NO.12.
Whitby Abbey Visitor Centre, England, 2002
Status: 2002
Client: English Heritage
Value: £2.85m
Size: 500m2
Credits
Cost Consultant: Citex Project Delivery
Structural Engineers: Stevenson Calam Associates
Services Engineers: AECOM
Main Contractor: Williams Birch & Sons
Awards
2003 Europa Nostra Award
2003 RIBA Award
2003 Civic Trust Award
2002 RIBA White Rose Award
2002 RICS Award
Stanton Williams were commissioned by English Heritage in 1998 to design new visitor facilities for Whitby Abbey. The works formed part of a broader masterplan developed by Stanton Williams with English Heritage in which the ruined Abbey’s headland grounds were reworked to create a fully accessible setting which respected the considerable archaeological and historical significance of the site.
The new Visitor Centre comprises an exhibition gallery and shop created within the semi-ruined seventeenth-century Banqueting Hall. A steel framework was inserted, cage-like, within its shell. Though attached to the shell, the framework reads as an independent structure which supports the centre’s upper floor and roof.Old and new are creatively juxtaposed throughout, especially on the southern front where the steel framework is cantilevered out above the partially-ruined wall in order to support a ‘curtain’ of metal, glass and timber which hangs in front of it. Internally, new screens, showcases and furniture contrast with the exposed brick and stone of the historic building, creating a welcoming setting for archaeological displays and site interpretation.
The building was completed in 2002 at a cost of £2.85 million. It has been widely acclaimed and has been the recipient of numerous awards from organisations including the RIBA, RICS, Europa Nostra and the Civic Trust.
#archeological_site , #visitor_centre ,
#new_setting , #gallery
https://telegram.me/revitalization
Whitby Abbey Visitor Centre, England, 2002
Status: 2002
Client: English Heritage
Value: £2.85m
Size: 500m2
Credits
Cost Consultant: Citex Project Delivery
Structural Engineers: Stevenson Calam Associates
Services Engineers: AECOM
Main Contractor: Williams Birch & Sons
Awards
2003 Europa Nostra Award
2003 RIBA Award
2003 Civic Trust Award
2002 RIBA White Rose Award
2002 RICS Award
Stanton Williams were commissioned by English Heritage in 1998 to design new visitor facilities for Whitby Abbey. The works formed part of a broader masterplan developed by Stanton Williams with English Heritage in which the ruined Abbey’s headland grounds were reworked to create a fully accessible setting which respected the considerable archaeological and historical significance of the site.
The new Visitor Centre comprises an exhibition gallery and shop created within the semi-ruined seventeenth-century Banqueting Hall. A steel framework was inserted, cage-like, within its shell. Though attached to the shell, the framework reads as an independent structure which supports the centre’s upper floor and roof.Old and new are creatively juxtaposed throughout, especially on the southern front where the steel framework is cantilevered out above the partially-ruined wall in order to support a ‘curtain’ of metal, glass and timber which hangs in front of it. Internally, new screens, showcases and furniture contrast with the exposed brick and stone of the historic building, creating a welcoming setting for archaeological displays and site interpretation.
The building was completed in 2002 at a cost of £2.85 million. It has been widely acclaimed and has been the recipient of numerous awards from organisations including the RIBA, RICS, Europa Nostra and the Civic Trust.
#archeological_site , #visitor_centre ,
#new_setting , #gallery
https://telegram.me/revitalization
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@M_Anisi
@At_Mehr
@Z_Danyari
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.113
Contemporary Art Space in the Former Convent of Madre de Dios / Sol89
SEVILLA, SPAIN
• Architects: Sol89
• Area:830.0 m²
• Year:2014
• Installations: Alejandro Cabanas
• Architecture Students: Andrés Pino, George Smudge
• Building Company: Cotracom
• Promoter: Centro de Iniciativas Culturales de la Universidad de Sevilla
The intervention interprets the building where is inserted, an old convent, as a context in constant transformation over time. The project arises from a reflection on the creative process in contemporary art, its unpredictable condition and the current dissolution of limits between the space of production and exhibition.
We can recognize that much of contemporary art expression understands the architectural space as a matter of work (we remember Shibboleth by Doris Salcedo breaking the floor of the Tate Modern in London in 2007, High Plane V by Katterin Sigurdardottir occupying the false ceiling of the PS1 in New York or Esto no es un graffiti where artists demolished some facings of walls in the same place of our project).
We think the contemporary exhibition space shouldn’t be projected like a static room in time but like a neverending space in ellipsis, waiting for each exhibition come for completing it. The intervention is projected like a variable and reversible space. The walls and ceiling will be covered by slats of wood, the separation between them will allow seeing the original brick walls, showing the textures of the bricks and the wounds caused by centuries that we have discovered in this first phase, that narrate time builds too as in Yourcenar’s quote.
At the same time, this wooden structure overlapped to the ancient walls will allow the access to all installations in any point of space. Our intervention will act as an initial installation in the space rather than an architectural construction. A temporary display related to the existing volume that enables the development of future exhibitions and could be disassembled like one of these, revealing what is truly valuable in this old building in a patrimonial sense is the matter, space and light rather than styles or decorations.
