. Steel
#Czech_Republic , #castle , #UNESCO , #world_heritage_convention , #park ,
#landscape , #interior_design , #multifunction , #school , #children
@revitalization
The carriage house underwent a complex development. The archive and transformer station were located here. Both existing operations are removed on the ground floor and replaced thanks to the location of the carriage house by the function of a café. The second floor is used for the office of the administrator of the chateau complex. The subsequently placed partitions and the modern staircase were removed throughout the building. New masses were set into the space modified in this way in the places where the carriages had once stood. These new elements are the necessary social facilities of the café, bar and seating and are made of translucent laminate. The big question was the exterior appearance of the carriage house, which was regrettably modified in the 1970s, when the ground floor of the building was raised by a floor and again during the actual implementation by ca 70 cm. Mainly, the presentation of the ledge deformed the material solution of the entire building. Therefore, there was a correction of the ledge by the removal of the beams, thanks to which the overall height of the carriage house was slightly reduced. With regard to the exterior facade, the decorative ledges have been removed, which are not proved in any of the original drawings or photographic documentation. The outer appearance of the carriage house should blend in with other buildings with which it had formed a complete configuration in the past, so the outer facade was covered with a light lime stucco.
Children’s Pavilion
An important element is the seasonal building of the summer pavilion, which provides a natural base for children’s activities. This object is a summer pavilion - a tent made up of triangular segments of a lightweight steel construction, where the panelling forms a translucent canvas. The tent is inspired by a child’s dragon that has dragged into the chateau gardens and separated the farm buildings from the English Park. The summer pavilion with a children’s program uses the natural connection to the café located in the carriage house and thus allows also seating. The object is divided into three parts, and mainly thanks to the choice of different activities for the differently aged children from the youngest with access only with the parents to the oldest, where more demanding activities are expected for the greater autonomy of children.
English Park
Part of the overall modifications was also the resolution of the English park, where the main emphasis is placed on the element of water. Since there were water elements in the park in the past, we tried to restore them. The water element naturally starts at the highest point where the chateau pond is preserved. The water management route starts from the greatest distance between the trees and is designed using computer technology with Voronoi geometry. The route of the water element ends in a grotto, which we restored according to the original documentation. The route of the water element is completed in a grotto, which we have restored according to the original documentation. The English Park was disturbed by a large monumental stage from the 1950s, which we have removed and replaced by a mobile alternative, which enables the stage to be built from mobile parts. Within the resolution of the entire park, several small elements were further designed, such as an aviary for peacocks, which is based on the shape of a bushel on which peasants can sit. Another small element is benches representing a kind of crystal, inspired by the chateau sgraffito.
Material Used :
1. Translucent laminate
2. Steel
#Czech_Republic , #castle , #UNESCO , #world_heritage_convention , #park ,
#landscape , #interior_design , #multifunction , #school , #children
@revitalization
NO.134
Castillo De La Luz Museum / Nieto Sobejano Arquitectos
MUSEUM
•
LAS PALMAS DE GRAN CANARIA, SPAIN
Architects: Nieto Sobejano Arquitectos
Year: 2013
Client: Ministry of Public Works of Spain
Property: Municipality of Las Palmas de Gran Canaria
Project Architect: Pedro Quero, Alexandra Sobral
Collaborators: Carlos Ballesteros, lago Blanco, Mauro Herrero, Juan Carlos Redondo
Site Management: Nieto Sobejano Arquitectos, S.L.P., Fuensanta Nieto – Enrique Sobejano, Miguel Mesas Izquierdo, José Mena, Edward Lynch, Aparejadores
Structures: N.B.35, S.L.
Facilities: Aguilera Ingenieros, S.A.
Models: Nieto Sobejano Arquitectos, S.L.P.
Project Date: 2000 (1st Phase) , 2006 (2nd Phase)
Construction: 2003-2004 (1st Phase), 2006-2013 (2nd Phase)
Construction Company: Dragados, S.A. (1st Phase), Trycsa_Técnicas de la Restauración y Construcciones, S.A. (2nd Phase)
Prize: Mention Prize Arquitectura Española 2015. CSCAE
The first governor of the Canary Islands ordered the construction of a tower at the end of the fifteenth century, and when it was extended a few years later, the space located between the tower and the new perimeter walls was filled with earth to increase the building’s strength and resistance. That purely defensive need would become the structuring argument of our architectural proposal for the Castillo de La Luz. Located in La Isleta, the isthmus at which the Castilian ships protecting the city arrived, it concealed those primitive walls originally beaten by the sea. The passage of time affected not only its initial use and preservation, but also the conditions of its closest environment: the old coastal fortress that was wrapped by the water during high tide became gradually surrounded by the structures of the port and the growing city of Las Palmas. After being involved in battles at the end of the sixteenth century -in which the city was plundered, burnt, and rebuilt- the fortress retained its military role but gradually declined, reaching the twentieth century in a state of ruin. In the 1960s, however, it was partially reconstructed to become an exhibition gallery.
