The gallery building is fabricated from weathering steel, an alloy of steel that forms a stable oxide surface unlike typical steel from which the rust flakes off. The entire dendritic façade of the gallery is supported by the weathering steel frame made from flat stiffened plates branching out over the three-¬‐storey structure and supported off just two 120mm x 12mm steel posts with a stiffening rib on the rear face. Unusually however, and in a reversal of the usual structural hierarchy, the façade is also the main structural frame of the gallery and supports all the floors and roof, as well as providing stability. The 25 or so steel members in the façade are made up of a family of just three sizes; 120mm, 100mm and 70mm – all fabricated from flat plate and selected for each member subject to the load path and the forces that the member is subject to. The numerous connections (45+) were carefully coordinated and detailed to conceal the bolts. Because the façade is the structural frame and therefore outside the building envelope, the floor beams that connect to the façade are detailed with a thermal break in them at the glazing line. In effect the main floor beam stops at the glazing line and is supported off weathering steel plates cantilevered from the façade members.
#UK , #detail , #interior, #interior_design , #extention , #gallery , #facade , #corten_steel
@revitalization
#UK , #detail , #interior, #interior_design , #extention , #gallery , #facade , #corten_steel
@revitalization
In particular, the restoration work carried out in the 1950s has irreversibly modified the interior spaces, compromising the original identity of the basilica. The project of Fidone wanted to bring to light the traces of the ancient Byzantine frescoes, and introduced two new elements: the false ceiling in wood lamellas to recall the height of the barrel vault of the early Christian age, as well as to modulate the light inside; the entrance portal of the endonartece, made of corten steel, to allude to the original passage space.
A long work of recovery and reintegration of the building that of the architect Fidone, respecting the pre-existences. The same discovery of the material stratigraphy, from the frescoes to the pavement, intends to refer to the concept of 'ruined monument' to John Ruskin.
The Italian Heritage Award, in its first edition, was born from a project of the National Fidei Signa Onlus Association, and represents a real International Festival, dedicated to the protection and enhancement of the national artistic and cultural heritage.
#Italy , #church , #entrance , #door , #corten_steel
@revitalization
A long work of recovery and reintegration of the building that of the architect Fidone, respecting the pre-existences. The same discovery of the material stratigraphy, from the frescoes to the pavement, intends to refer to the concept of 'ruined monument' to John Ruskin.
The Italian Heritage Award, in its first edition, was born from a project of the National Fidei Signa Onlus Association, and represents a real International Festival, dedicated to the protection and enhancement of the national artistic and cultural heritage.
#Italy , #church , #entrance , #door , #corten_steel
@revitalization
NO.114
Delle Bonifiche Eco-Museum / Archiplanstudio
MUSEUM, RESTORATION, RENOVATION
•BONDANELLO, ITALY
• Architects: Archiplanstudio
• Area:400.0 m²
• Year:2019
• Manufacturers: Seplux, Maxin, Autodesk
• Clients: Amministarzione Comunale di Moglia
• Amministarzione Comunale Di Moglia: Stefano Mazzocchi
• Landscape: Stefano Gorni Silvestrini
The covering in corten was the last phase of the renovation of “Chiavicone Bondanello”, started in 2009. The building, with hydraulic function on “Cavo Fiuma”, was constructed in the XVIIth century and the actual aspect derives from a renovation in 1900. Furthermore in 1960 the building partially collapsed after the river overflow and it was reconstructed.
A new reticular steel structure with polycarbonate wall replace the volume that was destroyed; inside there is a polyfunctional space with the environment center of the Secchia river park.
The new covering in corten linked the restored facade with the new volume and show the stratification of the interventions. The perception of the facades is dynamic and changes from every different angles, emphasizing the historical facade, the relation with the contemporary intervention or also the strength of the oxidised steel.
The polycarbonate wall during the night works like a lamp that emphasize the social function of the building and make it a signal in the landscape.
#Italy , #hydraulic , #museum , #eco_museum #corten , #metal , #polycarbonate , #landscape , #stair
@revitalization
Delle Bonifiche Eco-Museum / Archiplanstudio
MUSEUM, RESTORATION, RENOVATION
•BONDANELLO, ITALY
• Architects: Archiplanstudio
• Area:400.0 m²
• Year:2019
• Manufacturers: Seplux, Maxin, Autodesk
• Clients: Amministarzione Comunale di Moglia
• Amministarzione Comunale Di Moglia: Stefano Mazzocchi
• Landscape: Stefano Gorni Silvestrini
The covering in corten was the last phase of the renovation of “Chiavicone Bondanello”, started in 2009. The building, with hydraulic function on “Cavo Fiuma”, was constructed in the XVIIth century and the actual aspect derives from a renovation in 1900. Furthermore in 1960 the building partially collapsed after the river overflow and it was reconstructed.