#Spain , #convent , #gallery , #glass , #metal , #lighting
@revitalization
Contemporary Art Space in the Former Convent of Madre de Dios / Sol89
SEVILLA, SPAIN
• Architects: Sol89
• Area:830.0 m²
• Year:2014
• Installations: Alejandro Cabanas
• Architecture Students: Andrés Pino, George Smudge
• Building Company: Cotracom
• Promoter: Centro de Iniciativas Culturales de la Universidad de Sevilla
The intervention interprets the building where is inserted, an old convent, as a context in constant transformation over time. The project arises from a reflection on the creative process in contemporary art, its unpredictable condition and the current dissolution of limits between the space of production and exhibition.
We can recognize that much of contemporary art expression understands the architectural space as a matter of work (we remember Shibboleth by Doris Salcedo breaking the floor of the Tate Modern in London in 2007, High Plane V by Katterin Sigurdardottir occupying the false ceiling of the PS1 in New York or Esto no es un graffiti where artists demolished some facings of walls in the same place of our project).
We think the contemporary exhibition space shouldn’t be projected like a static room in time but like a neverending space in ellipsis, waiting for each exhibition come for completing it. The intervention is projected like a variable and reversible space. The walls and ceiling will be covered by slats of wood, the separation between them will allow seeing the original brick walls, showing the textures of the bricks and the wounds caused by centuries that we have discovered in this first phase, that narrate time builds too as in Yourcenar’s quote.
At the same time, this wooden structure overlapped to the ancient walls will allow the access to all installations in any point of space. Our intervention will act as an initial installation in the space rather than an architectural construction. A temporary display related to the existing volume that enables the development of future exhibitions and could be disassembled like one of these, revealing what is truly valuable in this old building in a patrimonial sense is the matter, space and light rather than styles or decorations.
#Spain , #convent , #gallery , #glass , #metal , #lighting
@revitalization
NO.118
The renovated Victoria & Albert Museum / AL_A
• MUSEUM, LONDON, UNITED KINGDOM
• Architects: AL_A
• Area: 6360.0 m²
• Year: 2017
Engineers (Smep) : Arup
Quantity Surveyor : Aecom
Lighting Designer: DHA Designs
Historic Building Adviser : Giles Quarme & Associates
Planning Consultant : DP9
Project Manager: Lendlease
Main Contractor: Wates
Specialist Aws Contractor: PAYE
Specialist Subcontractors: Koninklijke Tichelaar Makkum – porcelain tiles; Octatube – oculus; Midland Alloy – Aston Webb Screen gates; Astins – gallery ceiling; EE Stairs – gallery staircase; Cornish Concrete – stepped terrace; Mazorati Ronchetti – café bar
Principal: Amanda Levete
Project Director: Alice Dietsch
Project Architect: Matt Wilkinson
Team: Ho-Yin Ng, Maximiliano Arrocet, Alex Bulygin, Blandine Plenard, Chiara Zaccagnini, Fernando Ruiz Barberan, Filippo Previtali, Giulio Pellizzon, Matthew Riley, Michael Levy, Michael Wetmore, Patrick Drewello, Peter Angrave, Peter King, Raffael Petrovic, Robert Rice, Rumen Stefanov, Song Jie Lim, Stefano Bertotti, Stephen Citrone, Win Assakul
Client: Victoria & Albert
The Victoria and Albert Museum in London is the world's largest museum of applied and decorative arts and design, as well as sculpture, housing a permanent collection of over 2.27 million objects. It was founded in 1852 and named after Queen Victoria and Prince Albert.
Text description provided by the architects. The V&A Exhibition Road Quarter took six years to realise and transforms the V&A’s former boilerhouse yard on London’s great cultural artery, Exhibition Road. This new entrance connects the Museum with its neighbours, reinforcing the Albertopolis vision of intellectual ambition and innovation and creates a sequence of major new spaces.
The Sackler Courtyard is the world’s first all-porcelain public courtyard, and comprises over 11,000 handmade porcelain tiles, inspired by the rich tradition of ceramics at the V&A. This new public space for London also houses a café with furniture designed for the space by AL_A and manufactured by Moroso. The Sackler Courtyard reveals architecturally significant façades and details that have never previously been seen by the public. These include sgraffito decoration on the side of the Henry Cole Wing – a decorative Renaissance technique using multiple layers of coloured plaster created by the first art students at the Museum, in the late 19th century. The stonework of the Aston Webb Screen retains the damage that World War II inflicted on the Museum, which is reflected in 11 sets of new metal gates, designed by AL_A. The gates have been manufactured with a pattern of perforations tracing the imprint of the shrapnel damage on the stonework as well as the Royal Crest in the central gate
The Blavatnik Hall is a new space that will transform how visitors experience and discover the Museum and collections. Connecting the newly displayed Robert H. N. Ho Family Foundation Galleries of Buddhist Art and the Dorothy and Michael Hintze Sculpture Galleries, The Blavatnik Hall gives views through to The John Madejski Garden, leads to a new shop, and connects to the historic Ceramic Staircase as well as the Sackler Centre for arts education, which reopens featuring the new John Lyon’s Charity Community Gallery.
The versatile, 1,100m sq column-free Sainsbury Gallery is one of the largest temporary exhibition galleries in the UK. This flexible exhibition space sits above a floor dedicated to art handling, conservation and preparation space. The new spaces reach as far as 18 metres below ground, directly beneath the Western Range of the V&A’s Grade I listed buildings: a daring engineering and construction challenge that is made visible to the public by steel columns and a beam painted in vivid international orange that are literally holding the weight of history and the Museum’s priceless collections above.
