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
NO.82.
Coal Drops Yard / Heatherwick Studio
• Lead designer: Heatherwick Studio
• Location: Kings Cross, Londres, United Kingdom
• Design Director: Thomas Heatherwick
• Project Leader: Tamsin Green
• Area: 100000.0 ft2
• Project Year: 2015-2018
King's Cross Coal Drops Yard
Coal Drops Yard is a vibrant new shopping district at the centre of King’s Cross, home to over 50 stores, restaurants and cafés, bringing together a community of like-minded brands in a reimagined set of historic buildings and arches directly adjacent to Granary Square and Regent’s Canal. Coal Drops Yard was originally established in 1850 to handle the eight million tonnes of coal delivered to the capital each year, and was latterly the location of nightclubs Bagley’s and The Cross. The area is now reopening, reinvented by the acclaimed Heatherwick Studio, which has interwoven a contemporary design with the surviving structures, streets and rich ironwork of the original Victorian coal drops.
Text description provided by the architects. Long-time resident of King’s Cross, the studio has reinvented two heritage rail buildings from the 1850s as a new shopping district with close to 60 units, fully opening up the site to the public for the first time.
The project is the first major building completion in London for Heatherwick Studio and one of several large-scale developments in the capital that the studio is currently working on. These include a new major building for Google in King’s Cross that is currently under construction and the transformation of Olympia London.
In 2014, the studio was commissioned by King’s Cross Central Limited Partnership to radically rethink the site. The pair of elongated Victorian coal drops was built to receive coal from Northern England for distribution around London by barge and cart. But over the years the ornate cast-iron and brick structures had become partially derelict, serving light industry, warehousing, and nightclubs before partial abandonment in the 1990s.
The challenge was to transform the dilapidated buildings and long, angular site into a lively retail district where the public could gather and circulate.
The design extends the inner gabled roofs of the warehouses to link the two viaducts and define the yard, as well as creating fluid patterns of circulation. The flowing roofs, supported by an entirely new and highly technical freestanding structure interlaced within the heritage fabric, rise up and stretch towards each other until they touch. This forms an entirely new floating upper storey, a large covered outdoor space and a central focus for the entire site.
The studio’s design celebrates the specific texture and history of the Victorian industrial buildings while creating 100,000 sq ft of new retail area, as well as significant public space. The units vary in size (ranging from 160 sq ft, 1300 sq ft, 2500 sq ft to over 20,000 sq ft), accommodating a wide range of established and emerging brands, alongside new restaurants, bars and cafes.
With entrances at both ends of the site and scattered along Stable Street, the yard will become a new permeable and distinctive public space, contributing to the wider transformation of King’s Cross as a vibrant place to live, work, relax and study.
Glass: Scope of work
- 565 m2 graduated “zig-zag” glass facade with 8 m high insulation glazing
- 120 m2 ribbon roof lights
- 200 m2 transom/mullion facades to railway building gable ends
- 80 m2 walkable glass floor
Innovations / Challenges
- Special glass mounting brackets to accommodate the movements and tolerances of the freely suspended connecting bridge aka “Kissing Point”
- High building physics requirements e.g. transparency of the “zig-zag” glazing
- Three-dimensionally curved sheet metal cladding, following the form of the building
- Extremely high level of technical design input as hardly any part of the façade is the same
- Parametric 3D BIM model, design phase
#UK , #shop , #restaurant , #extention , #interior_design , #industrial , #public_space
@revitalization
Coal Drops Yard / Heatherwick Studio
• Lead designer: Heatherwick Studio
• Location: Kings Cross, Londres, United Kingdom
• Design Director: Thomas Heatherwick
• Project Leader: Tamsin Green
• Area: 100000.0 ft2
• Project Year: 2015-2018
King's Cross Coal Drops Yard
Coal Drops Yard is a vibrant new shopping district at the centre of King’s Cross, home to over 50 stores, restaurants and cafés, bringing together a community of like-minded brands in a reimagined set of historic buildings and arches directly adjacent to Granary Square and Regent’s Canal. Coal Drops Yard was originally established in 1850 to handle the eight million tonnes of coal delivered to the capital each year, and was latterly the location of nightclubs Bagley’s and The Cross. The area is now reopening, reinvented by the acclaimed Heatherwick Studio, which has interwoven a contemporary design with the surviving structures, streets and rich ironwork of the original Victorian coal drops.
Text description provided by the architects. Long-time resident of King’s Cross, the studio has reinvented two heritage rail buildings from the 1850s as a new shopping district with close to 60 units, fully opening up the site to the public for the first time.
The project is the first major building completion in London for Heatherwick Studio and one of several large-scale developments in the capital that the studio is currently working on. These include a new major building for Google in King’s Cross that is currently under construction and the transformation of Olympia London.
In 2014, the studio was commissioned by King’s Cross Central Limited Partnership to radically rethink the site. The pair of elongated Victorian coal drops was built to receive coal from Northern England for distribution around London by barge and cart. But over the years the ornate cast-iron and brick structures had become partially derelict, serving light industry, warehousing, and nightclubs before partial abandonment in the 1990s.
The challenge was to transform the dilapidated buildings and long, angular site into a lively retail district where the public could gather and circulate.
The design extends the inner gabled roofs of the warehouses to link the two viaducts and define the yard, as well as creating fluid patterns of circulation. The flowing roofs, supported by an entirely new and highly technical freestanding structure interlaced within the heritage fabric, rise up and stretch towards each other until they touch. This forms an entirely new floating upper storey, a large covered outdoor space and a central focus for the entire site.
The studio’s design celebrates the specific texture and history of the Victorian industrial buildings while creating 100,000 sq ft of new retail area, as well as significant public space. The units vary in size (ranging from 160 sq ft, 1300 sq ft, 2500 sq ft to over 20,000 sq ft), accommodating a wide range of established and emerging brands, alongside new restaurants, bars and cafes.
With entrances at both ends of the site and scattered along Stable Street, the yard will become a new permeable and distinctive public space, contributing to the wider transformation of King’s Cross as a vibrant place to live, work, relax and study.
Glass: Scope of work
- 565 m2 graduated “zig-zag” glass facade with 8 m high insulation glazing
- 120 m2 ribbon roof lights
- 200 m2 transom/mullion facades to railway building gable ends
- 80 m2 walkable glass floor
Innovations / Challenges
- Special glass mounting brackets to accommodate the movements and tolerances of the freely suspended connecting bridge aka “Kissing Point”
- High building physics requirements e.g. transparency of the “zig-zag” glazing
- Three-dimensionally curved sheet metal cladding, following the form of the building
- Extremely high level of technical design input as hardly any part of the façade is the same
- Parametric 3D BIM model, design phase
#UK , #shop , #restaurant , #extention , #interior_design , #industrial , #public_space
@revitalization
Jan Merk, the president of the Association of the Museums of Baden Württemberg, has highlighted the significance of the building in the museum landscape of the federal state dominated by community-run institutions. He described the project as a highly successful combination of the Traditional and the Modern that fulfils the mission of a museum to collect, preserve and communicate, but furthermore acts as a repository of knowledge, entertainment machine and platform for participation.
