Number of Floors: Three main levels and two intermediate levels
Full Site Area: 23,000 square meters (250,000 square feet)
Floor Area: 21,000 square meters (226,000 square feet)
Exhibition Space: 14,000 square meters (150,000 square feet)
Number of Columns in Excavations: 43
Number of Columns in Archaic Gallery: 28
Dimensions of Parthenon Gallery: 39 x 84 meters
Dimensions of the Frieze: 21 x 58 meters
Number of Glass Panels in Parthenon Gallery: 348
Total Area of Glass Panels: 1302 meters2
Materials
Structure: Reinforced concrete and steel
Glass Façade: Purified ‘low iron’ glass with an invisible selective UV coating and printed frit
Inner Core: Precast and cast-in-place concrete with acoustical dampening perforations
Skylights: Frosted glass panels
Railings: Glass panels with steel handrails
Floors: Beige marble for galleries; dark marble for circulation; heat strengthened, laminated safety glass with textured dots to prevent slippage
Displays: Marble pedestals, glass vitrines, and steel niches
Construction Budget: €130 million (approximately $175 million US)
Financing: Construction of the Museum is co-financed by the Hellenic Republic and the European Regional Development Fund (ERDF)
Schedule
Competition Announced: Spring 2001
Architect Announcement: September 2001
Design Completed: August 2002
Groundbreaking: September 2003
Building Completion: September 2007
Transfer of Artifacts: September through December 2007
Limited Public Viewing of Installation: Winter 2008
Public opening: June 20, 2009
Signage: Signage has been developed to be both visible and yet to be as discrete as possible, recognizing that signage and wayfinding must not compete with the artifacts.
Theater: A 250 square meter theater with 180 seats is fully equipped with projection facilities and a translation booth.
Café, Terrace, and Store: A 770 square meter restaurant opens onto a public terrace with views of the Acropolis. Shading devices designed by Bernard Tschumi Architects are subtly incorporated into the overall scheme, allowing for year-round use during the day and night. Two 125 square meter shops are located on level +0 and +2.
Landscaping: The 23,000 square meter site is landscaped with local vegetation that blends with the natural flora of the Acropolis slopes. Landscaping is designed to open up the public spaces in and around the museum and to incorporate with the neighborhood. The museum is designed especially for pedestrian visitors, which access points on the north and east sides.
Access: Parking is not provided on site, but is available nearby in the Makriyianni neighborhood. Bus dropoff is accommodated to the south of the museum on Hadjichristou street. Public transit can be accessed from the northeast corner of the block at the Acropolis stop of the Athens Metro.
Awards
• On 13 May 2010, it was awarded the International Association of Lighting Designers (IALD) Award of Excellence and Sustainability
• On 8 November 2010, the Museum won the British Guild of Travel Writers' (BGTW) award in Globe category for the Best Worldwide Tourism Project for 2010
• The Museum received 2011 AIA (The American Institute of Architects) Institute Honor Award for Architecture
• It was among the six finalists competing for the 2011 European Union Prize for Contemporary Architecture – the Mies van der Rohe Award.
• On Friday 14 September 2012 the Acropolis Museum was awarded for its innovative program of the conservation and the restoration of the Caryatids by the International Institute for Conservation (IIC) in Vienna, with the Keck Award 2012
• On 2017, Acropolis museum ranked 8th in the TripAdvisor's Travellers Choice Awards of the 25 Best Museums in the world for 2017.
# Greece , #historic_site , #museum, #interior_design , #lighting , #archeological_site #world_heritage_site , #awards , #glass , #auditorium
@revitalization
Full Site Area: 23,000 square meters (250,000 square feet)
Floor Area: 21,000 square meters (226,000 square feet)
Exhibition Space: 14,000 square meters (150,000 square feet)
Number of Columns in Excavations: 43
Number of Columns in Archaic Gallery: 28
Dimensions of Parthenon Gallery: 39 x 84 meters
Dimensions of the Frieze: 21 x 58 meters
Number of Glass Panels in Parthenon Gallery: 348
Total Area of Glass Panels: 1302 meters2
Materials
Structure: Reinforced concrete and steel
Glass Façade: Purified ‘low iron’ glass with an invisible selective UV coating and printed frit
Inner Core: Precast and cast-in-place concrete with acoustical dampening perforations
Skylights: Frosted glass panels
Railings: Glass panels with steel handrails
Floors: Beige marble for galleries; dark marble for circulation; heat strengthened, laminated safety glass with textured dots to prevent slippage
Displays: Marble pedestals, glass vitrines, and steel niches
Construction Budget: €130 million (approximately $175 million US)
Financing: Construction of the Museum is co-financed by the Hellenic Republic and the European Regional Development Fund (ERDF)
Schedule
Competition Announced: Spring 2001
Architect Announcement: September 2001
Design Completed: August 2002
Groundbreaking: September 2003
Building Completion: September 2007
Transfer of Artifacts: September through December 2007
Limited Public Viewing of Installation: Winter 2008
Public opening: June 20, 2009
Signage: Signage has been developed to be both visible and yet to be as discrete as possible, recognizing that signage and wayfinding must not compete with the artifacts.
Theater: A 250 square meter theater with 180 seats is fully equipped with projection facilities and a translation booth.