#UK , #museum , #entrance , #gallery , #landscape , #interior_design , #exhibition , #lighting , #stair
@revitalization
The renovated Victoria & Albert Museum / AL_A
• MUSEUM, LONDON, UNITED KINGDOM
• Architects: AL_A
• Area: 6360.0 m²
• Year: 2017
Engineers (Smep) : Arup
Quantity Surveyor : Aecom
Lighting Designer: DHA Designs
Historic Building Adviser : Giles Quarme & Associates
Planning Consultant : DP9
Project Manager: Lendlease
Main Contractor: Wates
Specialist Aws Contractor: PAYE
Specialist Subcontractors: Koninklijke Tichelaar Makkum – porcelain tiles; Octatube – oculus; Midland Alloy – Aston Webb Screen gates; Astins – gallery ceiling; EE Stairs – gallery staircase; Cornish Concrete – stepped terrace; Mazorati Ronchetti – café bar
Principal: Amanda Levete
Project Director: Alice Dietsch
Project Architect: Matt Wilkinson
Team: Ho-Yin Ng, Maximiliano Arrocet, Alex Bulygin, Blandine Plenard, Chiara Zaccagnini, Fernando Ruiz Barberan, Filippo Previtali, Giulio Pellizzon, Matthew Riley, Michael Levy, Michael Wetmore, Patrick Drewello, Peter Angrave, Peter King, Raffael Petrovic, Robert Rice, Rumen Stefanov, Song Jie Lim, Stefano Bertotti, Stephen Citrone, Win Assakul
Client: Victoria & Albert
The Victoria and Albert Museum in London is the world's largest museum of applied and decorative arts and design, as well as sculpture, housing a permanent collection of over 2.27 million objects. It was founded in 1852 and named after Queen Victoria and Prince Albert.
Text description provided by the architects. The V&A Exhibition Road Quarter took six years to realise and transforms the V&A’s former boilerhouse yard on London’s great cultural artery, Exhibition Road. This new entrance connects the Museum with its neighbours, reinforcing the Albertopolis vision of intellectual ambition and innovation and creates a sequence of major new spaces.
The Sackler Courtyard is the world’s first all-porcelain public courtyard, and comprises over 11,000 handmade porcelain tiles, inspired by the rich tradition of ceramics at the V&A. This new public space for London also houses a café with furniture designed for the space by AL_A and manufactured by Moroso. The Sackler Courtyard reveals architecturally significant façades and details that have never previously been seen by the public. These include sgraffito decoration on the side of the Henry Cole Wing – a decorative Renaissance technique using multiple layers of coloured plaster created by the first art students at the Museum, in the late 19th century. The stonework of the Aston Webb Screen retains the damage that World War II inflicted on the Museum, which is reflected in 11 sets of new metal gates, designed by AL_A. The gates have been manufactured with a pattern of perforations tracing the imprint of the shrapnel damage on the stonework as well as the Royal Crest in the central gate
The Blavatnik Hall is a new space that will transform how visitors experience and discover the Museum and collections. Connecting the newly displayed Robert H. N. Ho Family Foundation Galleries of Buddhist Art and the Dorothy and Michael Hintze Sculpture Galleries, The Blavatnik Hall gives views through to The John Madejski Garden, leads to a new shop, and connects to the historic Ceramic Staircase as well as the Sackler Centre for arts education, which reopens featuring the new John Lyon’s Charity Community Gallery.
The versatile, 1,100m sq column-free Sainsbury Gallery is one of the largest temporary exhibition galleries in the UK. This flexible exhibition space sits above a floor dedicated to art handling, conservation and preparation space. The new spaces reach as far as 18 metres below ground, directly beneath the Western Range of the V&A’s Grade I listed buildings: a daring engineering and construction challenge that is made visible to the public by steel columns and a beam painted in vivid international orange that are literally holding the weight of history and the Museum’s priceless collections above.
#UK , #museum , #entrance , #gallery , #landscape , #interior_design , #exhibition , #lighting , #stair
@revitalization
NO.119
Sala delle Capriate at Palazzo della Ragione / CN10 architetti
MUSEUMS & EXHIBIT, RENOVATION
•
BERGAMO, ITALY
Architects: CN10 architetti
Area: 500.0 m²
Year: 2017
Manufacturers: 3M, Wiva group
General Contractor: KREA allestimenti
Text description provided by the architects. The project provides for a new set-up of the "Sala delle Capriate" in the “Palazzo della Ragione” of Upper Bergamo. The building dates back to the XII century and represents the physical and functional center of the historic city. It is the core of a system of open public spaces and it directly relates to them on different sides. Once the building stopped to host the municipality, the upper room changed a series of different functions. Today its walls are covered with a significant review of art pieces collected over time from different buildings of the city.
The result is a minimal intervention made of a suspended system of hexagons, intended as gazes over the city: like the circles drawn on the embroidery of the colored windows, the suspended structure puts on display the excellence of the territory. This is exactly as it occurs in the cellars of the beehive, where the repetition of the hexagonal frame becomes the structure where life happens. Similarly, the hexagons of the project can become light, sound, image, space. It is a dynamic system of possible configurations that transform the room according to the given event and program.
The hexagonal mesh is dimensioned coherently with the pace of the wooden trusses. The result is a simple and modular composition, made out of the combination of beams and joints. The beams incorporate in their own structure the technological solutions necessary to set in the room different arrangements. They host indeed the technical devices like lightning, both fixed and movable, sound and video systems, motorized projection tarps and hooks to hang panels and other equipment. The fixing system that allows hanging the hexagons to the trusses is located on the joints.