When undertaking the project to build in the historic castle, which was to be transformed into a new exhibition space equipped with the installations appropriate to a contemporary museum, we decided to begin with a close reading of the circumstances of its past. If, for five centuries, the space between the outer walls and the original tower had remained hidden, filled with earth, our task essentially consisted in emptying it and recovering the view of the primitive fortress, transformed now into the protagonist of the new museum. Where once there was only hardpan, a space up to now concealed from view, a void emerged, covered with a white concrete slab that is separated from the stone walls of the old tower to let natural light pass through narrow skylights. On the exterior, a recently built, fake perimeter pit has been dismantled to free up a vast surface of the terrain on the original, ground level of the fortress, revealing its full dimensions. A new, partially buried pavilion adds complementary spaces for the museum: access, shop, restrooms, storage, and multipurpose hall. A thin horizontal platform that barely emerges from the terrain will be the only visible trace of an intervention that aims at going unnoticed adjacent to the building it serves and complements.
Any contemporary intervention in historical heritage generates a difficult relationship. On occasions like this one it becomes the expression of a direct and clear response to the apparently insignificant circumstances, which simply demanded one fundamental action. Rather than rebuilding or renovating the Castillo de La Luz (“castle of light”), we merely emptied it, revealing its concealed past, now transformed into a space filled with light -as if paying tribute to its name- by means of an architecture that displays itself and its own history.
#Spain, #museum , #interior_design , #tower , #castle , #corten , #prize , #lighting , #park , #landmark
@revitalization
Castillo De La Luz Museum / Nieto Sobejano Arquitectos
MUSEUM
•
LAS PALMAS DE GRAN CANARIA, SPAIN
Architects: Nieto Sobejano Arquitectos
Year: 2013
Client: Ministry of Public Works of Spain
Property: Municipality of Las Palmas de Gran Canaria
Project Architect: Pedro Quero, Alexandra Sobral
Collaborators: Carlos Ballesteros, lago Blanco, Mauro Herrero, Juan Carlos Redondo
Site Management: Nieto Sobejano Arquitectos, S.L.P., Fuensanta Nieto – Enrique Sobejano, Miguel Mesas Izquierdo, José Mena, Edward Lynch, Aparejadores
Structures: N.B.35, S.L.
Facilities: Aguilera Ingenieros, S.A.
Models: Nieto Sobejano Arquitectos, S.L.P.
Project Date: 2000 (1st Phase) , 2006 (2nd Phase)
Construction: 2003-2004 (1st Phase), 2006-2013 (2nd Phase)
Construction Company: Dragados, S.A. (1st Phase), Trycsa_Técnicas de la Restauración y Construcciones, S.A. (2nd Phase)
Prize: Mention Prize Arquitectura Española 2015. CSCAE
The first governor of the Canary Islands ordered the construction of a tower at the end of the fifteenth century, and when it was extended a few years later, the space located between the tower and the new perimeter walls was filled with earth to increase the building’s strength and resistance. That purely defensive need would become the structuring argument of our architectural proposal for the Castillo de La Luz. Located in La Isleta, the isthmus at which the Castilian ships protecting the city arrived, it concealed those primitive walls originally beaten by the sea. The passage of time affected not only its initial use and preservation, but also the conditions of its closest environment: the old coastal fortress that was wrapped by the water during high tide became gradually surrounded by the structures of the port and the growing city of Las Palmas. After being involved in battles at the end of the sixteenth century -in which the city was plundered, burnt, and rebuilt- the fortress retained its military role but gradually declined, reaching the twentieth century in a state of ruin. In the 1960s, however, it was partially reconstructed to become an exhibition gallery.