Café, Terrace, and Store: A 770 square meter restaurant opens onto a public terrace with views of the Acropolis. Shading devices designed by Bernard Tschumi Architects are subtly incorporated into the overall scheme, allowing for year-round use during the day and night. Two 125 square meter shops are located on level +0 and +2.
Landscaping: The 23,000 square meter site is landscaped with local vegetation that blends with the natural flora of the Acropolis slopes. Landscaping is designed to open up the public spaces in and around the museum and to incorporate with the neighborhood. The museum is designed especially for pedestrian visitors, which access points on the north and east sides.
Access: Parking is not provided on site, but is available nearby in the Makriyianni neighborhood. Bus dropoff is accommodated to the south of the museum on Hadjichristou street. Public transit can be accessed from the northeast corner of the block at the Acropolis stop of the Athens Metro.
Awards
• On 13 May 2010, it was awarded the International Association of Lighting Designers (IALD) Award of Excellence and Sustainability
• On 8 November 2010, the Museum won the British Guild of Travel Writers' (BGTW) award in Globe category for the Best Worldwide Tourism Project for 2010
• The Museum received 2011 AIA (The American Institute of Architects) Institute Honor Award for Architecture
• It was among the six finalists competing for the 2011 European Union Prize for Contemporary Architecture – the Mies van der Rohe Award.
• On Friday 14 September 2012 the Acropolis Museum was awarded for its innovative program of the conservation and the restoration of the Caryatids by the International Institute for Conservation (IIC) in Vienna, with the Keck Award 2012
• On 2017, Acropolis museum ranked 8th in the TripAdvisor's Travellers Choice Awards of the 25 Best Museums in the world for 2017.
# Greece , #historic_site , #museum, #interior_design , #lighting , #archeological_site #world_heritage_site , #awards , #glass , #auditorium
@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.106.
Espai CEL – Thermal Baths / Arquetipus projectes arquitectònics
SPA, THERM, CALDES DE MONTBUI, SPAIN
• Architects: Arquetipus projectes arquitectònics
• Area:553.0 m²
• Year:2019
• Manufacturers: Aco, Cosentino, Mapei, Porcelanosa, TOPCRET, Microsoft, Autodesk
• Design Team: Maria Almirall Ferrerons, Ferran Robusté Cumplido
• Draftsman: Raquel García Pérez
• Clients: Balneario Termas Victòria S.A
• Planimetric Survey: Enric Forgas - CARTSIG Serveis Topogràfics
• Structural Engineering: RV4 - Emma Leach y Carme Bernal
• Technical Architect: Josep Rubies
• Contractor: Construcciones Francisco Rubio
Text description provided by the architects. With the aim to create a new thermal water space in the pre-existing building of the Termes Victòria Spa Hotel in Caldes de Montbui, we proposed to enter the spaces created about 250 years ago, and used historically for the reservoir of the original thermal water and of the cooled thermal water for the use mainly curative and well-being of people. Its function of deposits had always left them hidden to the visitor and their discovery was key to deciding that it was a captivating place to show and to convert it as a unique space for the enjoyment of the senses. In the spaces of the old deposits and also partly in the traditional bath gallery, the different swimming pools have been located, each with some characteristic different from the other, but all of them created for the purpose of relaxing and enjoying the mineral-medicinal properties of the thousand year old thermal water.
With the will of being as neutral as possible, we chose to preserve the footprint of the different historical periods that the space has experienced. The original stone, the phase of the walls covered with the conservation of the water mark and the current period in which contemporary elements and materials can clearly be read. The white stone that covers most of the surfaces brings us the memory of the bathtubs still today in use in the traditional thermal spa. Especially intense and interesting for our team and also for the property was the whole process of discovery, data collection, writing of the project, the work and the study of all the sensory factors.
The peculiarity is that at the moment that we decided to work inside, the deposits are still in use and they are full of water. This forced us to make very accurate data in a very short time, knowing that we would not be able to access there again after one year, at the beginning of the works. During the writing of the project we also discovered the existence of a large stream that collects much of the waters of Caldes and runs exactly below the main gallery, and on which one of the main vessels has been located. Finally, the execution, while the hotel building was in full use, forced us to carry out with a very careful coordination to minimize the negative effects of the work on the users of the establishment. In the final result it can be perceived all this intensity and care in the works and in the details, and it is a space that invites you to see it but especially to live it.
#Spain, #lighting , #spa , #bath , #interior_design, #landscape , #terme , #hotel , #glass
@revitalization
Espai CEL – Thermal Baths / Arquetipus projectes arquitectònics
SPA, THERM, CALDES DE MONTBUI, SPAIN
• Architects: Arquetipus projectes arquitectònics
• Area:553.0 m²
• Year:2019
• Manufacturers: Aco, Cosentino, Mapei, Porcelanosa, TOPCRET, Microsoft, Autodesk
• Design Team: Maria Almirall Ferrerons, Ferran Robusté Cumplido
• Draftsman: Raquel García Pérez
• Clients: Balneario Termas Victòria S.A
• Planimetric Survey: Enric Forgas - CARTSIG Serveis Topogràfics
• Structural Engineering: RV4 - Emma Leach y Carme Bernal
• Technical Architect: Josep Rubies
• Contractor: Construcciones Francisco Rubio
Text description provided by the architects. With the aim to create a new thermal water space in the pre-existing building of the Termes Victòria Spa Hotel in Caldes de Montbui, we proposed to enter the spaces created about 250 years ago, and used historically for the reservoir of the original thermal water and of the cooled thermal water for the use mainly curative and well-being of people. Its function of deposits had always left them hidden to the visitor and their discovery was key to deciding that it was a captivating place to show and to convert it as a unique space for the enjoyment of the senses. In the spaces of the old deposits and also partly in the traditional bath gallery, the different swimming pools have been located, each with some characteristic different from the other, but all of them created for the purpose of relaxing and enjoying the mineral-medicinal properties of the thousand year old thermal water.
