NO.73.
Pinacoteca of the State of São Paulo / Paulo Mendes da Rocha + Eduardo Colonelli + Weliton Ricoy Torres
• Architects: Paulo Mendes da Rocha , Eduardo Colonelli , Weliton Ricoy Torres
• Location: Praça da Luz, 2 - Bom Retiro, Sao Paulo - SP, 01120-010, Brazil
• Original Project: Ramos de Azevedo
• Area: 10815.0 m2
• Year of the project: 1998
• Structure: Jorge Zaven Kurkdjian, Waldir Carlos Pomponio
• Installations: PEM Engineering
• Air conditioning: Thermoplan Engenharia Térmica Ltda.
• Lighting: Piero Castiglioni
• Acoustic Consultancy: Milton Granado
• Landscaping Consulting: Raquel Fabbri Ramos
• Consulting Conservation: Luiz A. C. Souza
• Date of Construction: 1896-1900
• Original Usage: Lyceum of Arts and Crafts
• Ground Area: 7,500 m²
The Pinacoteca de São Paulo is a museum of the visual arts with an emphasis on Brazilian art from the 19th century until today. Founded in 1905 by the Government of the State of Sao Paulo, belongs to the State Department of Culture and is the oldest art museum in the city. It is housed in the old building of Arts and Crafts School, designed at the end of the 19th century by the Ramos de Azevedo Architectural Office. By 1990s the building underwent a substantial refurbishment planned by architect Paulo Mendes da Rocha. The Pinacoteca original collection was formed by 26 works from what was then the State Museum, today Paulista Museum of the University of São Paulo. Pinacoteca spent its first 100 years gathering art works and has built up a significant collection that currently holds about 9,000 art works. It has gradually became also an contemporary art museum.
Pinacoteca presents about 30 exhibitions and receives approximately 500,000 visitors per year. The first floor receives temporary exhibitions and the second the long-term exhibition from the collection. The central area holds the Contemporary Art Octagon Project and on the ground floor are the technical facilities, the auditorium and the restaurant. Also on the second floor is the Tactile Gallery with 12 art works specially mounted so that visitors with visual handicaps can appreciate them independently, touching and obtaining information by means of labels and texts in braille, as well as with an audio guide.
On the ground floor there is an exhibition of Pinacoteca's history based on its Chronology and the art work from Victor Brecheret, called Via crucis, a group of 26 terracotta sculptures. The work developed by the Pinacoteca aims to improve public experiences with visual arts by studying, preserving and informing the public about its holdings, buildings and history, also by consolidating and increasing its collections and by encouraging artistic production.
#Brazil , #museum , #interior_design , #stair , #elevator
@revitalization
Pinacoteca of the State of São Paulo / Paulo Mendes da Rocha + Eduardo Colonelli + Weliton Ricoy Torres
• Architects: Paulo Mendes da Rocha , Eduardo Colonelli , Weliton Ricoy Torres
• Location: Praça da Luz, 2 - Bom Retiro, Sao Paulo - SP, 01120-010, Brazil
• Original Project: Ramos de Azevedo
• Area: 10815.0 m2
• Year of the project: 1998
• Structure: Jorge Zaven Kurkdjian, Waldir Carlos Pomponio
• Installations: PEM Engineering
• Air conditioning: Thermoplan Engenharia Térmica Ltda.
• Lighting: Piero Castiglioni
• Acoustic Consultancy: Milton Granado
• Landscaping Consulting: Raquel Fabbri Ramos
• Consulting Conservation: Luiz A. C. Souza
• Date of Construction: 1896-1900
• Original Usage: Lyceum of Arts and Crafts
• Ground Area: 7,500 m²
The Pinacoteca de São Paulo is a museum of the visual arts with an emphasis on Brazilian art from the 19th century until today. Founded in 1905 by the Government of the State of Sao Paulo, belongs to the State Department of Culture and is the oldest art museum in the city. It is housed in the old building of Arts and Crafts School, designed at the end of the 19th century by the Ramos de Azevedo Architectural Office. By 1990s the building underwent a substantial refurbishment planned by architect Paulo Mendes da Rocha. The Pinacoteca original collection was formed by 26 works from what was then the State Museum, today Paulista Museum of the University of São Paulo. Pinacoteca spent its first 100 years gathering art works and has built up a significant collection that currently holds about 9,000 art works. It has gradually became also an contemporary art museum.