The whole structure can be easily lowered thanks to a motorized solution, in order to guarantee fast changes of setting, a simple maintenance and a better management of the space. The new set-up is completed on the ground floor by a system of hexagonal structures with the same dimension of the suspended one, that can be freely arranged in the room. They are made of modular elements that increase the number and the complexity of the different configurations of the room.
#Italy , #museum, #gallery , #interior_design , #exhibition , #lighting
@revitalization
Sala delle Capriate at Palazzo della Ragione / CN10 architetti
MUSEUMS & EXHIBIT, RENOVATION
•
BERGAMO, ITALY
Architects: CN10 architetti
Area: 500.0 m²
Year: 2017
Manufacturers: 3M, Wiva group
General Contractor: KREA allestimenti
Text description provided by the architects. The project provides for a new set-up of the "Sala delle Capriate" in the “Palazzo della Ragione” of Upper Bergamo. The building dates back to the XII century and represents the physical and functional center of the historic city. It is the core of a system of open public spaces and it directly relates to them on different sides. Once the building stopped to host the municipality, the upper room changed a series of different functions. Today its walls are covered with a significant review of art pieces collected over time from different buildings of the city.
The result is a minimal intervention made of a suspended system of hexagons, intended as gazes over the city: like the circles drawn on the embroidery of the colored windows, the suspended structure puts on display the excellence of the territory. This is exactly as it occurs in the cellars of the beehive, where the repetition of the hexagonal frame becomes the structure where life happens. Similarly, the hexagons of the project can become light, sound, image, space. It is a dynamic system of possible configurations that transform the room according to the given event and program.
The hexagonal mesh is dimensioned coherently with the pace of the wooden trusses. The result is a simple and modular composition, made out of the combination of beams and joints. The beams incorporate in their own structure the technological solutions necessary to set in the room different arrangements. They host indeed the technical devices like lightning, both fixed and movable, sound and video systems, motorized projection tarps and hooks to hang panels and other equipment. The fixing system that allows hanging the hexagons to the trusses is located on the joints.
The whole structure can be easily lowered thanks to a motorized solution, in order to guarantee fast changes of setting, a simple maintenance and a better management of the space. The new set-up is completed on the ground floor by a system of hexagonal structures with the same dimension of the suspended one, that can be freely arranged in the room. They are made of modular elements that increase the number and the complexity of the different configurations of the room.
#Italy , #museum, #gallery , #interior_design , #exhibition , #lighting
@revitalization
NO.146
WHITBY ABBEY VISITOR CENTRE / Stanton Williams
VISITOR CENTER
• Begun: Jun 2000
• Completed: Sep 2001
• Sector: Arts and culture
• Total cost: £2.8M
• Tender date: Dec 1999
• Procurement: GC/Works/1
• Address: Whitby, North Yorkshire, YO22 4JT, United Kingdom
• Professional Team
• Architect: Stanton Williams
• Project architects: Alan Farlie, David Farlie, Dusan Decermic, Richard Griffin
• Client: English Heritage
• Project manager: Citex
• Quantity surveyor: Citex Bucknall Austin
• Landscape architect: Casella
• Main contractor: William Birch & Sons
• Lighting consultant: LAPD
Suppliers
• Structural steelwork: D W Engineering
• Roofing: Carlton
• Glazing: Odyssey Glass
• Louvres: Aspinalls
• Exhibition installation: Plowden & Smith
• Furniture: Stanton Williams
Awards:
2003 Europa Nostra Award
2003 RIBA Award
2003 Civic Trust Award
2002 RIBA White Rose Award
2002 RICS Award
A contemporary two-storey visitor centre housing information, toilets and a cafe as part of a ma-jor reworking of the Whitby Abbey ruins
• Stanton Williams were commissioned by English Heritage in 1998 to design new visitor facilities for Whitby Abbey. The works formed part of a broader masterplan developed by Stanton Wil-liams with English Heritage in which the ruined Abbey’s headland grounds were reworked to cre-ate a fully accessible setting which respected the considerable archaeological and historical sig-nificance of the site.
• The new Visitor Centre comprises an exhibition gallery and shop created within the semi-ruined seventeenth-century Banqueting Hall. A steel framework was inserted, cage-like, within its shell. Though attached to the shell, the framework reads as an independent structure which supports the centre’s upper floor and roof.Old and new are creatively juxtaposed throughout, especially on the southern front where the steel framework is cantilevered out above the partially-ruined wall in order to support a ‘curtain’ of metal, glass and timber which hangs in front of it. Internally, new screens, showcases and furniture contrast with the exposed brick and stone of the historic build-ing, creating a welcoming setting for archaeological displays and site interpretation.
• The building was completed in 2002 at a cost of £2.85 million. It has been widely acclaimed and has been the recipient of numerous awards from organisations including the RIBA, RICS, Europa Nostra and the Civic Trust.
WHITBY ABBEY IN THE 20TH CENTURY
In 1914 the German High Seas Fleet shelled Whitby and struck the abbey ruins, causing considerable damage to the west front, though this was later repaired. In 1920 the Strickland family handed the abbey over to the Ministry of Works, and over the following decade Sir Charles Peers directed major excava-tions at the site, uncovering evidence of the Anglian settlement here.