With the will of being as neutral as possible, we chose to preserve the footprint of the different historical periods that the space has experienced. The original stone, the phase of the walls covered with the conservation of the water mark and the current period in which contemporary elements and materials can clearly be read. The white stone that covers most of the surfaces brings us the memory of the bathtubs still today in use in the traditional thermal spa. Especially intense and interesting for our team and also for the property was the whole process of discovery, data collection, writing of the project, the work and the study of all the sensory factors.
The peculiarity is that at the moment that we decided to work inside, the deposits are still in use and they are full of water. This forced us to make very accurate data in a very short time, knowing that we would not be able to access there again after one year, at the beginning of the works. During the writing of the project we also discovered the existence of a large stream that collects much of the waters of Caldes and runs exactly below the main gallery, and on which one of the main vessels has been located. Finally, the execution, while the hotel building was in full use, forced us to carry out with a very careful coordination to minimize the negative effects of the work on the users of the establishment. In the final result it can be perceived all this intensity and care in the works and in the details, and it is a space that invites you to see it but especially to live it.
#Spain, #lighting , #spa , #bath , #interior_design, #landscape , #terme , #hotel , #glass
@revitalization
NO.107.
Gallo-roman Museum Vesuna / Ateliers Jean Nouvel
MUSEUM, PÉRIGUEUX, FRANCE
• Architects: Ateliers Jean Nouvel
• Area:6900.0 m²
• Year:2003
• Manufacturers: Goppion, Holz-Bois
• Competition: Alexiane Rossi
• Pilot Study: Laurent Niget
• Studies: Didier Brault
• Construction: Bertrand Beissel, François Leininger, Gaston Tolila
• Competition Architects: Jean Philippe Godin, Thierry Marco
• Pilot Study Architects: Cyril Ruiz
• Studies Architects: Isabelle Agostini, Cristiano Benzoni
• Graphic Design: Sabine Rosant
• Museography: Viviane Morteau, Nathalie Sasso, François Leininger, Gaston Tolila
• Structural Engineering: OVE ARUP
• Lots Techniques: OVE ARUP
• Fire Protection: M. CASSO
• Lighting Museography: Observatoire n° 1 Georges BerneERN
The Museum houses the remains of a grand Gallo-Roman residence, adorned with painted plaster work, known as Domus de Vésone. Jean Nouvel won the competition for the design in 1993.
This site must be protected and preserved with nobility, clarity and the sensibility of today’s culture
/Jean Nouvel
Text description provided by the architects. To Protect and to Reveal
It is perhaps the piles of amnesiac architecture in and around our cities, and the decades of accumulation which causes us to better cite the importance of lost civilizations, and of remains which are increasingly read today like true roots more than simple traces.
With Vesunna in Perigueux, there only remain contradictions, unknowns, and strata lost in the memory of the soil! The archaeological site of the Domus des Bosquets is the tangible illustration of the town buried underground which gave birth to Perigueux. The site needs to be revealed and protected with magnanimity, tact, clarity, and culture, by the means of architecture which would have the formidable privilege of residing next to ancient ghosts. The relationship of history with modernity is an architectural source of great poetry on the condition of being frank, sensitive and right within the legitimate act of building. A metaphysical dimension is born of the vertiginous gap between two fragments of the real confronted in the space of a few meters and in the time of a couple thousand years. Conscious of the risks of the situation, I proposed the simplest observation of protecting and revealing.
An inhabited, planted double-wall would be constructed as a screen encompassing an archaeological dig of the Tour de Vesone, the Villa des Bosquets and the 3rd century wall at the northern extremity. The villa will be covered by a big, high, simple umbrella, with the underside absolutely flat. Using calculated geometry inherited from the Gallo-Roman plan, it would be transcribed with a plan, a pretext to introducing a little elegant graphics of abstract sobriety which exclusively belong to the arts of our times. All the memories of the place will be both protected and revealed to our eyes of today.
#France, #lighting , #archeology , #museum , #interior_design, #landscape, #glass
@revitalization
Gallo-roman Museum Vesuna / Ateliers Jean Nouvel
MUSEUM, PÉRIGUEUX, FRANCE
• Architects: Ateliers Jean Nouvel
• Area:6900.0 m²
• Year:2003
• Manufacturers: Goppion, Holz-Bois
• Competition: Alexiane Rossi
• Pilot Study: Laurent Niget
• Studies: Didier Brault
• Construction: Bertrand Beissel, François Leininger, Gaston Tolila
• Competition Architects: Jean Philippe Godin, Thierry Marco
• Pilot Study Architects: Cyril Ruiz
• Studies Architects: Isabelle Agostini, Cristiano Benzoni
• Graphic Design: Sabine Rosant
• Museography: Viviane Morteau, Nathalie Sasso, François Leininger, Gaston Tolila
• Structural Engineering: OVE ARUP
• Lots Techniques: OVE ARUP
• Fire Protection: M. CASSO
• Lighting Museography: Observatoire n° 1 Georges BerneERN
The Museum houses the remains of a grand Gallo-Roman residence, adorned with painted plaster work, known as Domus de Vésone. Jean Nouvel won the competition for the design in 1993.