#Germany , #factory , #museum, #interior_design , #lighting , #stair , #extention
@revitalization
#Germany , #factory , #museum, #interior_design , #lighting , #stair , #extention
@revitalization
Tending to these topics the project seeks to establish a new precedent for a public building to contribute to the revitalization of its surrounding urban space, facilitating the free circulation of pedestrians and improving city connectivity, therefore improving the sense of place of the people for the heart of the city and with the Music Palace of Mexican Music.
#Mexico , #historic_site , #museum, #interior_design , #lighting , #concert_hall , #extention #public_space , #music , #plaza ,#benchmark
@revitalization
#Mexico , #historic_site , #museum, #interior_design , #lighting , #concert_hall , #extention #public_space , #music , #plaza ,#benchmark
@revitalization
The second level is a children’s Discovery Centre, a single large bright room equipped with smart tables, robot building kits, and built-in feature walls with Lego, Lite Brite and magnets. In keeping with the mixing of old and new, a floating glass boardroom/ teaching space and a large exterior rooftop terrace and green roof overlook the river, and also provide up-close views of the heritage building, including its newly restored slate roof.
One of the greatest pleasures of the building is the attic Makerspace—an all-white space that soars to a peak, and is braced by an elegant arrangement of star-shaped steel trusses, now adapted to hold strips of lighting. Between these trusses the architects have created a fully-equipped studio outfitted with a laser cutter, 3D printers, soldering stations, vinyl cutters, irons, sewing machines, and wood and metal workshop tools. Visitors can gaze up into the clock tower through a glass ceiling, and see its weights and gears in action. An extended glazed parapet condition at the roof level discreetly houses its mechanicals.
As they updated the building for the present, the architects were also thinking about the future. Anticipating that a river walk will eventually follow the water’s edge, they clad the soffit of the cantilever with aluminum panels, polished with a mirror-like finish, heightening the building’s relationship with its surroundings, and giving future walkers a reason to look up.
Cambridge is a small city, but it has a rich architectural and library heritage that provides context for this project. The Old Post Office is just one of a wealth of historic brick and limestone buildings lining Water Street, including a stately brick Carnegie library, one of three built in the area. These nineteenth-century libraries used classical architecture to show the value placed on knowledge and ideas. With their reimagining of the Idea Exchange Old Post Office, juxtaposing brick and slate with glass and metal, RDHA has made the same statement in an updated architectural language, and shown the value in merging the historical with the contemporary. And while the Idea Exchange Old Post Office is bookless, the Idea Exchange Queen’s Square branch, with an extensive book collection, is only a short walk away.
#Canada , #interior_design , #office , #public_space , #landmark , #cultural_center , #library , #hub , #extention , #glass , #skylight
@revitalization
One of the greatest pleasures of the building is the attic Makerspace—an all-white space that soars to a peak, and is braced by an elegant arrangement of star-shaped steel trusses, now adapted to hold strips of lighting. Between these trusses the architects have created a fully-equipped studio outfitted with a laser cutter, 3D printers, soldering stations, vinyl cutters, irons, sewing machines, and wood and metal workshop tools. Visitors can gaze up into the clock tower through a glass ceiling, and see its weights and gears in action. An extended glazed parapet condition at the roof level discreetly houses its mechanicals.
As they updated the building for the present, the architects were also thinking about the future. Anticipating that a river walk will eventually follow the water’s edge, they clad the soffit of the cantilever with aluminum panels, polished with a mirror-like finish, heightening the building’s relationship with its surroundings, and giving future walkers a reason to look up.
Cambridge is a small city, but it has a rich architectural and library heritage that provides context for this project. The Old Post Office is just one of a wealth of historic brick and limestone buildings lining Water Street, including a stately brick Carnegie library, one of three built in the area. These nineteenth-century libraries used classical architecture to show the value placed on knowledge and ideas. With their reimagining of the Idea Exchange Old Post Office, juxtaposing brick and slate with glass and metal, RDHA has made the same statement in an updated architectural language, and shown the value in merging the historical with the contemporary. And while the Idea Exchange Old Post Office is bookless, the Idea Exchange Queen’s Square branch, with an extensive book collection, is only a short walk away.
#Canada , #interior_design , #office , #public_space , #landmark , #cultural_center , #library , #hub , #extention , #glass , #skylight
@revitalization
NO.101.
The Waterdog / Klaarchitectuur
OFFICES, ADAPTIVE REUSE, OFFICES INTERIORS
•
SINT-TRUIDEN, BELGIUM
• Architects: Klaarchitectuur
• Area:300.0 m²
• Year:2016
• Manufacturers: Flos, MDF Italia
Klaarchitectuur architectural firm recently moved from its practice in Heers to the 16th century chapel De Waterhond in Sint-Truiden. The protected monument underwent a thorough renovation and now combines the old character of the original building with the modern additions of architect Gregory Nijs. The four boxes stacked on top of each other, which serve, among other things, as an office and meeting room, are the biggest eye-catchers.
The chapel dates from the 16 th century. The original function of the building is not entirely clear. It is originally dated as a barn, but because of the luxurious details that the building has, some sources claim that it may have been a residential home. It's certain is that in the 19 e a choir was built centuries which made the building since then as a chapel.
Halfway through the 20th century, the chapel was transformed into a peace court, after which it also served as a music and drawing academy. Finally, a local theater group used the building as a rehearsal room. The building has been vacant for the past 50 years. It has changed ownership several times, but they have never implemented their plans for the building.
Due to the neglect of previous owners, much of the chapel has been lost. Yet the building now gives back the experience of the past. The original oak roof structure with the gate arch and its shingles are reminiscent of the barn. The decorative columns, the arched windows and the only arched vault in the choir remind us of the chapel. The necessary fresco drawings still give the building the sacred atmosphere of yesteryear.
The existing floor has been completely broken up to install floor heating. The original natural stones were then replaced in the original diagonal cross pattern. Because a large part of the old floor was already gone or broken, a parquet floor with a herringbone pattern was opted for in the choir room. In that room there is a kitchen block in brass, which together with the kitchen appliances processes the link to the altar in the form of a cross.