Between 1993 and 2008 English Heritage carried out archaeological excavation and survey work, first in connection with the construction of the visitor centre, and secondly to rescue archaeological remains threatened by the steady erosion of the cliff. These excavations produced important evidence for all peri-ods of the abbey’s history
#UK, #archeology ,#interior_design , #ruin , #information , #visitor_centre , #lighting , #gallery , #illumination
@revitalization
WHITBY ABBEY VISITOR CENTRE / Stanton Williams
VISITOR CENTER
• Begun: Jun 2000
• Completed: Sep 2001
• Sector: Arts and culture
• Total cost: £2.8M
• Tender date: Dec 1999
• Procurement: GC/Works/1
• Address: Whitby, North Yorkshire, YO22 4JT, United Kingdom
• Professional Team
• Architect: Stanton Williams
• Project architects: Alan Farlie, David Farlie, Dusan Decermic, Richard Griffin
• Client: English Heritage
• Project manager: Citex
• Quantity surveyor: Citex Bucknall Austin
• Landscape architect: Casella
• Main contractor: William Birch & Sons
• Lighting consultant: LAPD
Suppliers
• Structural steelwork: D W Engineering
• Roofing: Carlton
• Glazing: Odyssey Glass
• Louvres: Aspinalls
• Exhibition installation: Plowden & Smith
• Furniture: Stanton Williams
Awards:
2003 Europa Nostra Award
2003 RIBA Award
2003 Civic Trust Award
2002 RIBA White Rose Award
2002 RICS Award
A contemporary two-storey visitor centre housing information, toilets and a cafe as part of a ma-jor reworking of the Whitby Abbey ruins
• Stanton Williams were commissioned by English Heritage in 1998 to design new visitor facilities for Whitby Abbey. The works formed part of a broader masterplan developed by Stanton Wil-liams with English Heritage in which the ruined Abbey’s headland grounds were reworked to cre-ate a fully accessible setting which respected the considerable archaeological and historical sig-nificance of the site.
• The new Visitor Centre comprises an exhibition gallery and shop created within the semi-ruined seventeenth-century Banqueting Hall. A steel framework was inserted, cage-like, within its shell. Though attached to the shell, the framework reads as an independent structure which supports the centre’s upper floor and roof.Old and new are creatively juxtaposed throughout, especially on the southern front where the steel framework is cantilevered out above the partially-ruined wall in order to support a ‘curtain’ of metal, glass and timber which hangs in front of it. Internally, new screens, showcases and furniture contrast with the exposed brick and stone of the historic build-ing, creating a welcoming setting for archaeological displays and site interpretation.
• The building was completed in 2002 at a cost of £2.85 million. It has been widely acclaimed and has been the recipient of numerous awards from organisations including the RIBA, RICS, Europa Nostra and the Civic Trust.
WHITBY ABBEY IN THE 20TH CENTURY
In 1914 the German High Seas Fleet shelled Whitby and struck the abbey ruins, causing considerable damage to the west front, though this was later repaired. In 1920 the Strickland family handed the abbey over to the Ministry of Works, and over the following decade Sir Charles Peers directed major excava-tions at the site, uncovering evidence of the Anglian settlement here.
Between 1993 and 2008 English Heritage carried out archaeological excavation and survey work, first in connection with the construction of the visitor centre, and secondly to rescue archaeological remains threatened by the steady erosion of the cliff. These excavations produced important evidence for all peri-ods of the abbey’s history
#UK, #archeology ,#interior_design , #ruin , #information , #visitor_centre , #lighting , #gallery , #illumination
@revitalization
NO.147
Castello di Rivoli-Castle of Rivoli - MUSEUM OF CONTEMPORARY ART
/ Andrea Bruno
LOCATION: Turin, Rivoli - ITALY
ARCHITECT: Andrea Bruno
Year: 1984
PROPERTY: Common Of Rivoli
DEALER / CONTRACT: "Rivoli Castle - Museum Of Contemporary Art" Cultural Association
CategoryConcessionaires / Assignees Of Public Cultural Goods Or Institutes And Places Of Culture Belonging To The Public (Ex Resolutions / Interpelli AE)
Museum of Contemporary Art
Between past, present and future
Starting out in the 11th century as a military stronghold, the Castle of Rivoli is now home to the Museum of Contemporary Art which has a prestigious permanent collection and occasional major exhibitions in an original historical and architectural context.
Owned by the Savoy since 1247, the castle was the first court of the Duchy of Savoy. In the 1600s it was transformed into courtly residence by Carlo and Amedeo di Castellamonte. The complex also gained the "Manica Lunga", the art gallery of dukes, more than 140 metres long.
In the 1700s, Victor Amadeus II commissioned Juvarra to produce a grandiose rebuilding project, works that were never to be concluded. The incompletion of the construction, emphasised by the restora-tion by Andrea Bruno in 1980s, has created an evocative line of continuity extending from the past, to the present and future.
The first renovation works of the Castello di Rivoli were made by the young Turinese architect An-drea Bruno to mark the centenary of the Unification of Italy in 1961. Unfortunately, at that time the budget was only sufficient to repair structural damage. Some years later, in 1967, Bruno proceeded to demolish the decaying parts of the atrium built in the early 20th century. By 1978, the building was in terrible condition: water infiltration had damaged the walls, ceilings, frescos, and stuccos, causing the first collapses. This led the Region of Piedmont to pledge to take care of the building for 30 years, re-storing it and opening it to the public. The works started in 1979 and ended with the Museum’s inau-guration on 18 December 1984.