This site must be protected and preserved with nobility, clarity and the sensibility of today’s culture
/Jean Nouvel
Text description provided by the architects. To Protect and to Reveal
It is perhaps the piles of amnesiac architecture in and around our cities, and the decades of accumulation which causes us to better cite the importance of lost civilizations, and of remains which are increasingly read today like true roots more than simple traces.
With Vesunna in Perigueux, there only remain contradictions, unknowns, and strata lost in the memory of the soil! The archaeological site of the Domus des Bosquets is the tangible illustration of the town buried underground which gave birth to Perigueux. The site needs to be revealed and protected with magnanimity, tact, clarity, and culture, by the means of architecture which would have the formidable privilege of residing next to ancient ghosts. The relationship of history with modernity is an architectural source of great poetry on the condition of being frank, sensitive and right within the legitimate act of building. A metaphysical dimension is born of the vertiginous gap between two fragments of the real confronted in the space of a few meters and in the time of a couple thousand years. Conscious of the risks of the situation, I proposed the simplest observation of protecting and revealing.
An inhabited, planted double-wall would be constructed as a screen encompassing an archaeological dig of the Tour de Vesone, the Villa des Bosquets and the 3rd century wall at the northern extremity. The villa will be covered by a big, high, simple umbrella, with the underside absolutely flat. Using calculated geometry inherited from the Gallo-Roman plan, it would be transcribed with a plan, a pretext to introducing a little elegant graphics of abstract sobriety which exclusively belong to the arts of our times. All the memories of the place will be both protected and revealed to our eyes of today.
#France, #lighting , #archeology , #museum , #interior_design, #landscape, #glass
@revitalization
مرمت تزیینات:
تزیینات حیاط رییسیان در حد بقیه حیاط های مجموعه نیست. صرفاً سطوح محدودی از اندودها و قطاربندی و.. که ارزش های مطلوبی دارند ملاحظه می شود. به عنوان مثال اندود و نقش کندهایی روی گچ در یکی از فضاها باقی مانده که به دلیل نداشتن روزن به حیاط، به نظر می رسد در ترکیب دیگری کار می کرده و مربوط به بنای دیگری بوده است.
کلیه تزیینات و اندودهای قدیمی حفاظت شده و برای ایجاد وضوح بیشتر با به کار گیری اصول مرمتی سعی در خواناتر کردن آنها شده است.
این حیاط پیش از ساخت بنا محل گودال خشت مال ها بوده لذا در زمان ساخت از قسمت هایی که در دل خاک کنده بودند بهره گرفته و سپس دیوارهای تکمیلی چیده شده اند. همچنین برخی قسمت ها از زلزله سال 1192 ه.ق. باقی مانده و در ادامه آنها دیوارها اضافه شده اند. در احیای بنا این قسمت ها به صورت ویترین نشان داده شده یا تثبیت و حفاظت شده تا ضمن افزودن بر ارزش ها، آنچه بر بنا گذشته برای اهل فن قابل شناسایی باشد.
#Iran, #house , #landscape, #hotel , #stair , #lighting , #restoration , #glass , #metal , #interior_design
@revitalization
تزیینات حیاط رییسیان در حد بقیه حیاط های مجموعه نیست. صرفاً سطوح محدودی از اندودها و قطاربندی و.. که ارزش های مطلوبی دارند ملاحظه می شود. به عنوان مثال اندود و نقش کندهایی روی گچ در یکی از فضاها باقی مانده که به دلیل نداشتن روزن به حیاط، به نظر می رسد در ترکیب دیگری کار می کرده و مربوط به بنای دیگری بوده است.
کلیه تزیینات و اندودهای قدیمی حفاظت شده و برای ایجاد وضوح بیشتر با به کار گیری اصول مرمتی سعی در خواناتر کردن آنها شده است.
این حیاط پیش از ساخت بنا محل گودال خشت مال ها بوده لذا در زمان ساخت از قسمت هایی که در دل خاک کنده بودند بهره گرفته و سپس دیوارهای تکمیلی چیده شده اند. همچنین برخی قسمت ها از زلزله سال 1192 ه.ق. باقی مانده و در ادامه آنها دیوارها اضافه شده اند. در احیای بنا این قسمت ها به صورت ویترین نشان داده شده یا تثبیت و حفاظت شده تا ضمن افزودن بر ارزش ها، آنچه بر بنا گذشته برای اهل فن قابل شناسایی باشد.
#Iran, #house , #landscape, #hotel , #stair , #lighting , #restoration , #glass , #metal , #interior_design
@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
Secondly, according to our intention to “update” the building in tone with the urban context, we added two new half-transparent filters. With one inside and another outside the original exterior wall, we transformed the space in-between the two layers into a “Loggia” that opens the inside to the surrounding townscape. As a result, the strong identity of the Ben Thanh Market area melts into the architecture and smoothly spreads into the interior spaces. The inside filter, inspired from the high-side windows of the Market, is a large glass-jalousie partition composed of about 1,000 pieces of tempered glass. It breaks the reflection image of the neighboring cityscape and changes its visual appearance with various conditions such as the glass angles, the sun direction, the weather or the seasons - inscribing the building in a slow rhythm. The outside filter, inspired from the steel fences that we can find everywhere in Saigon and re-composed of round steel bars of 4mm-diameter, is a very subtle fence that even swings with the wind. It not only enriches the space’s experience, but also gives it a slightly abstract effect to differentiate the “Loggia” from the building facade and the surrounding scenery.