Furthermore, only the entrance door and the existing display case have been replaced and renewed. The old stained glass windows and the constructive outer shell of the building have not changed, which benefits the charm of the building. In the long term there are plans to restore the exterior facade.
The four sleek, stacked boxes on the right side of the building provide a pleasant contrast with the old character of the chapel and its open perception of the space. For architect Gregory Nijs it was a basic requirement to preserve the old feel of the building, but also to use the impressive height. Because comfort and space were needed for, among other things, the plumbing, a lift and office spaces, the idea arose from there to stack.
The stacking is arranged in a staggered manner, with the boxes standing over each other. A staircase complex around the boxes provides an extra experience. The terraces on every floor ensure a pleasant moment of rest. The inner space of the chapel is actually the outer space of the office.
The box on the ground floor contains the sanitary facilities, the elevator and the technical room. The first and second floors serve as office spaces. The reception and meeting room on the third floor is literally in the roof and offers a beautiful view of the oak trusses of the original roof structure, which extends floating beyond the roof.
Sustainability was also taken into account during the renovation work. The open part of the historic and also insulated building has underfloor heating on a condensing gas boiler. The insulated boxes, the work area of the architectural office, are equipped with a heat pump and with ventilation D.
#Belgium , #chapel , #extention , #stair , #interior_design , #lighting , #public_space , #office
@revitalization
The Waterdog / Klaarchitectuur
OFFICES, ADAPTIVE REUSE, OFFICES INTERIORS
•
SINT-TRUIDEN, BELGIUM
• Architects: Klaarchitectuur
• Area:300.0 m²
• Year:2016
• Manufacturers: Flos, MDF Italia
Klaarchitectuur architectural firm recently moved from its practice in Heers to the 16th century chapel De Waterhond in Sint-Truiden. The protected monument underwent a thorough renovation and now combines the old character of the original building with the modern additions of architect Gregory Nijs. The four boxes stacked on top of each other, which serve, among other things, as an office and meeting room, are the biggest eye-catchers.
The chapel dates from the 16 th century. The original function of the building is not entirely clear. It is originally dated as a barn, but because of the luxurious details that the building has, some sources claim that it may have been a residential home. It's certain is that in the 19 e a choir was built centuries which made the building since then as a chapel.
Halfway through the 20th century, the chapel was transformed into a peace court, after which it also served as a music and drawing academy. Finally, a local theater group used the building as a rehearsal room. The building has been vacant for the past 50 years. It has changed ownership several times, but they have never implemented their plans for the building.
Due to the neglect of previous owners, much of the chapel has been lost. Yet the building now gives back the experience of the past. The original oak roof structure with the gate arch and its shingles are reminiscent of the barn. The decorative columns, the arched windows and the only arched vault in the choir remind us of the chapel. The necessary fresco drawings still give the building the sacred atmosphere of yesteryear.
The existing floor has been completely broken up to install floor heating. The original natural stones were then replaced in the original diagonal cross pattern. Because a large part of the old floor was already gone or broken, a parquet floor with a herringbone pattern was opted for in the choir room. In that room there is a kitchen block in brass, which together with the kitchen appliances processes the link to the altar in the form of a cross.
Furthermore, only the entrance door and the existing display case have been replaced and renewed. The old stained glass windows and the constructive outer shell of the building have not changed, which benefits the charm of the building. In the long term there are plans to restore the exterior facade.
The four sleek, stacked boxes on the right side of the building provide a pleasant contrast with the old character of the chapel and its open perception of the space. For architect Gregory Nijs it was a basic requirement to preserve the old feel of the building, but also to use the impressive height. Because comfort and space were needed for, among other things, the plumbing, a lift and office spaces, the idea arose from there to stack.
The stacking is arranged in a staggered manner, with the boxes standing over each other. A staircase complex around the boxes provides an extra experience. The terraces on every floor ensure a pleasant moment of rest. The inner space of the chapel is actually the outer space of the office.
The box on the ground floor contains the sanitary facilities, the elevator and the technical room. The first and second floors serve as office spaces. The reception and meeting room on the third floor is literally in the roof and offers a beautiful view of the oak trusses of the original roof structure, which extends floating beyond the roof.
Sustainability was also taken into account during the renovation work. The open part of the historic and also insulated building has underfloor heating on a condensing gas boiler. The insulated boxes, the work area of the architectural office, are equipped with a heat pump and with ventilation D.
#Belgium , #chapel , #extention , #stair , #interior_design , #lighting , #public_space , #office
@revitalization
Under the background of industrial upgrading and transformation, some factories in Shenzhen and the Pearl River Delta region were relocated to land and areas with lower costs in various aspects, leaving many vacant industrial plants. The architect team hopes to use the biennial exhibition venue to present the opportunity of turning the abandoned factory into an art and culture generator. They reserved a step theater for artistic communication, sharing, and movie viewing. Another wish that the architects and curators are still planning is to be able to do a modern dance performance, a poetry recital, or a musical performance in this factory building-to be able to intervene in a huge industrial scale through light art, Under the instillation of the sky, a response was formed in the empty echo; through a dialogue with the city's once rapid industrialized past, a vision for the future culture and art of the city was constructed.
#China, #extention , #interior_design , #lighting , #hall , #industrial , #exhibition
@revitalization
#China, #extention , #interior_design , #lighting , #hall , #industrial , #exhibition
@revitalization
The result may seem controversial. The historic building covered and wrapped in the new coat made of steel and glass. However, its biggest spatial asset, a 15 meters wide and about 80 meters long column-less hall, is preserved in its whole, left almost seemingly untouched. The old jewel-like structure made of brick and wood has become a part of the interior (like a gemstone embedded in precious jewelry).
The concept of the coat helped to solve the additional spaces and service and technical premises in a very clear way. The roof of the warehouse formed a wide canopy on both sides covering the logistic platforms where the freight wagons approached on the one side and trucks on the other. Now both platforms under the canopies are turned to posh, glamorous lobbies. Additionally, another full-height space is attached on the (southern) end of the historic building bringing it closer to the street and serving as the main entrance lobby. A new coat of the building also helped to satisfy today’s strict energy efficiency guidelines.
The old building with preserved textures and details is confronted with minimalist materiality of concrete (continuous terrazzo floor), steel and glass creating a nobby harmony and amazing but also poetic spaces. Fine new details express modest references to the railway aesthetics and also the preserved rail track through the new building as well as platforms, now embodied in concrete, are cherishing the memories of the place.
