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
Product Description. The Staircase is based on a steel frame construction, supported on the ruin at only four points to minimize damage on the historical monument. The sides and underside are clad in ash wood, specially treated with heat to maximize durability to up to 60 years without paint. The stairs and handrail are metal, painted in matt black to ensure maximum durability, since the site is at the coast and therefore under tough weather conditions. The stair was constructed in 7 large pieces in a workshop normally used for off-shore elements, and mounted in the tower ruin by crane. The building site was extremely challenging since the whole area is a cultural heritage and strictly protected, therefore, no damage to the tower was allowed and the process was closely monitored.
, #conservation , #tower , #Denmark , #landmark , #stair , #landscape , #archeology , #historic_site
@revitalization
, #conservation , #tower , #Denmark , #landmark , #stair , #landscape , #archeology , #historic_site
@revitalization
NO.50.
دانشکده هنر و معماری دانشگاه خلیج فارس، ایران، 1395
مکان : ایران، بوشهر
سال شروع پروژه : 1386
سال پایان فاز نخست : 1395
کارفرما : مشارکت ارگان های دولتی
با تشکر و سپاس فراوان از جناب آقای دکتر محمدسعید ایزدی که تصاویر و اطلاعات را برای نشر در اختیار کانال قرار دادند.
دوستان دیگر نیز چناچه اسناد و مدارکی درخصوص پروژه های با موضوعات مشابه داشته باشند با حفظ و ذکر نام ایشان منتشر خواهد شد.
#conservation , #restoration , #house , #adaption , #redevelop
#compatible_use , #interior , #culture , #revitalization , #lighting
#educated, #College, #addition, #extention
@revitalization
دانشکده هنر و معماری دانشگاه خلیج فارس، ایران، 1395
مکان : ایران، بوشهر
سال شروع پروژه : 1386
سال پایان فاز نخست : 1395
کارفرما : مشارکت ارگان های دولتی
با تشکر و سپاس فراوان از جناب آقای دکتر محمدسعید ایزدی که تصاویر و اطلاعات را برای نشر در اختیار کانال قرار دادند.
دوستان دیگر نیز چناچه اسناد و مدارکی درخصوص پروژه های با موضوعات مشابه داشته باشند با حفظ و ذکر نام ایشان منتشر خواهد شد.
#conservation , #restoration , #house , #adaption , #redevelop
#compatible_use , #interior , #culture , #revitalization , #lighting
#educated, #College, #addition, #extention
@revitalization
#Croatia , #square , #lighting , #plaza , #city_centre , #historical_centre , #archeology , #conservation , #tower , #landmark , #landscape , #historic_site , #ruin , #preserve
@revitalization
@revitalization
NO.104.
Art Shield Statue Conservation Pavilion / Hello Wood
PAVILION BUDAPEST, HUNGARY
• Architects: Hello Wood
• Year:2019
• Lead Architect: András Huszár
• Chief Designer: Péter Pozsár
• Design Architects: Tamás Fülöp, Péter Oravecz, Brückner Dóra
• Structural Engineer: Gábor Cséfalvay
• Constructor: Gábor Bognár
• Client: BFTK Budapest Festival and Tourism Centre (2019) on behalf of Mayor’s Office of Budapest
Project details
Width: 14,15 m
Depth: 9,00 m
Height: 10,65 m
Floor area: 112 m2
Art Shield - a new way of statue conservation
Our creative team designed and built a contemporary installation to protect one of Budapest’s most famous monuments from the frigid winters. Breaking the habit of covering the sculpture with a plastic sheet, a functional yet artistic pavilion came to life at the renewed Vörösmarty Square, located in the heart of the city. The Art Shield protects and highlights the monument at the same time, showing a new way of statue conservation. Although this is our first design that is mostly steel, it fits well with our previous works. During the design phase, we did not only focus on quality, but also on ensuring that the installation can be assembled and dismantled swiftly, and that it is also easy to transport and store. It’s important that the example of the spectacular conservational structure should be followed, therefore, we plan to deliver similar projects in the future.
Functional yet artistic
Our studio has approached the winterization of the monument in Vörösmarty tér from a fresh angle. One of the most frequented squares of Budapest has just emerged refreshed from renovation works, and the monument commemorating the rouser of the nation now also stands renewed. We have created a unique temporary space around the artwork, protecting it from the damaging effect of winter’s frost and thaw. Functionality served as our excuse to twist all ideas of statue conservation and crown the monument with 10-metre-tall steel pavilion of sacral overtones. The statue, now on display again in the winter season as well, and the pavilion together form the new gem of Vörösmarty tér and the Christmas Fair setting the example for other public spaces in Europe.