Through this project, we realized that, in the context of the rapid modernization of Saigon, it is critical to be attentive to the city and its inhabitants, define what kind of “urban intelligence” we choose to highlight, and re-consider how to update our present and future times to flow in co-existence with its historical backgrounds.
#Vietnam , #restaurant , #glass
@revitalization
Through this project, we realized that, in the context of the rapid modernization of Saigon, it is critical to be attentive to the city and its inhabitants, define what kind of “urban intelligence” we choose to highlight, and re-consider how to update our present and future times to flow in co-existence with its historical backgrounds.
#Vietnam , #restaurant , #glass
@revitalization
According to Will Gamble Architects, the original Parchment Works was built on the site because of a natural spring that runs under the building. This water was used to clean the hides from which the parchment was made, by lowering them into a series of baths.
As part of the project, the studio opened up one of these underground baths to create a water feature. This also doubles as a dry well to dispose of surface runoff.
#UK , #house, #interior_design , #landscape , #extention , #cattle , #corten , #glass
@revitalization
As part of the project, the studio opened up one of these underground baths to create a water feature. This also doubles as a dry well to dispose of surface runoff.
#UK , #house, #interior_design , #landscape , #extention , #cattle , #corten , #glass
@revitalization
The large semi-circular arch created is closed by a sliding door with two leaves, each 9.20m high and 1.80 wide, located on the inside of the wall. The door is made of 2mm perforated V-shaped sheet steel without internal profiling and hung from a top profile that helps consolidate the existing arch. The result is a light and continuous veil through which images and sounds of the water are filtered, allowing urban continuity between the fountain and the outer street, both day and night when it is closed for control. The fountain reproduces the plant and approaches the idea of a water container, but this time identifying content and container. It is built by 19mm azure glass walls stacked and fixed using transparent resin materials.
From the entrance, the image is reduced to a horizontal plane of glass and water, the limits of which are lost where the perception of the mud walls and stone retaining walls begins. Its height allows a flooded space to be perceived from the outside. Between the sheet of water and the perimeter walls, the glass floor becomes first a staircase and then a staircase, slowly leading us to the opposite end. There, once below the sheet of water (reference to the original level), we discover a space next to a cistern. A large air bubble used as an interpretive space, where the three main flows that distribute the water appear. Here at the end of this short and intense tour begins the history of the Raudal de la Magdalena.
Assessment
After so many operational alterations and modifications made in the last ten centuries, we inherited a palimpsest of difficult reading that had lost its physical relationship with the citizen, its public function, until its permanent closure. This fact places the architecture project in an interesting field of discussion: the need to expand the concept of public space. For this it is necessary to review the conceptual limits between contemporary public space, hydraulic infrastructure, public source and cultural equipment.
Likewise, it has been necessary to rethink the concept of recovery itself and ask ourselves how to integrate this last stratum from the present time, the need to recover the essential value of the place, putting in value the found remains. The project interprets each rest offering the same validity to all the strata found, validity that is based on the ability of each piece to explain the events that have built it over the centuries. In this sense, the project establishes a unitary assessment of history as a unique process.
In this sense, the materiality of water has lent us its associated value, both symbolic and conceptual, protagonist of urban development. The stone, commissioned for centuries to contain the land and preserve the space that water needs to be offered, has lent us its construction system. Glass, finally, has given us its ability to receive both loans and offer the experience that means immersing yourself in the history of this place.
#Spain, #public_space , #glass , #archeology , #water , #hydraulic_infrastructure , #water_tank , #lighting
@revitalization
From the entrance, the image is reduced to a horizontal plane of glass and water, the limits of which are lost where the perception of the mud walls and stone retaining walls begins. Its height allows a flooded space to be perceived from the outside. Between the sheet of water and the perimeter walls, the glass floor becomes first a staircase and then a staircase, slowly leading us to the opposite end. There, once below the sheet of water (reference to the original level), we discover a space next to a cistern. A large air bubble used as an interpretive space, where the three main flows that distribute the water appear. Here at the end of this short and intense tour begins the history of the Raudal de la Magdalena.
Assessment
After so many operational alterations and modifications made in the last ten centuries, we inherited a palimpsest of difficult reading that had lost its physical relationship with the citizen, its public function, until its permanent closure. This fact places the architecture project in an interesting field of discussion: the need to expand the concept of public space. For this it is necessary to review the conceptual limits between contemporary public space, hydraulic infrastructure, public source and cultural equipment.
Likewise, it has been necessary to rethink the concept of recovery itself and ask ourselves how to integrate this last stratum from the present time, the need to recover the essential value of the place, putting in value the found remains. The project interprets each rest offering the same validity to all the strata found, validity that is based on the ability of each piece to explain the events that have built it over the centuries. In this sense, the project establishes a unitary assessment of history as a unique process.