Pinacoteca presents about 30 exhibitions and receives approximately 500,000 visitors per year. The first floor receives temporary exhibitions and the second the long-term exhibition from the collection. The central area holds the Contemporary Art Octagon Project and on the ground floor are the technical facilities, the auditorium and the restaurant. Also on the second floor is the Tactile Gallery with 12 art works specially mounted so that visitors with visual handicaps can appreciate them independently, touching and obtaining information by means of labels and texts in braille, as well as with an audio guide.
On the ground floor there is an exhibition of Pinacoteca's history based on its Chronology and the art work from Victor Brecheret, called Via crucis, a group of 26 terracotta sculptures. The work developed by the Pinacoteca aims to improve public experiences with visual arts by studying, preserving and informing the public about its holdings, buildings and history, also by consolidating and increasing its collections and by encouraging artistic production.
#Brazil , #museum , #interior_design , #stair , #elevator
@revitalization
NO.99.
New Access to Gironella's Historic Center / Carles Enrich
URBAN DESIGN, INFRASTRUCTURE
•
GIRONELLA, SPAIN
• Architects: Carles Enrich
• Year:2015
• Collaborators: Adriana Campmany, Àngel Rosales, Ada Sánchez
• Structure: MA+SAad
• Budget: Jaume Morro
• Project Promoter: Servei de Patrimoni Arquitectònic Local. Diputació de Barcelona.
• Constructor: Solà Cardona
Text description provided by the architects. Gironella is a municipality that has grown, during the last decades, divided by the river Llobregat. Its historic centre is located on top of a 20 metres high hill on the right bank of the river, where the medieval castle, whose wall is declared a BCIN, was set.
Edging
The modern part of Gironella is placed on the other side of the river, next to the road linking Barcelona with Berga, favoured by a more flat topography, which has allowed an expanding urban growth.
Urban discontinuity.
The 20 metres vertical break between the old and new parts of the town has generated a social fracture. Over the years, the historic centre has been depopulated due to difficulties in accessibility. The narrow stepped streets that lead to the Vila Square represent a huge effort to the elderly and the little ones.
The proposal involves the insertion of a new access to the historic centre to enhance the urban connectivity between the two parts of the town, boosting the use of the old town and avoiding social exclusion.
Cal Metre path recovery.
Gironella’s river facade is formed by a series of medieval remains that mean an architectural and historic heritage for the town, just as so are the industrial colonies of the early twentieth century along the river.
Our proposal seeks to be integrated respectfully as a new layer in the historical memory of the place. We suggest the location of an elevator in a strategic point of Cal Metre path, through where people used to get to the textile industries.
The elevator will improve the accessibility to the old town but it will also be a trigger to recover the use of this ancient river passage offering new urban continuity with the Vila Square public space.
Materiality.
Our intention is to dialog with all these pre-existences, enhancing a relation with the textile industries and recognizing the green stratum as a public space.
To this end we solve the case of the elevator with 3 materials: steel, ceramic and glass.
Structure.
The steel structure is done entirely in a local workshop and it is moved to the work area in 4 tranches that are definitely placed in 4 different days. It consists of 80.8 tubular columns and 80.8 tubular rings placed every 1.5 metres. Some L 100 profiles welded to the rings allow holding the ceramic lattice sections.
Porosity.
A ceramic lattice made by holed bricks placed on their side faces covers the 16 upper metres.