One of Budapest’s foremost attractions is the annual Advent and Christmas Fair in Vörösmarty tér and right in the middle of it stands the Vörösmarty monument. Having been carved from Carrara marble, this artwork is susceptible to damage by moisture and frost. The temporary installation will be dismantled at the end of the season; its elements can be reassembled in the square again next winter. The huge, arched structure owes its airy quality to its weatherproof steel sheets, while the transparent plexiglass facade protects it from the driving rain.
#Hungary, #lighting , #conservation , #statue , #landmark , #protection , #pavilion , #temporary , #installation, #transparent
@revitalization
Art Shield Statue Conservation Pavilion / Hello Wood
PAVILION BUDAPEST, HUNGARY
• Architects: Hello Wood
• Year:2019
• Lead Architect: András Huszár
• Chief Designer: Péter Pozsár
• Design Architects: Tamás Fülöp, Péter Oravecz, Brückner Dóra
• Structural Engineer: Gábor Cséfalvay
• Constructor: Gábor Bognár
• Client: BFTK Budapest Festival and Tourism Centre (2019) on behalf of Mayor’s Office of Budapest
Project details
Width: 14,15 m
Depth: 9,00 m
Height: 10,65 m
Floor area: 112 m2
Art Shield - a new way of statue conservation
Our creative team designed and built a contemporary installation to protect one of Budapest’s most famous monuments from the frigid winters. Breaking the habit of covering the sculpture with a plastic sheet, a functional yet artistic pavilion came to life at the renewed Vörösmarty Square, located in the heart of the city. The Art Shield protects and highlights the monument at the same time, showing a new way of statue conservation. Although this is our first design that is mostly steel, it fits well with our previous works. During the design phase, we did not only focus on quality, but also on ensuring that the installation can be assembled and dismantled swiftly, and that it is also easy to transport and store. It’s important that the example of the spectacular conservational structure should be followed, therefore, we plan to deliver similar projects in the future.
Functional yet artistic
Our studio has approached the winterization of the monument in Vörösmarty tér from a fresh angle. One of the most frequented squares of Budapest has just emerged refreshed from renovation works, and the monument commemorating the rouser of the nation now also stands renewed. We have created a unique temporary space around the artwork, protecting it from the damaging effect of winter’s frost and thaw. Functionality served as our excuse to twist all ideas of statue conservation and crown the monument with 10-metre-tall steel pavilion of sacral overtones. The statue, now on display again in the winter season as well, and the pavilion together form the new gem of Vörösmarty tér and the Christmas Fair setting the example for other public spaces in Europe.
One of Budapest’s foremost attractions is the annual Advent and Christmas Fair in Vörösmarty tér and right in the middle of it stands the Vörösmarty monument. Having been carved from Carrara marble, this artwork is susceptible to damage by moisture and frost. The temporary installation will be dismantled at the end of the season; its elements can be reassembled in the square again next winter. The huge, arched structure owes its airy quality to its weatherproof steel sheets, while the transparent plexiglass facade protects it from the driving rain.
#Hungary, #lighting , #conservation , #statue , #landmark , #protection , #pavilion , #temporary , #installation, #transparent
@revitalization
NO.136
The Museum Hotel Antakya / EAA – Emre Arolat Architecture
HOTELS, MUSEUM
•
ANTAKYA, TURKEY
• Architects: EAA - Emre Arolat Architecture
• Area: 34000 m²
• Year: 2019
• Manufacturers: AutoDesk, KEIM, Reynaers Aluminium, Häfele, Jotun, Vitra, SISECAM, Trimble
• Structural Engineering : Nodus Engineering
• Mechanical Engineering: Termomek Eng. & Besa Mech. Eng
• Electrical Engineering: HB Teknik Company
• Infrastructure: Proses Eng.
• Landscape: DS Architecture
• Façade Consultant: Axis Façade Istanbul,
• Wind Load Consultant : Alkazar Engineering & Consultancy,
• Acoustic : Danyal Karagozloglu
• Lighting : Studio Lighting Design
• Fire Consultant: Mustafa Ozgunler & Karina Design Services
• Building Survey, Documentation & Preservation Project Coordination : DS Architecture, M Project Architecture
• 3 D Scan Photogrammetric Documentation: Arc Tron GmbH
Perched Over 2,000-Year-Old Roman Mosaics and Ruins, This Hotel Takes a Bold Approach to Historic Preservation
Text description provided by the architects. Situated nearby the Saint Peter’s Church on Mount Starius in Antakya, that is claimed to have housed the first Christian congregation, the 199-room hotel is erected on a site of archaeological findings dating back to antiquity. The Museum Hotel Antakya pays homage to the amazing mosaics, baths, piazzas discovered during the first drills of the site and draws on the tensioned relationship of Archaeology and Architecture by intertwining the ancient and the modern.
An understanding of the unique context was a vital part of this project; becoming familiar with archaeological preservation, re-interpreting the architectural program of the -hotel typology- and making use of the modular building expertise made it possible to design a building that would fit within this place and to receive the approval of the Heritage Committee.