In this sense, the materiality of water has lent us its associated value, both symbolic and conceptual, protagonist of urban development. The stone, commissioned for centuries to contain the land and preserve the space that water needs to be offered, has lent us its construction system. Glass, finally, has given us its ability to receive both loans and offer the experience that means immersing yourself in the history of this place.
#Spain, #public_space , #glass , #archeology , #water , #hydraulic_infrastructure , #water_tank , #lighting
@revitalization
NO.135
BIBLIOTECA EBRACHER HOF, BRUNO FIORETTI MARQUEZ ARCHITECTS
LOCATION: GERMANY - SCHWEINFURT
DESIGNER: BRUNO FIORETTI MARQUEZ ARCHITECTS
PROJECT YEAR: 2007
STRUCTURES: INGENIEURBÜRO DÖRBAND, SCHWEINFURT
COLLABORATORS: W. VAJEN, S. SKIBA
ACOUSTIC: IFB ENGINEER FOR BUILDING PHYSICS
LIGTHING: DINNER BEER LIGHT
MEP: INGENIEURBÜRO ORF AND VIZL, BOPP ELECTRICAL PLANNING OFFICE
The historic courtyard structure "Erbrach", which houses the new civic library of Schweinfurt, is located south of the historic center, on the track of the old city wall, in the immediate vicinity of the river Main. Following the construction of the Georg Schäfer museum and the new library, the area takes on a new urban significance.
The whole consists of three buildings: a 15th century warehouse for the collection of tithes, a building on the Rittergasse and a building connecting the two bodies.
The cubature needed to complete the program is placed in an underground base so as not to jeopardize the urban role of the existing complex.
A hotel is planned for the building on the Rittergasse, while a new customs building will build the front of the entrance square to the library.
Three new architectural elements are arranged around the tithe building:
a base under the entrance square, a glazed volume and a safety staircase.
Each element performs different tasks.
The base offers the space necessary for the completion of the library program and makes the materiality of the existing building visible by discovering its foundations.
The construction system adopted for the new building follows that of the existing building. Solid wood pillars carry the exposed concrete slab.
The precision of the new volume contrasts with the rough consistency of the foundations of the Warehouse of the tithe.
A long glazed element, the so-called lantern, naturally illuminates the underground reading space.
This transparent volume defines and defines the entrance square and protects it from street noise.
At night the illuminated lantern makes the library present on the square. The transversal glass plates constructively stiffen the skylight and reflect light deeply into the space below.
The overlap of the glass panes builds a space with an indefinite vanishing point that indicates the underground presence of the books.
A new external staircase allows an adaptation to safety standards without touching the internal space of the existing building. The stairwell abstracts the profile of the adjacent building and extrudes it into a concrete element.
The main entrance to the library is located on the square. A ring path connects the existing with the new architectural elements. The center of the ring is the tithe warehouse. From the ground floor of the existing building, a staircase leads to the basement.
A ramp along the books embedded in the concrete wall accompanies the visitor around the freed foundations of the existing building.
The initially horizontal space develops vertically following the path of the ramp and leads to a stepped garden upwards.
The stepped garden offers outdoor reading spaces and connects with the garden on the ground floor.
The furniture performs several tasks: inside there is ventilation and lighting and have an acoustic function. Walls, ceilings and floors remain free from any technical installation.
#Germany, #library , #interior_design , #glass , #lighting , #interior_design ,
@revitalization
BIBLIOTECA EBRACHER HOF, BRUNO FIORETTI MARQUEZ ARCHITECTS
LOCATION: GERMANY - SCHWEINFURT
DESIGNER: BRUNO FIORETTI MARQUEZ ARCHITECTS
PROJECT YEAR: 2007
STRUCTURES: INGENIEURBÜRO DÖRBAND, SCHWEINFURT
COLLABORATORS: W. VAJEN, S. SKIBA
ACOUSTIC: IFB ENGINEER FOR BUILDING PHYSICS
LIGTHING: DINNER BEER LIGHT
MEP: INGENIEURBÜRO ORF AND VIZL, BOPP ELECTRICAL PLANNING OFFICE
The historic courtyard structure "Erbrach", which houses the new civic library of Schweinfurt, is located south of the historic center, on the track of the old city wall, in the immediate vicinity of the river Main. Following the construction of the Georg Schäfer museum and the new library, the area takes on a new urban significance.
The whole consists of three buildings: a 15th century warehouse for the collection of tithes, a building on the Rittergasse and a building connecting the two bodies.
The cubature needed to complete the program is placed in an underground base so as not to jeopardize the urban role of the existing complex.
A hotel is planned for the building on the Rittergasse, while a new customs building will build the front of the entrance square to the library.
Three new architectural elements are arranged around the tithe building:
a base under the entrance square, a glazed volume and a safety staircase.
Each element performs different tasks.
The base offers the space necessary for the completion of the library program and makes the materiality of the existing building visible by discovering its foundations.
The construction system adopted for the new building follows that of the existing building. Solid wood pillars carry the exposed concrete slab.
The precision of the new volume contrasts with the rough consistency of the foundations of the Warehouse of the tithe.
A long glazed element, the so-called lantern, naturally illuminates the underground reading space.
This transparent volume defines and defines the entrance square and protects it from street noise.
At night the illuminated lantern makes the library present on the square. The transversal glass plates constructively stiffen the skylight and reflect light deeply into the space below.