Old warehouse upcycled to the multipurpose venue — for concerts, exhibitions, banquets, and other gatherings now stores and deals with the ‘goods’ of culture. The main hall of 1200 sqm could be divided into three separate spaces, allowing noteworthy flexibility. The new building acquires another appearance by the night when lobbies are illuminated and the picturesque old structure becomes visible from the outside through the generous and transparent lobbies. Silhouettes of people lingering on the stretched platform and along the encounter appear as an actor on the new and snazzy stage in once-neglected city corners.
#Latvia, #lighting , #extention , #interior_design , #lighting , #cultural_center , #industrial , #warehouse , #train_station , #multi_function , #landscape
@revitalization
The concept of the coat helped to solve the additional spaces and service and technical premises in a very clear way. The roof of the warehouse formed a wide canopy on both sides covering the logistic platforms where the freight wagons approached on the one side and trucks on the other. Now both platforms under the canopies are turned to posh, glamorous lobbies. Additionally, another full-height space is attached on the (southern) end of the historic building bringing it closer to the street and serving as the main entrance lobby. A new coat of the building also helped to satisfy today’s strict energy efficiency guidelines.
The old building with preserved textures and details is confronted with minimalist materiality of concrete (continuous terrazzo floor), steel and glass creating a nobby harmony and amazing but also poetic spaces. Fine new details express modest references to the railway aesthetics and also the preserved rail track through the new building as well as platforms, now embodied in concrete, are cherishing the memories of the place.
Old warehouse upcycled to the multipurpose venue — for concerts, exhibitions, banquets, and other gatherings now stores and deals with the ‘goods’ of culture. The main hall of 1200 sqm could be divided into three separate spaces, allowing noteworthy flexibility. The new building acquires another appearance by the night when lobbies are illuminated and the picturesque old structure becomes visible from the outside through the generous and transparent lobbies. Silhouettes of people lingering on the stretched platform and along the encounter appear as an actor on the new and snazzy stage in once-neglected city corners.
#Latvia, #lighting , #extention , #interior_design , #lighting , #cultural_center , #industrial , #warehouse , #train_station , #multi_function , #landscape
@revitalization
NO.109.
Villa Castro / AP Valletta + Jens Bruenslow
HOUSES, RENOVATION
NAXXAR, MALTA
• Architects: AP Valletta, Jens Bruenslow
• Area:778.0 m²
• Year:2016
• Client: private
• Manufacturers: Vassallo Joiners, LM Contractor, Vaults
• Costs: €1.2 million
Awards:
World Architecture Festival, 2017, Berlin, New and Old category, Shortlisted
Arbara Coppochin Innternational Biennal Architecture Prize, 2017, Shortlisted
Text description provided by the architects. Villa Castro is located in the town of Naxxar, in the center of the island of Malta. Its location on the perimeter of an Urban Conservation Area has led to drastic modification of the original setting of the villa, recent building developments destroying irreversibly its original context. The project program was organized around the needs of a family and guestrooms to accommodate relatives and friends. The garden, as well as the two internal courtyards, were preserved and, following an unsuccessful attempt at acquiring the remaining portion of the garden immediately adjacent to the existing one, an extension was designed and grafted on the boundary wall to mitigate the negative visual impact of the recent neighboring block of apartments.
The restoration element of the project entailed the securing of dangerous parts, the removal of inserted structures and accretions which conflicted with the authentic organization of space or with the clarity of architectural form, the reopening of blocked arches and the introduction of a few additional openings to allow firstly for more light into the building and, secondly, to strengthen the already well defined symmetry of the garden and courtyard facades. The same principle guided the organization of the external areas. The existing spaces were organized accordingly to the needs of the clients, leaving the ground floor for living, play and entertainment while dedicating the upper entirely to individual bedrooms. Since the depth of the old annex structures is very narrow and rooms typically distributed in an ‘enfilade’ arrangement, an external access balcony was added replacing an existing open balcony.
Moreover, a new stairwell designed in a contemporary language was introduced in an existing backyard to link the long string of rooms aligned along the perimeter, as well as to create space for another bedroom above it. A new extension was built with just enough thickness to house guest quarters that tower over the garden and screen off the new development while closing off the composition of the garden and defining its end facade. They are lifted over the ground on slender columns in order not to obstruct the cornices and pilasters and the pediment of the gate which once led to the garden beyond. All new extensions were conceived as simple volumes and are defined and positioned to compliment, and coexist with the existing building.
They are treated in such a way as to allow maximum light on the inside while retaining a monolithic appearance from the outside in sympathy with the old building. Although almost entirely glazed, this is achieved by means of a dense wooden screen, creating a composition based on the contrast of materiality. The screens are made from American cedar, which will, over time, acquire a natural protective patina of silvery grey that blends in with the limestone surfaces of the old house. Like all projects that involve the rehabilitation and extension of old structures, time is an important element of the composition of which the building is made, and that will unravel with time.
#Malta, #house , #landscape, #villa , #stair , #extention
@revitalization
Villa Castro / AP Valletta + Jens Bruenslow
HOUSES, RENOVATION
NAXXAR, MALTA
• Architects: AP Valletta, Jens Bruenslow
• Area:778.0 m²
• Year:2016
• Client: private
• Manufacturers: Vassallo Joiners, LM Contractor, Vaults
• Costs: €1.2 million
Awards:
World Architecture Festival, 2017, Berlin, New and Old category, Shortlisted
Arbara Coppochin Innternational Biennal Architecture Prize, 2017, Shortlisted
Text description provided by the architects. Villa Castro is located in the town of Naxxar, in the center of the island of Malta. Its location on the perimeter of an Urban Conservation Area has led to drastic modification of the original setting of the villa, recent building developments destroying irreversibly its original context. The project program was organized around the needs of a family and guestrooms to accommodate relatives and friends. The garden, as well as the two internal courtyards, were preserved and, following an unsuccessful attempt at acquiring the remaining portion of the garden immediately adjacent to the existing one, an extension was designed and grafted on the boundary wall to mitigate the negative visual impact of the recent neighboring block of apartments.
The restoration element of the project entailed the securing of dangerous parts, the removal of inserted structures and accretions which conflicted with the authentic organization of space or with the clarity of architectural form, the reopening of blocked arches and the introduction of a few additional openings to allow firstly for more light into the building and, secondly, to strengthen the already well defined symmetry of the garden and courtyard facades. The same principle guided the organization of the external areas. The existing spaces were organized accordingly to the needs of the clients, leaving the ground floor for living, play and entertainment while dedicating the upper entirely to individual bedrooms. Since the depth of the old annex structures is very narrow and rooms typically distributed in an ‘enfilade’ arrangement, an external access balcony was added replacing an existing open balcony.