A new reticular steel structure with polycarbonate wall replace the volume that was destroyed; inside there is a polyfunctional space with the environment center of the Secchia river park.
The new covering in corten linked the restored facade with the new volume and show the stratification of the interventions. The perception of the facades is dynamic and changes from every different angles, emphasizing the historical facade, the relation with the contemporary intervention or also the strength of the oxidised steel.
The polycarbonate wall during the night works like a lamp that emphasize the social function of the building and make it a signal in the landscape.
#Italy , #hydraulic , #museum , #eco_museum #corten , #metal , #polycarbonate , #landscape , #stair
@revitalization
—————————
3S Studio has designed an "urban" walk without distorting the identity of an area which, for a strange paradox, has been maintained by being in a state of semi-abandonment for 40 years. The general objectives of the design , relating to the general themes were:
Give continuity to pedestrian paths
Increase the usability of the coastal stretch
Intervention reversibility
Low environmental impact materials
Increase in public green spaces and requalification of existing ones
Compatible tourism development "
————————————-
The cost per square meter (true evaluation parameter of public space projects) was very limited in the face of the complex interventions (including structural and concerning works at sea) subject to constraint, of the great final environmental quality.
All this is the result of the design strategies that have always privileged the real change of the boundary conditions, the activation of virtuous circles and the overall vision.
The materials usually used, simple but "safe", are the confirmation of how much the complexity / articulation of the spaces and the real usability of the new structures have been preferred over the decoration and richness of the finishes. They have thus obtainedimportant results in terms of:
extension of the project area
achievement of initially unforeseen results - effects on economic and tourist activities - environmental requalification
creation of new routes (such as that of the tunnel, previously inaccessible).
#Italy , #railway, #interior_design , #landscape ,#corten , #park , #tunnel , #lighting
@revitalization
3S Studio has designed an "urban" walk without distorting the identity of an area which, for a strange paradox, has been maintained by being in a state of semi-abandonment for 40 years. The general objectives of the design , relating to the general themes were:
Give continuity to pedestrian paths
Increase the usability of the coastal stretch
Intervention reversibility
Low environmental impact materials
Increase in public green spaces and requalification of existing ones
Compatible tourism development "
————————————-
The cost per square meter (true evaluation parameter of public space projects) was very limited in the face of the complex interventions (including structural and concerning works at sea) subject to constraint, of the great final environmental quality.
All this is the result of the design strategies that have always privileged the real change of the boundary conditions, the activation of virtuous circles and the overall vision.
The materials usually used, simple but "safe", are the confirmation of how much the complexity / articulation of the spaces and the real usability of the new structures have been preferred over the decoration and richness of the finishes. They have thus obtainedimportant results in terms of:
extension of the project area
achievement of initially unforeseen results - effects on economic and tourist activities - environmental requalification
creation of new routes (such as that of the tunnel, previously inaccessible).
#Italy , #railway, #interior_design , #landscape ,#corten , #park , #tunnel , #lighting
@revitalization
According to Will Gamble Architects, the original Parchment Works was built on the site because of a natural spring that runs under the building. This water was used to clean the hides from which the parchment was made, by lowering them into a series of baths.
As part of the project, the studio opened up one of these underground baths to create a water feature. This also doubles as a dry well to dispose of surface runoff.
#UK , #house, #interior_design , #landscape , #extention , #cattle , #corten , #glass
@revitalization
As part of the project, the studio opened up one of these underground baths to create a water feature. This also doubles as a dry well to dispose of surface runoff.
#UK , #house, #interior_design , #landscape , #extention , #cattle , #corten , #glass
@revitalization
The interior of the tower was significantly altered in recent years. The projects objective was to remove all the additions, close newly made openings and remove the plaster coating that hid the original fabric. The original interior staircase, which was partially demolished, is rebuilt based on the typology found in similar towers.
The floor was covered with late twenty century tiles that were taken out: a new floating wood floor is placed instead, detached from the original walls.
After removing the plaster coating on the walls, the original brick fabric emerged.
The use of colour and materials in the interior intend to create a warm, welcoming feeling in contrast with the hash, introverted nature of the building’s exterior.
This simple yet emphatic intervention is intended to show the strength of an ageless construction, made by anonymous builders with simple materials, as well as to emphasize the provisional, light, degradable nature of the contemporary.