The overlap of the glass panes builds a space with an indefinite vanishing point that indicates the underground presence of the books.
A new external staircase allows an adaptation to safety standards without touching the internal space of the existing building. The stairwell abstracts the profile of the adjacent building and extrudes it into a concrete element.
The main entrance to the library is located on the square. A ring path connects the existing with the new architectural elements. The center of the ring is the tithe warehouse. From the ground floor of the existing building, a staircase leads to the basement.
A ramp along the books embedded in the concrete wall accompanies the visitor around the freed foundations of the existing building.
The initially horizontal space develops vertically following the path of the ramp and leads to a stepped garden upwards.
The stepped garden offers outdoor reading spaces and connects with the garden on the ground floor.
The furniture performs several tasks: inside there is ventilation and lighting and have an acoustic function. Walls, ceilings and floors remain free from any technical installation.
#Germany, #library , #interior_design , #glass , #lighting , #interior_design ,
@revitalization
NO.149
Symmons Plains / Cumulus Studio
HOUSES, RESTORATION
•
PERTH, AUSTRALIA
• Architects: Cumulus Studio
• Area: 1258 m²
• Year: 2019
• Manufacturers: AXOR, Dulux, Elton Group, Viridian, Murobond
• Architects In Charge: Todd Henderson, Pippa Jensen
• Builder: Mark Darke Building & Joinery
• Heritage Stonemasons: Past and Present Stonemasons
• Structure: Brierley Consulting Engineers
• Lighting: Southern Lighting and Casa Monde
• Heritage Consultant: Praxis Environment
• Project Cost: $1,500,001 AUD - $2,000,000 AUD
The Symmons Plains project combines extensive heritage restoration works with functional, sensitive additions.
The Symmons Plains homestead was established in 1839 by John Arndell Youl, a Tasmanian colonist famous for introducing brown trout to Australia. Seven generations of the Youl family lived and farmed the expansive property until it was sold to our client in 2011. Over the years, the Youl family made a number of ambitious additions to the property, most notably the tennis court, airstrip and the world-class Symmons Plains raceway.
Understanding the significant heritage value of their new property, our clients approached the project with a clear vision; firstly to restore the property to its former glory, then introduce new func-tional, contemporary elements that would remain sensitive to the original architecture.
Initial restoration works began with the reinstatement of decaying slaked lime mortar and removal of poor cement repairs. Two specialist restoration stonemasons from England were contracted to assist with the extensive exterior works, utilising traditional lime mortar preparation techniques which can take up to 12 months to mature on site. Further restoration works involved removing inconsistent alterations, such as the rear 1960s laundry and loggia, creating a clean, honest, canvas from which to replan.
As is typical of early Georgian homes, the original homestead was quite stripped back, austere and utilitarian, free from the detail and decoration of later Tasmanian heritage properties. The new light-weight steel and glass insertions reflect this simplicity in form and proportion, while their transpar-ency and reduced height allow the heritage structures to take prominence in the design.
The new intervention, a long extruded tube connects both outbuildings and the rear wing of the homestead into one single consolidated structure. This connection activates the entire cluster of buildings, transforming forgotten spaces used intermittently for storage, supplies and farm vehicles into living, social additions to the family home.
Steel has been used to represent the transition between old and new. Beginning with the clear separation in the steel (new) and stone (old) buildings visible seen from the exterior, the user begins to create an association between what is ‘steel’ and what is ‘new’. This is reflected beyond the steel-framed insertions – from the floating staircase and balustrades within the granary down to subtle thresholds, shelving and benchtop details within the central homestead.
#Australia , #house , #restoration , #interior_design , #stair , #glass
@revitalization
Symmons Plains / Cumulus Studio
HOUSES, RESTORATION
•
PERTH, AUSTRALIA
• Architects: Cumulus Studio
• Area: 1258 m²
• Year: 2019
• Manufacturers: AXOR, Dulux, Elton Group, Viridian, Murobond
• Architects In Charge: Todd Henderson, Pippa Jensen
• Builder: Mark Darke Building & Joinery
• Heritage Stonemasons: Past and Present Stonemasons
• Structure: Brierley Consulting Engineers
• Lighting: Southern Lighting and Casa Monde
• Heritage Consultant: Praxis Environment
• Project Cost: $1,500,001 AUD - $2,000,000 AUD
The Symmons Plains project combines extensive heritage restoration works with functional, sensitive additions.
The Symmons Plains homestead was established in 1839 by John Arndell Youl, a Tasmanian colonist famous for introducing brown trout to Australia. Seven generations of the Youl family lived and farmed the expansive property until it was sold to our client in 2011. Over the years, the Youl family made a number of ambitious additions to the property, most notably the tennis court, airstrip and the world-class Symmons Plains raceway.
Understanding the significant heritage value of their new property, our clients approached the project with a clear vision; firstly to restore the property to its former glory, then introduce new func-tional, contemporary elements that would remain sensitive to the original architecture.
Initial restoration works began with the reinstatement of decaying slaked lime mortar and removal of poor cement repairs. Two specialist restoration stonemasons from England were contracted to assist with the extensive exterior works, utilising traditional lime mortar preparation techniques which can take up to 12 months to mature on site. Further restoration works involved removing inconsistent alterations, such as the rear 1960s laundry and loggia, creating a clean, honest, canvas from which to replan.