Bruno decided to keep the surviving historical traces, giving importance to all the moments in the Castle’s life, starting from the Juvarra building site, passing through Carlo Randoni’s work in the late 18th century, up until the interventions made by the military in the 20th century. Bruno avoided falsifi-cations and completions, respecting the original architecture, which became a true image of the histo-ry of the building and the vicissitudes of the structure. He preserved the internal and external decora-tions, stuccos and paintings damaged by the ravages of time and the carelessness of men.
To give visitors a sense of the Savoy residence, Bruno restored two rooms, one on the first floor made during the Juvarra’s period, and the second in the Duke of Aosta’s apartment. He enhanced the unfin-ished atrium, installed the panorama that juts out from the great brick wall of the Castle, and con-ceived the great suspended staircase, as well as the walkway over the great vault of room 18, putting the past and the present in dialogue. Some rooms have no decorations, while several are richly orna-mented with details that recall the splendours of the dynasty and important moments in Rivoli’s histo-ry.
Some time later, works started on the Manica Lunga, which was to become once again a space for ex-hibitions. Here, the staircases and the lift are external, and they have been made in steel and glass to allow visitors to observe the whole unfinished structure. Bruno used modern materials for the new structures, becoming a pioneer of reversibility, and again stressing the relationship between present and past. In Rivoli, the historic building and contemporary forms interact together, while the frescoes dialogue with the work of today’s artists.
#Italy, #castle ,#interior_design , #museum , #lighting , #gallery , #stair
@revitalization
Castello di Rivoli-Castle of Rivoli - MUSEUM OF CONTEMPORARY ART
/ Andrea Bruno
LOCATION: Turin, Rivoli - ITALY
ARCHITECT: Andrea Bruno
Year: 1984
PROPERTY: Common Of Rivoli
DEALER / CONTRACT: "Rivoli Castle - Museum Of Contemporary Art" Cultural Association
CategoryConcessionaires / Assignees Of Public Cultural Goods Or Institutes And Places Of Culture Belonging To The Public (Ex Resolutions / Interpelli AE)
Museum of Contemporary Art
Between past, present and future
Starting out in the 11th century as a military stronghold, the Castle of Rivoli is now home to the Museum of Contemporary Art which has a prestigious permanent collection and occasional major exhibitions in an original historical and architectural context.
Owned by the Savoy since 1247, the castle was the first court of the Duchy of Savoy. In the 1600s it was transformed into courtly residence by Carlo and Amedeo di Castellamonte. The complex also gained the "Manica Lunga", the art gallery of dukes, more than 140 metres long.
In the 1700s, Victor Amadeus II commissioned Juvarra to produce a grandiose rebuilding project, works that were never to be concluded. The incompletion of the construction, emphasised by the restora-tion by Andrea Bruno in 1980s, has created an evocative line of continuity extending from the past, to the present and future.
The first renovation works of the Castello di Rivoli were made by the young Turinese architect An-drea Bruno to mark the centenary of the Unification of Italy in 1961. Unfortunately, at that time the budget was only sufficient to repair structural damage. Some years later, in 1967, Bruno proceeded to demolish the decaying parts of the atrium built in the early 20th century. By 1978, the building was in terrible condition: water infiltration had damaged the walls, ceilings, frescos, and stuccos, causing the first collapses. This led the Region of Piedmont to pledge to take care of the building for 30 years, re-storing it and opening it to the public. The works started in 1979 and ended with the Museum’s inau-guration on 18 December 1984.
Bruno decided to keep the surviving historical traces, giving importance to all the moments in the Castle’s life, starting from the Juvarra building site, passing through Carlo Randoni’s work in the late 18th century, up until the interventions made by the military in the 20th century. Bruno avoided falsifi-cations and completions, respecting the original architecture, which became a true image of the histo-ry of the building and the vicissitudes of the structure. He preserved the internal and external decora-tions, stuccos and paintings damaged by the ravages of time and the carelessness of men.
To give visitors a sense of the Savoy residence, Bruno restored two rooms, one on the first floor made during the Juvarra’s period, and the second in the Duke of Aosta’s apartment. He enhanced the unfin-ished atrium, installed the panorama that juts out from the great brick wall of the Castle, and con-ceived the great suspended staircase, as well as the walkway over the great vault of room 18, putting the past and the present in dialogue. Some rooms have no decorations, while several are richly orna-mented with details that recall the splendours of the dynasty and important moments in Rivoli’s histo-ry.
Some time later, works started on the Manica Lunga, which was to become once again a space for ex-hibitions. Here, the staircases and the lift are external, and they have been made in steel and glass to allow visitors to observe the whole unfinished structure. Bruno used modern materials for the new structures, becoming a pioneer of reversibility, and again stressing the relationship between present and past. In Rivoli, the historic building and contemporary forms interact together, while the frescoes dialogue with the work of today’s artists.
#Italy, #castle ,#interior_design , #museum , #lighting , #gallery , #stair
@revitalization
NO.175
New Gallery and Casemates / Bevk Perović arhitekti
NEUE GALERIE UND KASEMATTEN
WIENER NEUSTADT, AUSTRIA
• Architects: Bevk Perović arhitekti
• Area: 2900 m²
• Year: 2019
• Design Team: Matija Bevk, Vasa J. Perović, Johannes Paar, Christophe Riss, Mitja Usenik, Blaz Goričan Irene Salord Vila, Maša Kovač Šmajdek, Juan Miguel Hererro, Vid Tancer, Andrej Ukmar
• Engineering : Fröhlich & Locher und Partner
• Client: City of Wiener Neustadt
• typology: museum, gallery, cultural, education
• competition: held in 2016
competition entry, 1st prize
The fortification , which is unique in terms of architectural history, dates back to the 12th century and was extensively renovated in 2019. What once served as protection against attackers has been shining in the most modern event dress since the state exhibition in 2019.