The choice of this enclosure material responds, on the one hand, to its role as a solar filter offering at the same time porosity, light entrance and ventilation to the elevator case. On the other hand, it dematerializes the case by letting the light go across it provoking an appearance of lightness that contrasts with the opacity that it is shown in a farther point of view.
Visual contact.
The lattice closes three of the four sides of the structure. The inner face is left open allowing a visual relation with the stone wall during the entire journey.
The lower 8 metres of the case have a glazed enclosure. Its transparency ensures a close relation with Cal Metre river path and its trees, which create a magnificent shadow area that changes with the seasons.
To favour the relationship between the elevator and the activities that take place in the square, the elevators façade towards it is made of glass.
#Spain , #public_space , #landmark, #structure , #urban_design , #infrastructure , #elevator , #accessibility
@revitalization
New Access to Gironella's Historic Center / Carles Enrich
URBAN DESIGN, INFRASTRUCTURE
•
GIRONELLA, SPAIN
• Architects: Carles Enrich
• Year:2015
• Collaborators: Adriana Campmany, Àngel Rosales, Ada Sánchez
• Structure: MA+SAad
• Budget: Jaume Morro
• Project Promoter: Servei de Patrimoni Arquitectònic Local. Diputació de Barcelona.
• Constructor: Solà Cardona
Text description provided by the architects. Gironella is a municipality that has grown, during the last decades, divided by the river Llobregat. Its historic centre is located on top of a 20 metres high hill on the right bank of the river, where the medieval castle, whose wall is declared a BCIN, was set.
Edging
The modern part of Gironella is placed on the other side of the river, next to the road linking Barcelona with Berga, favoured by a more flat topography, which has allowed an expanding urban growth.
Urban discontinuity.
The 20 metres vertical break between the old and new parts of the town has generated a social fracture. Over the years, the historic centre has been depopulated due to difficulties in accessibility. The narrow stepped streets that lead to the Vila Square represent a huge effort to the elderly and the little ones.
The proposal involves the insertion of a new access to the historic centre to enhance the urban connectivity between the two parts of the town, boosting the use of the old town and avoiding social exclusion.
Cal Metre path recovery.
Gironella’s river facade is formed by a series of medieval remains that mean an architectural and historic heritage for the town, just as so are the industrial colonies of the early twentieth century along the river.
Our proposal seeks to be integrated respectfully as a new layer in the historical memory of the place. We suggest the location of an elevator in a strategic point of Cal Metre path, through where people used to get to the textile industries.
The elevator will improve the accessibility to the old town but it will also be a trigger to recover the use of this ancient river passage offering new urban continuity with the Vila Square public space.
Materiality.
Our intention is to dialog with all these pre-existences, enhancing a relation with the textile industries and recognizing the green stratum as a public space.
To this end we solve the case of the elevator with 3 materials: steel, ceramic and glass.
Structure.
The steel structure is done entirely in a local workshop and it is moved to the work area in 4 tranches that are definitely placed in 4 different days. It consists of 80.8 tubular columns and 80.8 tubular rings placed every 1.5 metres. Some L 100 profiles welded to the rings allow holding the ceramic lattice sections.
Porosity.
A ceramic lattice made by holed bricks placed on their side faces covers the 16 upper metres.
The choice of this enclosure material responds, on the one hand, to its role as a solar filter offering at the same time porosity, light entrance and ventilation to the elevator case. On the other hand, it dematerializes the case by letting the light go across it provoking an appearance of lightness that contrasts with the opacity that it is shown in a farther point of view.
Visual contact.
The lattice closes three of the four sides of the structure. The inner face is left open allowing a visual relation with the stone wall during the entire journey.
The lower 8 metres of the case have a glazed enclosure. Its transparency ensures a close relation with Cal Metre river path and its trees, which create a magnificent shadow area that changes with the seasons.
To favour the relationship between the elevator and the activities that take place in the square, the elevators façade towards it is made of glass.