When undertaking the project to build in the historic castle, which was to be transformed into a new exhibition space equipped with the installations appropriate to a contemporary museum, we decided to begin with a close reading of the circumstances of its past. If, for five centuries, the space between the outer walls and the original tower had remained hidden, filled with earth, our task essentially consisted in emptying it and recovering the view of the primitive fortress, transformed now into the protagonist of the new museum. Where once there was only hardpan, a space up to now concealed from view, a void emerged, covered with a white concrete slab that is separated from the stone walls of the old tower to let natural light pass through narrow skylights. On the exterior, a recently built, fake perimeter pit has been dismantled to free up a vast surface of the terrain on the original, ground level of the fortress, revealing its full dimensions. A new, partially buried pavilion adds complementary spaces for the museum: access, shop, restrooms, storage, and multipurpose hall. A thin horizontal platform that barely emerges from the terrain will be the only visible trace of an intervention that aims at going unnoticed adjacent to the building it serves and complements.
Any contemporary intervention in historical heritage generates a difficult relationship. On occasions like this one it becomes the expression of a direct and clear response to the apparently insignificant circumstances, which simply demanded one fundamental action. Rather than rebuilding or renovating the Castillo de La Luz (“castle of light”), we merely emptied it, revealing its concealed past, now transformed into a space filled with light -as if paying tribute to its name- by means of an architecture that displays itself and its own history.
#Spain, #museum , #interior_design , #tower , #castle , #corten , #prize , #lighting , #park , #landmark
@revitalization
The new intervention in the Moritzburg Castle aims at protecting the ruins that have represented it for centuries. It does so by keeping the existing building intact, and superimposing a light structure that evokes the works displayed inside. The works of Caspar David Friedrich, El Lissitzky, Edvard Munch, and Klee from the original collection are now accompanied by those of Kirchner, Erich Heckel, and Emil Nolde, donated by Hermann Gerlinger, the owner of one of the most valuable private collections devoted to the Expressionist group Die Brücke, whose presence in the new halls of the museum compensates, in a sense, for the looting that occurred during Nazism and World War II. The pictures of the exhibition are thus incorporated into the new expansion, where, in our imagination, the museum’s architecture, its history, and its contents all merge into a circular process. It is a strange feeling that, since the project’s completion, makes us pause whenever we have returned to visit the castle.
#Germany , #castle, #ruin, #museum , #roof , #lighting ,#interior_design , #palace, #extention
@revitalization
#Germany , #castle, #ruin, #museum , #roof , #lighting ,#interior_design , #palace, #extention
@revitalization
NO.147
Castello di Rivoli-Castle of Rivoli - MUSEUM OF CONTEMPORARY ART
/ Andrea Bruno
LOCATION: Turin, Rivoli - ITALY
ARCHITECT: Andrea Bruno
Year: 1984
PROPERTY: Common Of Rivoli
DEALER / CONTRACT: "Rivoli Castle - Museum Of Contemporary Art" Cultural Association
CategoryConcessionaires / Assignees Of Public Cultural Goods Or Institutes And Places Of Culture Belonging To The Public (Ex Resolutions / Interpelli AE)
Museum of Contemporary Art
Between past, present and future
Starting out in the 11th century as a military stronghold, the Castle of Rivoli is now home to the Museum of Contemporary Art which has a prestigious permanent collection and occasional major exhibitions in an original historical and architectural context.
Owned by the Savoy since 1247, the castle was the first court of the Duchy of Savoy. In the 1600s it was transformed into courtly residence by Carlo and Amedeo di Castellamonte. The complex also gained the "Manica Lunga", the art gallery of dukes, more than 140 metres long.
In the 1700s, Victor Amadeus II commissioned Juvarra to produce a grandiose rebuilding project, works that were never to be concluded. The incompletion of the construction, emphasised by the restora-tion by Andrea Bruno in 1980s, has created an evocative line of continuity extending from the past, to the present and future.
The first renovation works of the Castello di Rivoli were made by the young Turinese architect An-drea Bruno to mark the centenary of the Unification of Italy in 1961. Unfortunately, at that time the budget was only sufficient to repair structural damage. Some years later, in 1967, Bruno proceeded to demolish the decaying parts of the atrium built in the early 20th century. By 1978, the building was in terrible condition: water infiltration had damaged the walls, ceilings, frescos, and stuccos, causing the first collapses. This led the Region of Piedmont to pledge to take care of the building for 30 years, re-storing it and opening it to the public. The works started in 1979 and ended with the Museum’s inau-guration on 18 December 1984.