Highly praised in the international trade media, the winning project by the architec-tural office Bevk Perovic from Ljubljana shows how to skillfully transform old sub-stance with modern elements into a contemporary design.
The completely newly adapted event location offers space for up to 900 people on over 4000 m2 of event space in three event areas.
The historical casemates consist of three parallel, interconnected, vaulted halls, which were restored as part of the revitalization. These rooms offer the perfect setting for concerts, conferences, lectures and seminars.
The new bastion scores with clear lines, daylight and direct access to the out-side. With a catering kitchen and corresponding delivery driveways as well as goods lifts, storage and ancillary rooms, the casemates meet all the infrastructural requirements for professional events of all kinds.
These two areas are connected by the Strada Coperta, an extensive system of corridors that offers the perfect setting for receptions, small concerts and exhibi-tions.
The immediate vicinity of the “Hilton Garden Inn” hotel means that the conference guests can reach the casemates on foot as well as 4-star accommoda-tion. Seminar rooms in the hotel complete the offer around the casemates.
The Kasematten Wiener Neustadt are located in the middle of the city park, just a few minutes' walk from the train station. All of the city's sights, such as the There-sian Military Academy or the St. Peter an der Sperr Museum, can be reached within a 5-10 minute walk and thus offer a wonderful opportunity for supporting programs at events in the casemates.
#Austria, #fortification, #gallery, #cultural_center, #interior_design, #lighting, #prize
@revitalization
New Gallery and Casemates / Bevk Perović arhitekti
NEUE GALERIE UND KASEMATTEN
WIENER NEUSTADT, AUSTRIA
• Architects: Bevk Perović arhitekti
• Area: 2900 m²
• Year: 2019
• Design Team: Matija Bevk, Vasa J. Perović, Johannes Paar, Christophe Riss, Mitja Usenik, Blaz Goričan Irene Salord Vila, Maša Kovač Šmajdek, Juan Miguel Hererro, Vid Tancer, Andrej Ukmar
• Engineering : Fröhlich & Locher und Partner
• Client: City of Wiener Neustadt
• typology: museum, gallery, cultural, education
• competition: held in 2016
competition entry, 1st prize
The fortification , which is unique in terms of architectural history, dates back to the 12th century and was extensively renovated in 2019. What once served as protection against attackers has been shining in the most modern event dress since the state exhibition in 2019.
Highly praised in the international trade media, the winning project by the architec-tural office Bevk Perovic from Ljubljana shows how to skillfully transform old sub-stance with modern elements into a contemporary design.
The completely newly adapted event location offers space for up to 900 people on over 4000 m2 of event space in three event areas.
The historical casemates consist of three parallel, interconnected, vaulted halls, which were restored as part of the revitalization. These rooms offer the perfect setting for concerts, conferences, lectures and seminars.
The new bastion scores with clear lines, daylight and direct access to the out-side. With a catering kitchen and corresponding delivery driveways as well as goods lifts, storage and ancillary rooms, the casemates meet all the infrastructural requirements for professional events of all kinds.
These two areas are connected by the Strada Coperta, an extensive system of corridors that offers the perfect setting for receptions, small concerts and exhibi-tions.
The immediate vicinity of the “Hilton Garden Inn” hotel means that the conference guests can reach the casemates on foot as well as 4-star accommoda-tion. Seminar rooms in the hotel complete the offer around the casemates.
The Kasematten Wiener Neustadt are located in the middle of the city park, just a few minutes' walk from the train station. All of the city's sights, such as the There-sian Military Academy or the St. Peter an der Sperr Museum, can be reached within a 5-10 minute walk and thus offer a wonderful opportunity for supporting programs at events in the casemates.
#Austria, #fortification, #gallery, #cultural_center, #interior_design, #lighting, #prize
@revitalization
NO.176
Battersea Arts Centre / Haworth Tompkins
VISUAL ARTS CENTER, ADAPTIVE REUSE
•
LONDON, UNITED KINGDOM
• Architects: Haworth Tompkins
• Area: 3800 m²
• Year: 2018
• Manufacturers: Domus Tiles, Hakwood, Triple E, Yannedis, Modular Clay Products
• Lead Architects: Steve Tompkins, Martin Lydon, Imogen Long
• Contractor: 8Build, Gilbert-Ash
• Acoustic Engineer: Gillieron Scott Acoustic Design, SoundSpace Design
• Structural Engineers: Price & Myers, Heyne Tillett Steel
• Services Engineers: Skelly & Couch, XCO2
• Theatre Consultant:Charcoalblue, Theatreplan
• Quantity Surveyor:Bristow Johnson
• Signage:Jake Tilson
• Light Fittings:Haworth Tompkins, Rob McIntyre
the rebirth of a town hall for community and theatre use
Battersea Town Hall is a handsome, beautifully made civic building in south west London, designed by E. W. Mountford in 1893 and Grade II* listed both for its architectural significance and for its important po-litical role in the birth of the suffragette and labour movements in the early twentieth century. Since 1974 it has been home to the arts centre that is regarded as one of the most important incubators of new perfor-mance work in the UK.