Moreover, a new stairwell designed in a contemporary language was introduced in an existing backyard to link the long string of rooms aligned along the perimeter, as well as to create space for another bedroom above it. A new extension was built with just enough thickness to house guest quarters that tower over the garden and screen off the new development while closing off the composition of the garden and defining its end facade. They are lifted over the ground on slender columns in order not to obstruct the cornices and pilasters and the pediment of the gate which once led to the garden beyond. All new extensions were conceived as simple volumes and are defined and positioned to compliment, and coexist with the existing building.
They are treated in such a way as to allow maximum light on the inside while retaining a monolithic appearance from the outside in sympathy with the old building. Although almost entirely glazed, this is achieved by means of a dense wooden screen, creating a composition based on the contrast of materiality. The screens are made from American cedar, which will, over time, acquire a natural protective patina of silvery grey that blends in with the limestone surfaces of the old house. Like all projects that involve the rehabilitation and extension of old structures, time is an important element of the composition of which the building is made, and that will unravel with time.
#Malta, #house , #landscape, #villa , #stair , #extention
@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
NO.128
Museum Park of The the Polytechnic Museum / Wowhaus
MOSCOW, RUSSIA
• Architects: Wowhaus
• Area: 14000.0 m²
• Design phase: 2015 – 2016
• Construction phase: 2017 – 2019
• Design Team: Mikhail Kozlov (senior project architect), Maria Khokhlova, Anastasia Rychkova, Anton Sevastyanov, Igor Yakovlev, Marina Yarmarkina, Denis Manshilin, Alyona Zaitseva, Margarita Leonova
• Clients: OAO MNIITEP, Polytechnic Museum Development Fund
• Landscape: Nature form studio
• Lightning: Ultimatum Group
Objective:
Following the concept by Junya Ishigami the territory around the Polytechnic Museum was to be transformed into a Museum Park – a thoroughly designed public space, whose structure takes into account the needs of the Museum and its visitors, as well as intensive transport and pedestrian flows, and the requirements of the city authorities concerning streets and town squares
Solution:
A park-amphitheatre in front of the Museum - an open-air foyer that will become an extension of the spaces inside the building and will act as a prologue, while the inner space is under construction. It will be able to host events while uniting the new pedestrian zone in the building’s lower ground level with the outdoor area alongside Lubyanka Square, attracting pedestrians and providing them with a convenient and pleasant route into the Museum complex.
--------------
Text description provided by the architects. In the contemporary city, the museum long since ceased to be simply a place for storing exhibits, school trips and the “cultural leisure” of adults on their days off. It should be a full-fledged participant in urban life, able to compete on equal terms with parks, cinemas and restaurants. Museum Park is a pedestrian zone and public space that helps draw city dwellers into the Polytechnic Museum.
Following the concept by Jun’ya Ishigami the territory around the Polytechnic Museum was to be transformed into a Museum Park – a thoroughly designed public space, whose structure takes into account the needs of the Museum and its visitors, as well as intensive transport and pedestrian flows, and the requirements of the city authorities concerning streets and town squares.
A park-amphitheatre in front of the Museum - an open-air foyer that will become an extension of the spaces inside the building and will act as a prologue, while the inner space is under construction. It will be able to host events while uniting the new pedestrian zone in the building’s lower ground level with the outdoor area alongside Lubyanka Square, attracting pedestrians and providing them with a convenient and pleasant route into the Museum complex.
#Russia , #museum, #landscape , #extention , #lighting , #open_air , #park , #amphitheatre , #pedestrian , #public_space
@revitalization
Museum Park of The the Polytechnic Museum / Wowhaus
MOSCOW, RUSSIA
• Architects: Wowhaus
• Area: 14000.0 m²
• Design phase: 2015 – 2016
• Construction phase: 2017 – 2019
• Design Team: Mikhail Kozlov (senior project architect), Maria Khokhlova, Anastasia Rychkova, Anton Sevastyanov, Igor Yakovlev, Marina Yarmarkina, Denis Manshilin, Alyona Zaitseva, Margarita Leonova
• Clients: OAO MNIITEP, Polytechnic Museum Development Fund
• Landscape: Nature form studio
• Lightning: Ultimatum Group
Objective:
Following the concept by Junya Ishigami the territory around the Polytechnic Museum was to be transformed into a Museum Park – a thoroughly designed public space, whose structure takes into account the needs of the Museum and its visitors, as well as intensive transport and pedestrian flows, and the requirements of the city authorities concerning streets and town squares
Solution:
A park-amphitheatre in front of the Museum - an open-air foyer that will become an extension of the spaces inside the building and will act as a prologue, while the inner space is under construction. It will be able to host events while uniting the new pedestrian zone in the building’s lower ground level with the outdoor area alongside Lubyanka Square, attracting pedestrians and providing them with a convenient and pleasant route into the Museum complex.
--------------
Text description provided by the architects. In the contemporary city, the museum long since ceased to be simply a place for storing exhibits, school trips and the “cultural leisure” of adults on their days off. It should be a full-fledged participant in urban life, able to compete on equal terms with parks, cinemas and restaurants. Museum Park is a pedestrian zone and public space that helps draw city dwellers into the Polytechnic Museum.
Following the concept by Jun’ya Ishigami the territory around the Polytechnic Museum was to be transformed into a Museum Park – a thoroughly designed public space, whose structure takes into account the needs of the Museum and its visitors, as well as intensive transport and pedestrian flows, and the requirements of the city authorities concerning streets and town squares.
A park-amphitheatre in front of the Museum - an open-air foyer that will become an extension of the spaces inside the building and will act as a prologue, while the inner space is under construction. It will be able to host events while uniting the new pedestrian zone in the building’s lower ground level with the outdoor area alongside Lubyanka Square, attracting pedestrians and providing them with a convenient and pleasant route into the Museum complex.
#Russia , #museum, #landscape , #extention , #lighting , #open_air , #park , #amphitheatre , #pedestrian , #public_space
@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
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
The project has managed to give the great Baroque complex a new life. Although it is a building with the status of a national cultural monument, a completely modern, confi-dent as well as sensitive, architectural approach was chosen for the reconstruction. As far as the needs of the school are concerned, the historical building had several limita-tions, so new architectural elements not only improved the conditions for the children and teachers but also transformed their time spent at school into an experience of the space. The moment of playfulness and free movement has become important at school. What is fundamental is also the free space where children can move - the space where they make their own rules in order to relax from order and dictates.