The structure and above all, the points of the structure were adapted according to the specific nods on the site where archaeological layers were washed off by a former riverbed. There are 66 composite columns, 120 cm in diameter, all interconnected into a steel grid to lift the rooms and common areas of the hotel off the ground.
The building can be considered at four different layers; the first being an open-air museum parkour at a level closest to the findings, the second the common public areas of the hotel; the lobby and the restaurant hovering over a scenery of the archaeological findings.
The third level is a cluster of prefab modules of hotel rooms and an open-air circulation which keeps the eye of the beholder on the exquisite landscape of mosaics all the time. Lastly, the canopy, which while protecting everything underneath, forms the ground for the Ballroom, Spa, Meeting Rooms and a Specialty Restaurant planned as pavilions and accompanied by tree filled courtyards as open communal areas with strong ties to the local context.
Taking inspiration from Antakya’s local history the project sought to meet two main objectives; one was to represent the amazing layers of civilizations in a way unprecedented; composed with the function of a hotel and the second was to make use of modern technologies along with more traditional materials in the interiors.
The building has a highly efficient passive ventilation system which eliminated the need for mechanical air conditioning in the circulation. Thanks to the omittance of the outer facade, air circulates freely between the footpaths and the rooms. The glass protective wall at the ground level was designed to harness the local prevailing winds and dust, keeping the archaeological findings safe.
#Turkey, #historic_site #museum , #hotel , #archeology , #ruin , #conservation, #extension , #excavation , #lighting , #interior_design , #mosaic
The Museum Hotel Antakya / EAA – Emre Arolat Architecture
HOTELS, MUSEUM
•
ANTAKYA, TURKEY
• Architects: EAA - Emre Arolat Architecture
• Area: 34000 m²
• Year: 2019
• Manufacturers: AutoDesk, KEIM, Reynaers Aluminium, Häfele, Jotun, Vitra, SISECAM, Trimble
• Structural Engineering : Nodus Engineering
• Mechanical Engineering: Termomek Eng. & Besa Mech. Eng
• Electrical Engineering: HB Teknik Company
• Infrastructure: Proses Eng.
• Landscape: DS Architecture
• Façade Consultant: Axis Façade Istanbul,
• Wind Load Consultant : Alkazar Engineering & Consultancy,
• Acoustic : Danyal Karagozloglu
• Lighting : Studio Lighting Design
• Fire Consultant: Mustafa Ozgunler & Karina Design Services
• Building Survey, Documentation & Preservation Project Coordination : DS Architecture, M Project Architecture
• 3 D Scan Photogrammetric Documentation: Arc Tron GmbH
Perched Over 2,000-Year-Old Roman Mosaics and Ruins, This Hotel Takes a Bold Approach to Historic Preservation
Text description provided by the architects. Situated nearby the Saint Peter’s Church on Mount Starius in Antakya, that is claimed to have housed the first Christian congregation, the 199-room hotel is erected on a site of archaeological findings dating back to antiquity. The Museum Hotel Antakya pays homage to the amazing mosaics, baths, piazzas discovered during the first drills of the site and draws on the tensioned relationship of Archaeology and Architecture by intertwining the ancient and the modern.
An understanding of the unique context was a vital part of this project; becoming familiar with archaeological preservation, re-interpreting the architectural program of the -hotel typology- and making use of the modular building expertise made it possible to design a building that would fit within this place and to receive the approval of the Heritage Committee.
The structure and above all, the points of the structure were adapted according to the specific nods on the site where archaeological layers were washed off by a former riverbed. There are 66 composite columns, 120 cm in diameter, all interconnected into a steel grid to lift the rooms and common areas of the hotel off the ground.
The building can be considered at four different layers; the first being an open-air museum parkour at a level closest to the findings, the second the common public areas of the hotel; the lobby and the restaurant hovering over a scenery of the archaeological findings.
The third level is a cluster of prefab modules of hotel rooms and an open-air circulation which keeps the eye of the beholder on the exquisite landscape of mosaics all the time. Lastly, the canopy, which while protecting everything underneath, forms the ground for the Ballroom, Spa, Meeting Rooms and a Specialty Restaurant planned as pavilions and accompanied by tree filled courtyards as open communal areas with strong ties to the local context.
Taking inspiration from Antakya’s local history the project sought to meet two main objectives; one was to represent the amazing layers of civilizations in a way unprecedented; composed with the function of a hotel and the second was to make use of modern technologies along with more traditional materials in the interiors.
The building has a highly efficient passive ventilation system which eliminated the need for mechanical air conditioning in the circulation. Thanks to the omittance of the outer facade, air circulates freely between the footpaths and the rooms. The glass protective wall at the ground level was designed to harness the local prevailing winds and dust, keeping the archaeological findings safe.
#Turkey, #historic_site #museum , #hotel , #archeology , #ruin , #conservation, #extension , #excavation , #lighting , #interior_design , #mosaic