Bruno decided to keep the surviving historical traces, giving importance to all the moments in the Castle’s life, starting from the Juvarra building site, passing through Carlo Randoni’s work in the late 18th century, up until the interventions made by the military in the 20th century. Bruno avoided falsifi-cations and completions, respecting the original architecture, which became a true image of the histo-ry of the building and the vicissitudes of the structure. He preserved the internal and external decora-tions, stuccos and paintings damaged by the ravages of time and the carelessness of men.
To give visitors a sense of the Savoy residence, Bruno restored two rooms, one on the first floor made during the Juvarra’s period, and the second in the Duke of Aosta’s apartment. He enhanced the unfin-ished atrium, installed the panorama that juts out from the great brick wall of the Castle, and con-ceived the great suspended staircase, as well as the walkway over the great vault of room 18, putting the past and the present in dialogue. Some rooms have no decorations, while several are richly orna-mented with details that recall the splendours of the dynasty and important moments in Rivoli’s histo-ry.
Some time later, works started on the Manica Lunga, which was to become once again a space for ex-hibitions. Here, the staircases and the lift are external, and they have been made in steel and glass to allow visitors to observe the whole unfinished structure. Bruno used modern materials for the new structures, becoming a pioneer of reversibility, and again stressing the relationship between present and past. In Rivoli, the historic building and contemporary forms interact together, while the frescoes dialogue with the work of today’s artists.
#Italy, #castle ,#interior_design , #museum , #lighting , #gallery , #stair
@revitalization
Castello di Rivoli-Castle of Rivoli - MUSEUM OF CONTEMPORARY ART
/ Andrea Bruno
LOCATION: Turin, Rivoli - ITALY
ARCHITECT: Andrea Bruno
Year: 1984
PROPERTY: Common Of Rivoli
DEALER / CONTRACT: "Rivoli Castle - Museum Of Contemporary Art" Cultural Association
CategoryConcessionaires / Assignees Of Public Cultural Goods Or Institutes And Places Of Culture Belonging To The Public (Ex Resolutions / Interpelli AE)
Museum of Contemporary Art
Between past, present and future
Starting out in the 11th century as a military stronghold, the Castle of Rivoli is now home to the Museum of Contemporary Art which has a prestigious permanent collection and occasional major exhibitions in an original historical and architectural context.
Owned by the Savoy since 1247, the castle was the first court of the Duchy of Savoy. In the 1600s it was transformed into courtly residence by Carlo and Amedeo di Castellamonte. The complex also gained the "Manica Lunga", the art gallery of dukes, more than 140 metres long.
In the 1700s, Victor Amadeus II commissioned Juvarra to produce a grandiose rebuilding project, works that were never to be concluded. The incompletion of the construction, emphasised by the restora-tion by Andrea Bruno in 1980s, has created an evocative line of continuity extending from the past, to the present and future.
The first renovation works of the Castello di Rivoli were made by the young Turinese architect An-drea Bruno to mark the centenary of the Unification of Italy in 1961. Unfortunately, at that time the budget was only sufficient to repair structural damage. Some years later, in 1967, Bruno proceeded to demolish the decaying parts of the atrium built in the early 20th century. By 1978, the building was in terrible condition: water infiltration had damaged the walls, ceilings, frescos, and stuccos, causing the first collapses. This led the Region of Piedmont to pledge to take care of the building for 30 years, re-storing it and opening it to the public. The works started in 1979 and ended with the Museum’s inau-guration on 18 December 1984.
Bruno decided to keep the surviving historical traces, giving importance to all the moments in the Castle’s life, starting from the Juvarra building site, passing through Carlo Randoni’s work in the late 18th century, up until the interventions made by the military in the 20th century. Bruno avoided falsifi-cations and completions, respecting the original architecture, which became a true image of the histo-ry of the building and the vicissitudes of the structure. He preserved the internal and external decora-tions, stuccos and paintings damaged by the ravages of time and the carelessness of men.
To give visitors a sense of the Savoy residence, Bruno restored two rooms, one on the first floor made during the Juvarra’s period, and the second in the Duke of Aosta’s apartment. He enhanced the unfin-ished atrium, installed the panorama that juts out from the great brick wall of the Castle, and con-ceived the great suspended staircase, as well as the walkway over the great vault of room 18, putting the past and the present in dialogue. Some rooms have no decorations, while several are richly orna-mented with details that recall the splendours of the dynasty and important moments in Rivoli’s histo-ry.