#CZECH , #school , #gym , #color, #rectory , #extention
@revitalization
#CZECH , #school , #gym , #color, #rectory , #extention
@revitalization
NO.164
Oil Workshop / DnA
• Architects: DnA
• Area: 920 m²
• Year: 2018
• Architect In Charge: Tiantian Xu
• Lighting Design:Zhang Xin Studio, Architecture Department of Tsinghua University
• Client: People's Government of Dadong Ba Town， Songyang County
• City: Lishui, China
•
• Hengzhang Village is located in Dadongba Town, Songyang County. The village has a long history and preserves lots of cultural relics and historical sites. The old oil workshop at the village entrance was built over one hundred years ago.
• This traditional wooden structure & rammed-earth wall building sits on a sunken site next to a creek, houses a water-powered trip-hammer, two sets of wooden oil expeller, a corner kitchen and a mezzanine lounge. The Workshop also served as a shared milling facility for villagers but has been abandoned for decades.
• In October 2017, an extension plan has been programmed to reutilize the oil workshop as production and leisure space for both the village community and tourists, and also as an ar-chitectural acupuncture strategy to revitalize this traditional village.
• The extension started by preserving the main building and the interior wooden machinery. The program also expanded out to a kitchen and a packing space on the side, and a leisure pavilion with viewing platform by the creek.
• These new additions are traditional “Mortise and Tenon” wooden structure, and wrapped by masonry walls to create a continuous landscape with the terrace fields and the creek.
• The articulation of roof system not only creates a roof-scape of different functions, but also introduces natural light into each space. The construction is done by local building material and technique. This allows building to fit with both context and limited acupunctural budget.
#China, #village, #workshop, #wood, #extention , #industrial
@revitalization
Oil Workshop / DnA
• Architects: DnA
• Area: 920 m²
• Year: 2018
• Architect In Charge: Tiantian Xu
• Lighting Design:Zhang Xin Studio, Architecture Department of Tsinghua University
• Client: People's Government of Dadong Ba Town， Songyang County
• City: Lishui, China
•
• Hengzhang Village is located in Dadongba Town, Songyang County. The village has a long history and preserves lots of cultural relics and historical sites. The old oil workshop at the village entrance was built over one hundred years ago.
• This traditional wooden structure & rammed-earth wall building sits on a sunken site next to a creek, houses a water-powered trip-hammer, two sets of wooden oil expeller, a corner kitchen and a mezzanine lounge. The Workshop also served as a shared milling facility for villagers but has been abandoned for decades.
• In October 2017, an extension plan has been programmed to reutilize the oil workshop as production and leisure space for both the village community and tourists, and also as an ar-chitectural acupuncture strategy to revitalize this traditional village.
• The extension started by preserving the main building and the interior wooden machinery. The program also expanded out to a kitchen and a packing space on the side, and a leisure pavilion with viewing platform by the creek.
• These new additions are traditional “Mortise and Tenon” wooden structure, and wrapped by masonry walls to create a continuous landscape with the terrace fields and the creek.
• The articulation of roof system not only creates a roof-scape of different functions, but also introduces natural light into each space. The construction is done by local building material and technique. This allows building to fit with both context and limited acupunctural budget.
#China, #village, #workshop, #wood, #extention , #industrial
@revitalization
NO.165
Jacoby Studios Headquarters / David Chipperfield Architects
OFFICE BUILDINGS
•
PADERBORN, GERMANY
• Architects: David Chipperfield Architects
• Area: 12500 m²
• Project start: 2014
• Completion: 2020
• Gross floor area: 12,500 m²
• Architect In Charge:David Chipperfield Architects Berlin
• Client:Jacoby GbR represented by Ellen Jacoby, Franz Jacoby, Yvonne Jacoby
• Partners:David Chipperfield, Martin Reichert, Alexander Schwarz (Design lead)
• Project Architects:Franziska Rusch (Concept study), Frithjof Kahl (Preparation and brief to Developed Design, Design intent details, Site design supervision)
• Project Team:Thomas Benk, Thea Cheret, Dirk Gschwind, Elsa Pandozi, Franziska Rusch, Diana Schaffrannek, Eva-Maria Stadelmann, Amelie Wegner; Graphics, Visualisation: Dalia Liksaite
• Construction Documentation, Executive Architect:Schilling Architekten, Cologne, Jochem Vieren (Project management), Michael Zinnkann (Construction management)
• Landscape Architect:Wirtz International nv, Schoten, Peter Wirtz, Jan Grauwels
• Structural Engineer, Services Engineer, Lighting Consultant:Gantert + Wiemeler Inge-nieurplanung, Münster
• Building Physics, Acoustics Fire Consultant:Hansen Ingenieure, Münster HHP West Beratende Ingenieure GmbH, Bielefeld
In the city of Paderborn in western Germany, David Chipperfield Architects have converted and ex-tended a historic building complex, a former monastery, for a family-run company, exposing the his-toric building fabric, and extending it with new wings.
• The former ‘St. Vincenz hospital’ is situated in the medieval town centre of Paderborn next to the western tributary of the Pader Springs. The hospital moved out in 2013 and the existing complex has been converted into a new headquarters for a family-run company designed by David Chip-perfield Architects Berlin.
• The existing ensemble originates from a former seventeenth century Capuchin monastery. The buildings, which were used as a hospital from 1841 onwards, were severely damaged during the Second World War. Subsequently, the complex underwent several changes and extensions through reconstruction and later modifications. The conversion for the Jacoby Studios involved the removal of the post-war additions, exposing the historic building fabric of the monastery once again. In particular, the chapel façade, the cloister, the east building wing and the seventeenth century cellar were preserved and restored, creating a picturesque ruin structure made of quarry-stone masonry with the former cloister at its heart. The complex of monastery and annexes is embedded into a garden designed by Wirtz International.
• New extension wings, ranging from two to three-storeys, are arranged in accordance with the or-thogonal structure to the north, west and south of the original buildings. Through the historic en-trance gate and the former chapel, visitors access the entrance foyer.
• Echoing the historic situation, the ensemble appears once again in the cityscape as a well-balanced composition of different volumes. In the urban landscape of the Pader Springs, the new complex has its own sense of identity, while maintaining historic continuity.