#Spain , #landscape , #tower , #open_air, #public_space , #landmark , #extension , #corten , #archeology
@revitalization
The floor was covered with late twenty century tiles that were taken out: a new floating wood floor is placed instead, detached from the original walls.
After removing the plaster coating on the walls, the original brick fabric emerged.
The use of colour and materials in the interior intend to create a warm, welcoming feeling in contrast with the hash, introverted nature of the building’s exterior.
This simple yet emphatic intervention is intended to show the strength of an ageless construction, made by anonymous builders with simple materials, as well as to emphasize the provisional, light, degradable nature of the contemporary.
#Spain , #landscape , #tower , #open_air, #public_space , #landmark , #extension , #corten , #archeology
@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
NO.139
Summer Stage at Kastav, Crekvina / Nenad Fabijanić
Extension
Location: Kastav, Croatia
• Architects: Nenad Fabijanić
• Area: 1680 m²
• Year: 2018
Design Team: Željko Pavlović
The rebuild design of the internal and external areas at the site Crekvina – Kastav is based on and inspired by archaeological remains of the baroque Jesuit Church of Holy Mary i.e. fragments of the wall and apsis of the never fully built and completed church. Its exact construction date has never been known and according to different sources it varies from the beginning to the end of the 18th century; it was built at the site of the previously demolished, considerably smaller Church of Holy Mary.
Today Crekvina is a plateau with a parking lot and a belvedere along its eastern boundary, with the remains of the sanctuary and the western wall of the nave with five chapels. In accordance with the brief, the design is conceived as bi-functional: in summer as a stage for the events of the Kastav Culture Summer and the rest of the time as a freely accessible square and a belvedere. The impressive construction remains form a spatial “shell”, an ideal stage for architectural artifacts, enable a unique spatial experience during the organization of public and cultural events.
This is a terrace, whose layout is defined by the typological pattern of the envisaged church and belvedere that enable the attraction of a view against a wide horizon. This project is aimed at proving the possibility of achieving a higher level in both functional and aesthetic sense. The points of departure are determined by the fact of the existing archaeological remains whose structure is preserved at the level of the original excavations and disburdened of additional hypothetic simulations of the “old” church (portals, openings, vestries, garages and the like). The newly designed structure in a contrasting shape and material is in all its elements detached from the original layers of walls and foundations.
#Croatia, #church, #ruin, #extention , #archeology , #lighying , #landmark , #corten
@revitalization
Summer Stage at Kastav, Crekvina / Nenad Fabijanić
Extension
Location: Kastav, Croatia
• Architects: Nenad Fabijanić
• Area: 1680 m²
• Year: 2018
Design Team: Željko Pavlović
The rebuild design of the internal and external areas at the site Crekvina – Kastav is based on and inspired by archaeological remains of the baroque Jesuit Church of Holy Mary i.e. fragments of the wall and apsis of the never fully built and completed church. Its exact construction date has never been known and according to different sources it varies from the beginning to the end of the 18th century; it was built at the site of the previously demolished, considerably smaller Church of Holy Mary.
Today Crekvina is a plateau with a parking lot and a belvedere along its eastern boundary, with the remains of the sanctuary and the western wall of the nave with five chapels. In accordance with the brief, the design is conceived as bi-functional: in summer as a stage for the events of the Kastav Culture Summer and the rest of the time as a freely accessible square and a belvedere. The impressive construction remains form a spatial “shell”, an ideal stage for architectural artifacts, enable a unique spatial experience during the organization of public and cultural events.
This is a terrace, whose layout is defined by the typological pattern of the envisaged church and belvedere that enable the attraction of a view against a wide horizon. This project is aimed at proving the possibility of achieving a higher level in both functional and aesthetic sense. The points of departure are determined by the fact of the existing archaeological remains whose structure is preserved at the level of the original excavations and disburdened of additional hypothetic simulations of the “old” church (portals, openings, vestries, garages and the like). The newly designed structure in a contrasting shape and material is in all its elements detached from the original layers of walls and foundations.
#Croatia, #church, #ruin, #extention , #archeology , #lighying , #landmark , #corten
@revitalization
NO.169
Rehabilitation of Roman Tabernae in the Trajan’s Market / Labics
INSTALLATIONS & STRUCTURES, HISTORIC PRESERVATION
•
ROMA, ITALY
Client: Municipality of Rome
Location: Imperial Forum, Rome
Program: New footpath for Trajan’s Forum & Renovation of the Roman Tabernae, Rome
Dates: 1999 - 2004
Gross floor area: 300 sqm (footpath) + 600 sqm (Tabernae)
Cost: 700,000 euro
Design: Nemesi Studio (Maria Claudia Clemente, Michele Molé)
Labics (Maria Claudia Clemente, Francesco Isidori, Marco Sardella)
Architectural team: Daniele Durante, Federico Pitzalis
Consultants: Structural engineering: Studio Ingegneri Associati - Adelio Rossi, Eng.