#Spain , #public_space , #landmark, #structure , #urban_design , #infrastructure , #elevator , #accessibility
@revitalization
NO.170
THE RECONSTRUCTION OF THE COLOSSEUM ARENA
ROMA, ITALY
A competition has been announced for the reconstruction of the Colosseum in Italy. The arena will become a platform for cultural events.
The idea of rebuilding the Colosseum arena was launched by archaeolo-gist Daniele Manacorda in 2014 and supported by Minister Franceschini, who had included the intervention in the Strategic Plan Great Cultural Projects in 2015 for a total funding of 18.5 million euros.
The UNESCO World Heritage Site is one of the most iconic structures in the world, with the Colosseum originally open in 80 A.D. and holding up to 35,000 Romans. Proposals for the renovation are due by 1February 2021. The new floor is expected to be installed by 2023.
Italy's government is seeking bids from engineers to rebuild the floor of the Colosseum in Rome and return it to its former glory.
The retractable floor is expected to feature trap doors and hidden lifts.
"The reconstruction... is a great idea which has gone around the world," Culture Minister Dario Franceschini said in a statement.
"It will be a major technological intervention that will offer visitors the opportunity to, not only see the underground rooms... but also appreciate the beauty of the Colosseum while standing in the center of the arena," he added.
The culture ministry said the redesigned floor, and any trap doors or mechanical components, must be able to close quickly in order to protect the underground spaces from rain.
A new floor would "allow the public to fully understand the use and function of this icon of the ancient world", the statement added.
The ministry said cultural events, such as concerts and theatres, could potentially be held in the Colosseum once the floor is installed.
Built 2,000 years ago, the Colosseum was the biggest amphitheater built in the Roman Em-pire, and hosted gladiatorial fights and other public entertainments.
It remains one of Italy's most famous landmarks, and about 7.6 million people visited the site in 2019.
#Italy, #arena, #lighting, #ruin, #archeology, #reconstruction, #elevator, #cultural_center, #amphitheater, #UNESCO, #landmark
@revitalization
THE RECONSTRUCTION OF THE COLOSSEUM ARENA
ROMA, ITALY
A competition has been announced for the reconstruction of the Colosseum in Italy. The arena will become a platform for cultural events.
The idea of rebuilding the Colosseum arena was launched by archaeolo-gist Daniele Manacorda in 2014 and supported by Minister Franceschini, who had included the intervention in the Strategic Plan Great Cultural Projects in 2015 for a total funding of 18.5 million euros.
The UNESCO World Heritage Site is one of the most iconic structures in the world, with the Colosseum originally open in 80 A.D. and holding up to 35,000 Romans. Proposals for the renovation are due by 1February 2021. The new floor is expected to be installed by 2023.
Italy's government is seeking bids from engineers to rebuild the floor of the Colosseum in Rome and return it to its former glory.
The retractable floor is expected to feature trap doors and hidden lifts.
"The reconstruction... is a great idea which has gone around the world," Culture Minister Dario Franceschini said in a statement.
"It will be a major technological intervention that will offer visitors the opportunity to, not only see the underground rooms... but also appreciate the beauty of the Colosseum while standing in the center of the arena," he added.
The culture ministry said the redesigned floor, and any trap doors or mechanical components, must be able to close quickly in order to protect the underground spaces from rain.
A new floor would "allow the public to fully understand the use and function of this icon of the ancient world", the statement added.
The ministry said cultural events, such as concerts and theatres, could potentially be held in the Colosseum once the floor is installed.
Built 2,000 years ago, the Colosseum was the biggest amphitheater built in the Roman Em-pire, and hosted gladiatorial fights and other public entertainments.
It remains one of Italy's most famous landmarks, and about 7.6 million people visited the site in 2019.
#Italy, #arena, #lighting, #ruin, #archeology, #reconstruction, #elevator, #cultural_center, #amphitheater, #UNESCO, #landmark
@revitalization