#Germany, #monastery, #hospital, #office, #extention
@revitalization
Jacoby Studios Headquarters / David Chipperfield Architects
OFFICE BUILDINGS
•
PADERBORN, GERMANY
• Architects: David Chipperfield Architects
• Area: 12500 m²
• Project start: 2014
• Completion: 2020
• Gross floor area: 12,500 m²
• Architect In Charge:David Chipperfield Architects Berlin
• Client:Jacoby GbR represented by Ellen Jacoby, Franz Jacoby, Yvonne Jacoby
• Partners:David Chipperfield, Martin Reichert, Alexander Schwarz (Design lead)
• Project Architects:Franziska Rusch (Concept study), Frithjof Kahl (Preparation and brief to Developed Design, Design intent details, Site design supervision)
• Project Team:Thomas Benk, Thea Cheret, Dirk Gschwind, Elsa Pandozi, Franziska Rusch, Diana Schaffrannek, Eva-Maria Stadelmann, Amelie Wegner; Graphics, Visualisation: Dalia Liksaite
• Construction Documentation, Executive Architect:Schilling Architekten, Cologne, Jochem Vieren (Project management), Michael Zinnkann (Construction management)
• Landscape Architect:Wirtz International nv, Schoten, Peter Wirtz, Jan Grauwels
• Structural Engineer, Services Engineer, Lighting Consultant:Gantert + Wiemeler Inge-nieurplanung, Münster
• Building Physics, Acoustics Fire Consultant:Hansen Ingenieure, Münster HHP West Beratende Ingenieure GmbH, Bielefeld
In the city of Paderborn in western Germany, David Chipperfield Architects have converted and ex-tended a historic building complex, a former monastery, for a family-run company, exposing the his-toric building fabric, and extending it with new wings.
• The former ‘St. Vincenz hospital’ is situated in the medieval town centre of Paderborn next to the western tributary of the Pader Springs. The hospital moved out in 2013 and the existing complex has been converted into a new headquarters for a family-run company designed by David Chip-perfield Architects Berlin.
• The existing ensemble originates from a former seventeenth century Capuchin monastery. The buildings, which were used as a hospital from 1841 onwards, were severely damaged during the Second World War. Subsequently, the complex underwent several changes and extensions through reconstruction and later modifications. The conversion for the Jacoby Studios involved the removal of the post-war additions, exposing the historic building fabric of the monastery once again. In particular, the chapel façade, the cloister, the east building wing and the seventeenth century cellar were preserved and restored, creating a picturesque ruin structure made of quarry-stone masonry with the former cloister at its heart. The complex of monastery and annexes is embedded into a garden designed by Wirtz International.
• New extension wings, ranging from two to three-storeys, are arranged in accordance with the or-thogonal structure to the north, west and south of the original buildings. Through the historic en-trance gate and the former chapel, visitors access the entrance foyer.
• Echoing the historic situation, the ensemble appears once again in the cityscape as a well-balanced composition of different volumes. In the urban landscape of the Pader Springs, the new complex has its own sense of identity, while maintaining historic continuity.
#Germany, #monastery, #hospital, #office, #extention
@revitalization
NO.168
República Rosa Boutique Hotel / nicolas&Nicolas
HOTELS
•
QUITO, ECUADOR
• Program: Boutique Hotel
• Architects: nicolas&nicolas
• Collaborators: Juan Pablo Ribadeneira
• Area: 700 m²
• Year: 2020
• Manufacturers: AutoDesk, Adobe, Almacenes Marriott, Briggs, McNeel, Pamesa
• Lead Architects:Nicolás Vivas, Nicolás López Ayoub
• Clients:Casa Anabela Hotel Boutique
Republica Rosa is a hotel in the historic center of Quito, a project that consisted in the materialization of a client's dream, which was the rehabilitation of a property that is part of the Cultural Heritage of Humanity by UNESCO and turn it into an important piece for the city and the hotel sec-tor. Its distinctive pink facade is a republican elevation fac-ing the central courtyard. The idea of giving the hotel an identity caused this facade to be carefully renovated so that the details of curves, reliefs, moldings, edges with its windows and doors are the pink monochrome internal set-ting that reflects joy and creativity.
------
Republica Rosa is a Boutique Hotel located in the colonial center of the city of Quito. Designed on a republican style patio house, there is record that this building dates from 1890 when a Spanish citizen bought the property from the Ecuadorian state. Since then, this house has undergone a process of adaptation and transformation of various uses, ex-tensions, and modifications throughout its history.
The client's requirement was to create an 11-room hotel that rescues some of the elements of the republican architecture of Quito but somehow make it “different” from the other boutique hotels with its own identity. This is how the design, on the one hand, restored some original elements of the house (adobe walls, tile roofs and wooden floors), added other new pieces (Coatings and flooring) and reinterpreted others, such as its distinctive and unusual internal façade that overlooks the central courtyard.
Throughout its history and transformations, the walls of the house had several layers of paint, dirt and stucco. When the restoration work of the internal façade began, which is undoubtedly the main element of the project, all the colors that were part of its interior design came to light. Among them a salmon tone, the same one that was selected as the main color of the new identity.
Around the internal façade is the central courtyard typical of this period, which was re-stored and designed to be the main space that houses all the social activities of the hotel. The new mosaic installed on the floor gives a modern and fresh touch the de interior. The walls surrounding the courtyard were covered with plasterboard to accommodate all the new installations without affecting the bearing adobe walls which were also restored to create exposed details of the original material of the house. The rest of the walls and ceil-ings were painted dark gray to create an opaque environment that contrasts the internal salmon-colored facade.
On the other hand, the rooms had to respond to the current need of a hotel to be flexible and able to transform its rooms according to demand. The confined spaces of this exist-ing architecture forced the creation of a flexible custom-designed furniture manufactured by local artisans, which transforms a single room into a double in a few minutes. The original wooden floors and adobe walls were restored but also a new lighting design was implemented that creates a cozy atmosphere.
Material used.
1. Flooring: Ceramic tiles, Pamesa
2. Doors: Handcrafted locally, local artisans
3. Windows: Handcrafted locally, local artisans
4. Interior lighting: Downlights, Flos
5. Interior furniture: Handcrafted locally, local artisans
#Ecuador, #hotel, #flexible, #stair, #lighting, #UNESCO, #extention, #interior_design
@revitalization
República Rosa Boutique Hotel / nicolas&Nicolas
HOTELS
•
QUITO, ECUADOR
• Program: Boutique Hotel
• Architects: nicolas&nicolas
• Collaborators: Juan Pablo Ribadeneira
• Area: 700 m²
• Year: 2020
• Manufacturers: AutoDesk, Adobe, Almacenes Marriott, Briggs, McNeel, Pamesa
• Lead Architects:Nicolás Vivas, Nicolás López Ayoub
• Clients:Casa Anabela Hotel Boutique
Republica Rosa is a hotel in the historic center of Quito, a project that consisted in the materialization of a client's dream, which was the rehabilitation of a property that is part of the Cultural Heritage of Humanity by UNESCO and turn it into an important piece for the city and the hotel sec-tor. Its distinctive pink facade is a republican elevation fac-ing the central courtyard. The idea of giving the hotel an identity caused this facade to be carefully renovated so that the details of curves, reliefs, moldings, edges with its windows and doors are the pink monochrome internal set-ting that reflects joy and creativity.