Some time later, works started on the Manica Lunga, which was to become once again a space for ex-hibitions. Here, the staircases and the lift are external, and they have been made in steel and glass to allow visitors to observe the whole unfinished structure. Bruno used modern materials for the new structures, becoming a pioneer of reversibility, and again stressing the relationship between present and past. In Rivoli, the historic building and contemporary forms interact together, while the frescoes dialogue with the work of today’s artists.
#Italy, #castle ,#interior_design , #museum , #lighting , #gallery , #stair
@revitalization
NO.150
Blencowe Hall / Graham K Norman Architect
Blencowe, Cumbria, England
Architect: Graham K Norman Architect
Year: 2009
Client: Blencow Hall Partners
Service: Architecture: Historic Buildings
Awards
• RIBA Northern Network Award (Silver) (2011)
• Northern Design Awards, Best Property of the Year (2011)
• RICS International Award for Conservation (2010)
• Civic Trust Award (2010)
• RICS NW Building of the Year Award, Eden District Design Award (2010)
• North West Regional Construction Heritage Award (2009, Commendation)
Blencowe Hall was renovated in 2007 and 2008 with English Heritage approval to bring the North and South towers back in to use as holiday accommodation. Blencowe Hall is a Grade 1 listed building which means it is exceptional interest, sometimes considered to be internationally important (only 2.5% of listed buildings in England are classified Grade I).
It comprises a central range with 16th century fortified towers at each end. The towers had become roofless and derelict, resulting in the house being added to the ‘Buildings at Risk’ Register. The serious structural damage to the south tower was stabilised, as was the large gash in the east elevation, and wooden balconies were inserted. Featured in English Heritage’s Constructive Conservation, this project shows how a part-derelict building can be given a new life while retaining its historic character.
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The overall vision was to refurbish the buidling sympathetically whilst bringing it up to modern standards to fulfill its new role as a prestigious holiday home for groups of up to 24 persons.
The gash in the wall to the SouthTower ruin that made it such a spectacle would remain in the new proposal but now behind it would be a wall of glass and discrete steel structure with small balconies with glass balustrading at First and Second floor level for the inhabitants to enjoy the view.
In both towers, accommodation has been reinstated with floors relating to existing fireplace posi-tions. Existing stone staircases formerly open to the air, were now made water tight with new 'cap houses' at Third floor level which provide access to the new lead roofs. The missing North Tower embattled parapet have been rebuilt in salvaged matching stone recovered from the site.
All windows have been replaced with new metal thin profile units with a brown/black powder coated finish. New external doors, floors and floor beams have been made from oak. Internal walls are finished in lime plaster and painted with a proprietary limewash paint. New 'flat' roof structures and hidden gutters to the North and South towers are finished in lead.
The existing heating system has been overhauled with a new oil fired system feeding under floor heating at Ground floor level and radiators at First floor level. The existing drainage system has been abandoned and replace with a new state of the art reed bed system with treated water discharging into a new wildlife pond on land adjacent to the building. A considered landscaping strategy of judicial tree planting has been incorporated to create an appropriate setting for the building.
It would once have been standard conservation practise to leave both towers at Blencowe Hall as ruins, but English Heritage supported the clients desire to bring these structures back into use,- a building that is being maintained because people use it has far better long term prospects than one from where the inhabitants derive no practical benefit.
English Heritage has recognised it as among the top 20 exemplar conservation projects of recent years, and is identified in their publication 'Constructive Conservation in Practice' as a project that demonstrates a new forward thinging way of rescuing ruins or delapidated building as part of re-generation.
#UK , #house, #interior_design , #stair , #glass , #castle , #hall , #tower , #hotel , #ruin
@revitalization
Blencowe Hall / Graham K Norman Architect
Blencowe, Cumbria, England
Architect: Graham K Norman Architect
Year: 2009
Client: Blencow Hall Partners
Service: Architecture: Historic Buildings
Awards
• RIBA Northern Network Award (Silver) (2011)
• Northern Design Awards, Best Property of the Year (2011)
• RICS International Award for Conservation (2010)
• Civic Trust Award (2010)
• RICS NW Building of the Year Award, Eden District Design Award (2010)
• North West Regional Construction Heritage Award (2009, Commendation)
Blencowe Hall was renovated in 2007 and 2008 with English Heritage approval to bring the North and South towers back in to use as holiday accommodation. Blencowe Hall is a Grade 1 listed building which means it is exceptional interest, sometimes considered to be internationally important (only 2.5% of listed buildings in England are classified Grade I).