Services: Riccardo Fibbi arch., Carolina de Camillis arch.
Trajan’s Market is the name given in the early 20th century CE to a complex of buildings in the imperial fora of Rome constructed in 107-110 CE during the reign of Trajan. The complex included a covered market, small shop fronts and a residential apartment block.
Built between the years 100 and 110 A.D, Trajan's Market is believed to be the first covered shopping mall in history.
The projects at Mercati di Traiano is composed of two different projects: the restoration and transformation of an ancient monument in a museal space, and the realization of a pedestrian walkway through Rome’s Imperial Forum.
The restoration and preservation work involved cleaning the ancient walls and stone facades and reintegrating the floors in all tabernae. New bronze floor plates were designed with a geometrical pattern taken from the site creating a background for sevelar smaller interventions, the most significant of which was the reintegration of a portal inside the first taberna and the construction of new public restrooms, both constructed in corteen steel.
The walkway at Campo Carleo re-create an original urban route through the Forum and offers improved disabled access to the site. It links the Forum to the Rione Monti or Suburra – the ancient Roman slums. The monumental wall on which the footpath is hung up is of unique archaeological importance, and the walkway has therefore been differentiated materially, structurally and formally and conceived as an independent and contemporary element. The walkway follows the ancient wall but is detached from it. In contrast to the mass of the ruins, the lightweight walkway is designed as a folded strip which hugs the wall, establishing an intimate and subtle relationship with the monument. Made from corten steel, the footpath blends with the chromatic atmosphere of the background Roman wall, while the discreet stainless steel railing cables ensure the primacy of perspective views across the site.
#Italy, #museum, #lighting, #ruin, #extention, #corten , #bazar , #market , #archeology
@revitalization
Rehabilitation of Roman Tabernae in the Trajan’s Market / Labics
INSTALLATIONS & STRUCTURES, HISTORIC PRESERVATION
•
ROMA, ITALY
Client: Municipality of Rome
Location: Imperial Forum, Rome
Program: New footpath for Trajan’s Forum & Renovation of the Roman Tabernae, Rome
Dates: 1999 - 2004
Gross floor area: 300 sqm (footpath) + 600 sqm (Tabernae)
Cost: 700,000 euro
Design: Nemesi Studio (Maria Claudia Clemente, Michele Molé)
Labics (Maria Claudia Clemente, Francesco Isidori, Marco Sardella)
Architectural team: Daniele Durante, Federico Pitzalis
Consultants: Structural engineering: Studio Ingegneri Associati - Adelio Rossi, Eng.
Services: Riccardo Fibbi arch., Carolina de Camillis arch.
Trajan’s Market is the name given in the early 20th century CE to a complex of buildings in the imperial fora of Rome constructed in 107-110 CE during the reign of Trajan. The complex included a covered market, small shop fronts and a residential apartment block.
Built between the years 100 and 110 A.D, Trajan's Market is believed to be the first covered shopping mall in history.
The projects at Mercati di Traiano is composed of two different projects: the restoration and transformation of an ancient monument in a museal space, and the realization of a pedestrian walkway through Rome’s Imperial Forum.
The restoration and preservation work involved cleaning the ancient walls and stone facades and reintegrating the floors in all tabernae. New bronze floor plates were designed with a geometrical pattern taken from the site creating a background for sevelar smaller interventions, the most significant of which was the reintegration of a portal inside the first taberna and the construction of new public restrooms, both constructed in corteen steel.
The walkway at Campo Carleo re-create an original urban route through the Forum and offers improved disabled access to the site. It links the Forum to the Rione Monti or Suburra – the ancient Roman slums. The monumental wall on which the footpath is hung up is of unique archaeological importance, and the walkway has therefore been differentiated materially, structurally and formally and conceived as an independent and contemporary element. The walkway follows the ancient wall but is detached from it. In contrast to the mass of the ruins, the lightweight walkway is designed as a folded strip which hugs the wall, establishing an intimate and subtle relationship with the monument. Made from corten steel, the footpath blends with the chromatic atmosphere of the background Roman wall, while the discreet stainless steel railing cables ensure the primacy of perspective views across the site.
#Italy, #museum, #lighting, #ruin, #extention, #corten , #bazar , #market , #archeology
@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