------
Republica Rosa is a Boutique Hotel located in the colonial center of the city of Quito. Designed on a republican style patio house, there is record that this building dates from 1890 when a Spanish citizen bought the property from the Ecuadorian state. Since then, this house has undergone a process of adaptation and transformation of various uses, ex-tensions, and modifications throughout its history.
The client's requirement was to create an 11-room hotel that rescues some of the elements of the republican architecture of Quito but somehow make it “different” from the other boutique hotels with its own identity. This is how the design, on the one hand, restored some original elements of the house (adobe walls, tile roofs and wooden floors), added other new pieces (Coatings and flooring) and reinterpreted others, such as its distinctive and unusual internal façade that overlooks the central courtyard.
Throughout its history and transformations, the walls of the house had several layers of paint, dirt and stucco. When the restoration work of the internal façade began, which is undoubtedly the main element of the project, all the colors that were part of its interior design came to light. Among them a salmon tone, the same one that was selected as the main color of the new identity.
Around the internal façade is the central courtyard typical of this period, which was re-stored and designed to be the main space that houses all the social activities of the hotel. The new mosaic installed on the floor gives a modern and fresh touch the de interior. The walls surrounding the courtyard were covered with plasterboard to accommodate all the new installations without affecting the bearing adobe walls which were also restored to create exposed details of the original material of the house. The rest of the walls and ceil-ings were painted dark gray to create an opaque environment that contrasts the internal salmon-colored facade.
On the other hand, the rooms had to respond to the current need of a hotel to be flexible and able to transform its rooms according to demand. The confined spaces of this exist-ing architecture forced the creation of a flexible custom-designed furniture manufactured by local artisans, which transforms a single room into a double in a few minutes. The original wooden floors and adobe walls were restored but also a new lighting design was implemented that creates a cozy atmosphere.
Material used.
1. Flooring: Ceramic tiles, Pamesa
2. Doors: Handcrafted locally, local artisans
3. Windows: Handcrafted locally, local artisans
4. Interior lighting: Downlights, Flos
5. Interior furniture: Handcrafted locally, local artisans
#Ecuador, #hotel, #flexible, #stair, #lighting, #UNESCO, #extention, #interior_design
@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
NO.181
Convent Saint François / Amelia Tavella Architectes
MONASTERY, RESTORATION, EXTENSION
•
• Architects: Amelia Tavella Architectes
• Area: 1000 m²
• Year: 2021
• Manufacturers: Schuco, Terre Cuite des Launes
• Lead Architect: Amelia Tavella
• Acoustic Consulting: Acoustique & Conseil
• Structural Engineer: ISB
• Historic Building Advisor: A-C Perrot
• Economist: Ingenia
• Fluids Engineers: G2I
• City: Sainte-Lucie-de-Tallano
• Country: France
• Awards: TECU ARCHITECTURE AWARD 2022
An intervention of rehabilitation and extension leads to a reflection on the theme of conservation in a process of metamorphosis that embraces the ruin and returns it to contemporaneity.
The complex, perched in the wild Corsican landscape amidst rocks, woods, olive groves and small villages, appears as a fortress in which the passage of time and inactivity have allowed nature to freely take possession of the building, almost acting, before its resurrection, as a protective “armour” and structural support, like the roots of a fig tree that have become an integral part of the façade.
Here, the architect chose to conserve the ruins and replace the missing part of the volume with a perforated copper structure that re-proposes the sil-houette of the pre-existing building, while declaring the contemporary char-acter of the ex-novo building as the site of a cultural center (“Maison du Territoire”).
The choice of copper was justified by the material’s durability and ability to transform over time from a tactile and chromatic point of view, allowing the composition to narrate an evolving tale beyond any intent of “crystallizing” history.
The walls of the copper building, perforated with small panels that allow light to filter into the interior corridors, evoke the suggestion of a mashrabiyya – the traditional grid used in the architecture of Arab coun-tries to facilitate natural ventilation and control lighting – or of the stained-glass window of a church, with vibrant plays of light and shadow projected onto the interior stone walls.
A work that, tiptoeing in the footsteps of the past, exudes love for the place and its historical memory, for the building and its natural transformation from what it was into what it will be and into what it will one day no longer be, in the intimate conviction of impermanence as the only possible form of reality.
#France, #Corsica, #monastery, #convent, #ruin, #extention, #restoration, #rehabilitation, #moucharabieh, #mashrabiyya #copper, #cultural_center, #awards
@revitalization
Convent Saint François / Amelia Tavella Architectes
MONASTERY, RESTORATION, EXTENSION
•
• Architects: Amelia Tavella Architectes
• Area: 1000 m²
• Year: 2021
• Manufacturers: Schuco, Terre Cuite des Launes
• Lead Architect: Amelia Tavella
• Acoustic Consulting: Acoustique & Conseil
• Structural Engineer: ISB
• Historic Building Advisor: A-C Perrot
• Economist: Ingenia
• Fluids Engineers: G2I
• City: Sainte-Lucie-de-Tallano
• Country: France
• Awards: TECU ARCHITECTURE AWARD 2022
An intervention of rehabilitation and extension leads to a reflection on the theme of conservation in a process of metamorphosis that embraces the ruin and returns it to contemporaneity.
The complex, perched in the wild Corsican landscape amidst rocks, woods, olive groves and small villages, appears as a fortress in which the passage of time and inactivity have allowed nature to freely take possession of the building, almost acting, before its resurrection, as a protective “armour” and structural support, like the roots of a fig tree that have become an integral part of the façade.
Here, the architect chose to conserve the ruins and replace the missing part of the volume with a perforated copper structure that re-proposes the sil-houette of the pre-existing building, while declaring the contemporary char-acter of the ex-novo building as the site of a cultural center (“Maison du Territoire”).
The choice of copper was justified by the material’s durability and ability to transform over time from a tactile and chromatic point of view, allowing the composition to narrate an evolving tale beyond any intent of “crystallizing” history.
The walls of the copper building, perforated with small panels that allow light to filter into the interior corridors, evoke the suggestion of a mashrabiyya – the traditional grid used in the architecture of Arab coun-tries to facilitate natural ventilation and control lighting – or of the stained-glass window of a church, with vibrant plays of light and shadow projected onto the interior stone walls.
A work that, tiptoeing in the footsteps of the past, exudes love for the place and its historical memory, for the building and its natural transformation from what it was into what it will be and into what it will one day no longer be, in the intimate conviction of impermanence as the only possible form of reality.
#France, #Corsica, #monastery, #convent, #ruin, #extention, #restoration, #rehabilitation, #moucharabieh, #mashrabiyya #copper, #cultural_center, #awards
@revitalization