NO.8.

Beyazıt State Library,Turkey,2015

•Architects: Tabanlioglu Architects
•Location: Istanbul, İstanbul, Turkey
•Design Team: Melkan Gürsel, Murat Tabanlıoğlu
•Project Year: 2015
•Photographs: Emre Dörter
•Architectural Project Team: Hande Pusat, Derya Genç, Irem Çatay, Kıvanç Cucur, Nazlı Tınaztepe, Deniz Manisalı
•Interior Design: Hande Pusat, Derya Genç, Irem Çatay, Kıvanç Cucur
•Restoration: Budowa Mimarlık, Yaman İrepoğlu,
•Structural: Celal Erdem
•Survey: Budowa Mimarlık, Yaman İrepoğlu,
•Mechanical: GN mühendislik
•Electrical: HB Teknik
•Lighting: Studio dinnebier

Tabanlıoğlu Architects, known for producing internationally relevant, contemporary architecture across the world has embarked on the restoration works of Istanbul’s oldest library, the Beyazit Public Library.
First founded in 1884, the State Library building was originally the soup kitchen and Caravanserai of a complex that included a kitchen, a primary school, a hospital, a madrasah and a hammam. The library is a section of the Kulliyah of the Beyazıt Mosque- the oldest surviving imperial mosque in the city- built by Sultan Beyazıt II and completed in 1506. The complex (Kulliyah) spatially surrounds and defines the historic Beyazıt Square.
Adjacent to Beyazıt Mosque, the Library is located in the Beyazıt Square that is connected to the spine of the historical peninsula, Divanyolu, and is one of the most vibrant spaces in the old part of the city.
The quarter, where the State Library sits, is infused with historical connections of a literary nature; the old-book bazaar (bouquiniste) that is set in a courtyard leads to Beyazıt Gate, one of the main entrances of the Grand Bazaar. The front façade of the library backs the monumental plane tree under which is the traditional open air coffee shop serving since the Ottoman times.
The exemplary updating and fine-tuning of the State Library involved the sensitive re-organization of the interior and careful restoration of the building fabric with its prominent multi-domed roof. In place of the former concrete roof, Tabanlioglu Architects installed a light and transparent inflatable membrane structure which covers the courtyard, filtering the daylight and providing a controlled atmosphere. In the renovated shell of the building, the black glass boxes devoted to the manuscripts, stand as a monolithic object of awe that are of a stark contrast to their surroundings.
Lighting Design by studio Dinnebier, echoes the spatial and historical qualities of the complex, introducing geometric harmony with its surroundings, while the soft lighting at the edges of the raised floor, that follows the wall contours introduce another layer of depth to the spaces.
The flow through the building was modified in order to best serve its modern function with the main entrance now through the courtyard. A modest extension, respectful of the scale of the existing building, has been added to the northeast façade of the existing Library. Modern Turkish publications sit on the second floor and periodicals on the first, while the ground level houses the rare book collection, publications in the Ottoman era and other Ottoman, Arabic and Persian manuscripts that are now kept in air conditioned transparent cabins exclusively designed to fit in the intense atmosphere while preserving the legacy.
The ‘minimal intervention’ approach ensures the spirit of the place survives while modern facilities are grafted onto the historic fabric.The project aims further for environmental betterment, and urban regeneration of the public realm by reviving all the traces and capacities, principally the Beyazıt Public Square.

#restoration , #public_library , #interior
#extension , #urban_regeneration , #lighting

https://telegram.me/revitalization

The geometric abstraction implicit in every architectural work appears in the proposal with the boldness of a contemporary installation in the public space, transformed into an apparently random sequence of conical intersections derived from a single, virtual three-dimensional figure. Curved glass surfaces with a continuous silkscreen print filter light towards the interior and, inversely, illuminate the square with artificial light at night. A cultural institution like the Joanneum Museum, on which the Kunsthaus Graz is dependent, thus expresses the changing relationship between art and city.
The square that centralizes the access to the museums is an unusual intervention in the urban space: a bet on the common action between plastic arts and architecture that will incorporate specific installations in collaboration with contemporary artists. The new extension goes almost unnoticed, concealed beneath the pavement that connects the historical buildings, as a materialization of a perforated horizon that expresses, and not only literally, that the depth of an architectural work can reside, unexpectedly, on its surface.

#museum , #extension , #conference_hall , #reading_area
#archive , #library , #art_gallery , #lighting

https://telegram.me/revitalization

NO.17

The Forum, United State, 2015

•Architects; Studio 804
•Location; Lawrence, KS, United States
•Area; 3000.0 ft2
•Project Year; 2015
•Photographs; James Ewing Photography
•Manufacturers; DNP Denmark AS, DOW, Elkay, GAF, Krownlab, Oldcastle BuildingEnvelope, Pacific Woodtech, Sedia Systems, Tate Access Flooring, Tremco, Tremco Roofing
•Collaborators; Nathan Brown, Renee Brune, Krista Cummins, AJ Dolph, Nicolas Elster, Jordan Goss, Ken Grothman, Christine Harwood, Ian Heath, Sara Lichti, Michael McKay, Josh Ostermann, Tim Ostrander, Ben Peek, Alyssa Sandroff, Aaron Sirna, David Versteeg, Jonathan Wilde

The Forum, located in the Architecture department of University of Kansas, was designed and built by students to meet the United States Green Building Council's Leadership in Energy and Environmental Design standard, LEED v2009 NC Platinum. This is the most stringent new-construction certification for sustainable-design that was in use by the USGBC during the building construction. It marked Studio804's seventh consecutive LEED Platinum building with several other outstanding architectural features. It includes a unique positive displacement ventilation system. On mild days during the year, the natural ventilation mode shuts down both the primary and outdoor air system, and cross ventilation is used to draw in fresh air through the space.
The perimeter skin is made up of two separate walls of insulated glass, three-and-a-half feet apart. The space between them provides room for the cedar louvers. Motorized dampers are located at the top and the bottom of the outer layer which permit cool air to enter in the summer when open. The louvers are controlled by a rooftop weather station and are programmed to track the sun. The living wall of ferns and begonias provides additional acoustic control for the lecture space by absorbing and dissipating sound and is watered from the cistern.
The lush vegetation helps to improve indoor air quality by naturally filtering toxins in the air. Besides these, setting up the LED lights, PV panels, water reclamation and usage of recycling materials are the other great aspects of this building. The construction had begun with the demolition of an outdoor workshop on the south side of the Architecture building. The existing shed housing the electric services had to remain in continual operation. As a result, the addition was carefully built above the existing mechanical room, and this became the site for the new glass-enclosed 121-seat auditorium and a 'Jury room' with a big common space at the entry.

#extension , #environmental , #new_construction , #energy
#ventilation , #light , #interior

https://telegram.me/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

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