Haworth Tompkins have been working alongside the Battersea Arts Centre team, the local community and theatre artists for over a decade on a series of ongoing, experimental, phased projects that are gradually transforming the entire building into a powerhouse of creative commu-nal activity and an explicit record of the buildings vivid history.
Drawing on the existing richness of the building and patterns of use by artists, a number of improvised, non-invasive alterations were made alongside specific productions - such as Punchdrunk’s Masque of the Red Death - to test strategies for change and to evolve a playful but rig-orous architectural language.
Following a period of experimentation, a brief for more permanent work was developed. These projects include the creation of a new pub-lic outdoor courtyard performance space by selectively stripping back and patching in a disused light well, and the conversion of unused attics and rooftops for the organisation’s offices and garden.
Cumulatively, these interventions have resulted in the reconfiguration of the entire interior to allow the possibility of multiple, interconnected performance, heritage and community uses, equipping the organisation for the next phase of its life.
In the context of this narrative approach, the rebuilding of the build-ing’s Grand Hall after the shocking fire that partially destroyed it in 2015 was able to be assimilated into the project as another, albeit highly significant, moment of evolution and change.
Haworth Tompkins took the former decorative plaster vault as a starting point for a new, timber grid ceiling, allowing far greater theatrical pos-sibility and a much clearer acoustic. The surface of the walls of the hall and its surrounding corridors have been preserved in their extraordi-nary, almost Pompeiian post-fire richness and complexity.
A creative relationship of this duration allows both ‘client’ and ‘archi-tect’ to evaluate the ways in which the collaboration has informed their respective wider practices. As the project has unfolded over the last 12 years, so BACs mission has evolved from a purely theatrical undertak-ing to become a far more wide ranging social project with access and inclusivity at its core.
Equally, as architects our theatre work has increasingly been directed towards establishing a ‘cultural commons’ in which buildings for thea-tre can be seen less as individual entities, competing for a market share of an established theatre audience, and more as a diverse, conglomerate civic space that is available - and meaningful - to the whole community.
.
#UK, #hall, #gallery, #cultural_center, #interior_design, #lighting, #fire
@revitalization
Battersea Arts Centre / Haworth Tompkins
VISUAL ARTS CENTER, ADAPTIVE REUSE
•
LONDON, UNITED KINGDOM
• Architects: Haworth Tompkins
• Area: 3800 m²
• Year: 2018
• Manufacturers: Domus Tiles, Hakwood, Triple E, Yannedis, Modular Clay Products
• Lead Architects: Steve Tompkins, Martin Lydon, Imogen Long
• Contractor: 8Build, Gilbert-Ash
• Acoustic Engineer: Gillieron Scott Acoustic Design, SoundSpace Design
• Structural Engineers: Price & Myers, Heyne Tillett Steel
• Services Engineers: Skelly & Couch, XCO2
• Theatre Consultant:Charcoalblue, Theatreplan
• Quantity Surveyor:Bristow Johnson
• Signage:Jake Tilson
• Light Fittings:Haworth Tompkins, Rob McIntyre
the rebirth of a town hall for community and theatre use
Battersea Town Hall is a handsome, beautifully made civic building in south west London, designed by E. W. Mountford in 1893 and Grade II* listed both for its architectural significance and for its important po-litical role in the birth of the suffragette and labour movements in the early twentieth century. Since 1974 it has been home to the arts centre that is regarded as one of the most important incubators of new perfor-mance work in the UK.
Haworth Tompkins have been working alongside the Battersea Arts Centre team, the local community and theatre artists for over a decade on a series of ongoing, experimental, phased projects that are gradually transforming the entire building into a powerhouse of creative commu-nal activity and an explicit record of the buildings vivid history.
Drawing on the existing richness of the building and patterns of use by artists, a number of improvised, non-invasive alterations were made alongside specific productions - such as Punchdrunk’s Masque of the Red Death - to test strategies for change and to evolve a playful but rig-orous architectural language.
Following a period of experimentation, a brief for more permanent work was developed. These projects include the creation of a new pub-lic outdoor courtyard performance space by selectively stripping back and patching in a disused light well, and the conversion of unused attics and rooftops for the organisation’s offices and garden.
Cumulatively, these interventions have resulted in the reconfiguration of the entire interior to allow the possibility of multiple, interconnected performance, heritage and community uses, equipping the organisation for the next phase of its life.
In the context of this narrative approach, the rebuilding of the build-ing’s Grand Hall after the shocking fire that partially destroyed it in 2015 was able to be assimilated into the project as another, albeit highly significant, moment of evolution and change.
Haworth Tompkins took the former decorative plaster vault as a starting point for a new, timber grid ceiling, allowing far greater theatrical pos-sibility and a much clearer acoustic. The surface of the walls of the hall and its surrounding corridors have been preserved in their extraordi-nary, almost Pompeiian post-fire richness and complexity.
A creative relationship of this duration allows both ‘client’ and ‘archi-tect’ to evaluate the ways in which the collaboration has informed their respective wider practices. As the project has unfolded over the last 12 years, so BACs mission has evolved from a purely theatrical undertak-ing to become a far more wide ranging social project with access and inclusivity at its core.
Equally, as architects our theatre work has increasingly been directed towards establishing a ‘cultural commons’ in which buildings for thea-tre can be seen less as individual entities, competing for a market share of an established theatre audience, and more as a diverse, conglomerate civic space that is available - and meaningful - to the whole community.
.
#UK, #hall, #gallery, #cultural_center, #interior_design, #lighting, #fire
@revitalization