It comprises a central range with 16th century fortified towers at each end. The towers had become roofless and derelict, resulting in the house being added to the ‘Buildings at Risk’ Register. The serious structural damage to the south tower was stabilised, as was the large gash in the east elevation, and wooden balconies were inserted. Featured in English Heritage’s Constructive Conservation, this project shows how a part-derelict building can be given a new life while retaining its historic character.
---------
The overall vision was to refurbish the buidling sympathetically whilst bringing it up to modern standards to fulfill its new role as a prestigious holiday home for groups of up to 24 persons.
The gash in the wall to the SouthTower ruin that made it such a spectacle would remain in the new proposal but now behind it would be a wall of glass and discrete steel structure with small balconies with glass balustrading at First and Second floor level for the inhabitants to enjoy the view.
In both towers, accommodation has been reinstated with floors relating to existing fireplace posi-tions. Existing stone staircases formerly open to the air, were now made water tight with new 'cap houses' at Third floor level which provide access to the new lead roofs. The missing North Tower embattled parapet have been rebuilt in salvaged matching stone recovered from the site.
All windows have been replaced with new metal thin profile units with a brown/black powder coated finish. New external doors, floors and floor beams have been made from oak. Internal walls are finished in lime plaster and painted with a proprietary limewash paint. New 'flat' roof structures and hidden gutters to the North and South towers are finished in lead.
The existing heating system has been overhauled with a new oil fired system feeding under floor heating at Ground floor level and radiators at First floor level. The existing drainage system has been abandoned and replace with a new state of the art reed bed system with treated water discharging into a new wildlife pond on land adjacent to the building. A considered landscaping strategy of judicial tree planting has been incorporated to create an appropriate setting for the building.
It would once have been standard conservation practise to leave both towers at Blencowe Hall as ruins, but English Heritage supported the clients desire to bring these structures back into use,- a building that is being maintained because people use it has far better long term prospects than one from where the inhabitants derive no practical benefit.
English Heritage has recognised it as among the top 20 exemplar conservation projects of recent years, and is identified in their publication 'Constructive Conservation in Practice' as a project that demonstrates a new forward thinging way of rescuing ruins or delapidated building as part of re-generation.
#UK , #house, #interior_design , #stair , #glass , #castle , #hall , #tower , #hotel , #ruin
@revitalization
For the consolidation of the walls and the formalization of the stairs, lime concrete is used in masse to achieve the chromatic and material similarity with the existing one, and reinforced with fibers, to achieve the structural stability required for use. public of the building.
#Spain, #castle, #structure, #tower, #archeology, #ruin , #stair , #lighting
@revitalization
#Spain, #castle, #structure, #tower, #archeology, #ruin , #stair , #lighting
@revitalization
Concrete paths. On the ground floor, we designed a network of marching areas and pavements from precise smooth pre-cast concrete boards laid down into individual areas. Pre-cast concrete is defined by rigorously straight Corten steel profiles that create a distance from uneven and ir-regular walls. The area between the precise profile and irregular walls is dumped by gravel that highlights both and conciliates irregularity with the uncompromising straight forefront.
Past and present. Our concept is based on respect towards the historical building and it pursues a major effort to preserve the castle’s authentic character. The palace gained an attractive sight-seeing route that allows the visitors to learn about the building history and enjoy the picturesque views from the footbridges on the upper levels of the castle what once used to be a roof. Contem-porary architecture does not compete with the historical building, rather it creates a cohesive unit in which all the elements, old and new go hand in hand.
#Czech, #castle, #interior_design, #lighting, #corten, #glass, #museum, #stair
@revitalization
Past and present. Our concept is based on respect towards the historical building and it pursues a major effort to preserve the castle’s authentic character. The palace gained an attractive sight-seeing route that allows the visitors to learn about the building history and enjoy the picturesque views from the footbridges on the upper levels of the castle what once used to be a roof. Contem-porary architecture does not compete with the historical building, rather it creates a cohesive unit in which all the elements, old and new go hand in hand.
#Czech, #castle, #interior_design, #lighting, #corten, #glass, #museum, #stair
@revitalization