As is typical of early Georgian homes, the original homestead was quite stripped back, austere and utilitarian, free from the detail and decoration of later Tasmanian heritage properties. The new light-weight steel and glass insertions reflect this simplicity in form and proportion, while their transpar-ency and reduced height allow the heritage structures to take prominence in the design.
The new intervention, a long extruded tube connects both outbuildings and the rear wing of the homestead into one single consolidated structure. This connection activates the entire cluster of buildings, transforming forgotten spaces used intermittently for storage, supplies and farm vehicles into living, social additions to the family home.
Steel has been used to represent the transition between old and new. Beginning with the clear separation in the steel (new) and stone (old) buildings visible seen from the exterior, the user begins to create an association between what is ‘steel’ and what is ‘new’. This is reflected beyond the steel-framed insertions – from the floating staircase and balustrades within the granary down to subtle thresholds, shelving and benchtop details within the central homestead.
#Australia , #house , #restoration , #interior_design , #stair , #glass
@revitalization
NO.150
Blencowe Hall / Graham K Norman Architect
Blencowe, Cumbria, England
Architect: Graham K Norman Architect
Year: 2009
Client: Blencow Hall Partners
Service: Architecture: Historic Buildings
Awards
• RIBA Northern Network Award (Silver) (2011)
• Northern Design Awards, Best Property of the Year (2011)
• RICS International Award for Conservation (2010)
• Civic Trust Award (2010)
• RICS NW Building of the Year Award, Eden District Design Award (2010)
• North West Regional Construction Heritage Award (2009, Commendation)
Blencowe Hall was renovated in 2007 and 2008 with English Heritage approval to bring the North and South towers back in to use as holiday accommodation. Blencowe Hall is a Grade 1 listed building which means it is exceptional interest, sometimes considered to be internationally important (only 2.5% of listed buildings in England are classified Grade I).
It comprises a central range with 16th century fortified towers at each end. The towers had become roofless and derelict, resulting in the house being added to the ‘Buildings at Risk’ Register. The serious structural damage to the south tower was stabilised, as was the large gash in the east elevation, and wooden balconies were inserted. Featured in English Heritage’s Constructive Conservation, this project shows how a part-derelict building can be given a new life while retaining its historic character.
---------
The overall vision was to refurbish the buidling sympathetically whilst bringing it up to modern standards to fulfill its new role as a prestigious holiday home for groups of up to 24 persons.
The gash in the wall to the SouthTower ruin that made it such a spectacle would remain in the new proposal but now behind it would be a wall of glass and discrete steel structure with small balconies with glass balustrading at First and Second floor level for the inhabitants to enjoy the view.
In both towers, accommodation has been reinstated with floors relating to existing fireplace posi-tions. Existing stone staircases formerly open to the air, were now made water tight with new 'cap houses' at Third floor level which provide access to the new lead roofs. The missing North Tower embattled parapet have been rebuilt in salvaged matching stone recovered from the site.
All windows have been replaced with new metal thin profile units with a brown/black powder coated finish. New external doors, floors and floor beams have been made from oak. Internal walls are finished in lime plaster and painted with a proprietary limewash paint. New 'flat' roof structures and hidden gutters to the North and South towers are finished in lead.
The existing heating system has been overhauled with a new oil fired system feeding under floor heating at Ground floor level and radiators at First floor level. The existing drainage system has been abandoned and replace with a new state of the art reed bed system with treated water discharging into a new wildlife pond on land adjacent to the building. A considered landscaping strategy of judicial tree planting has been incorporated to create an appropriate setting for the building.
It would once have been standard conservation practise to leave both towers at Blencowe Hall as ruins, but English Heritage supported the clients desire to bring these structures back into use,- a building that is being maintained because people use it has far better long term prospects than one from where the inhabitants derive no practical benefit.
English Heritage has recognised it as among the top 20 exemplar conservation projects of recent years, and is identified in their publication 'Constructive Conservation in Practice' as a project that demonstrates a new forward thinging way of rescuing ruins or delapidated building as part of re-generation.
#UK , #house, #interior_design , #stair , #glass , #castle , #hall , #tower , #hotel , #ruin
@revitalization
Blencowe Hall / Graham K Norman Architect
Blencowe, Cumbria, England
Architect: Graham K Norman Architect
Year: 2009
Client: Blencow Hall Partners
Service: Architecture: Historic Buildings
Awards
• RIBA Northern Network Award (Silver) (2011)
• Northern Design Awards, Best Property of the Year (2011)
• RICS International Award for Conservation (2010)
• Civic Trust Award (2010)
• RICS NW Building of the Year Award, Eden District Design Award (2010)
• North West Regional Construction Heritage Award (2009, Commendation)
Blencowe Hall was renovated in 2007 and 2008 with English Heritage approval to bring the North and South towers back in to use as holiday accommodation. Blencowe Hall is a Grade 1 listed building which means it is exceptional interest, sometimes considered to be internationally important (only 2.5% of listed buildings in England are classified Grade I).
It comprises a central range with 16th century fortified towers at each end. The towers had become roofless and derelict, resulting in the house being added to the ‘Buildings at Risk’ Register. The serious structural damage to the south tower was stabilised, as was the large gash in the east elevation, and wooden balconies were inserted. Featured in English Heritage’s Constructive Conservation, this project shows how a part-derelict building can be given a new life while retaining its historic character.
---------
The overall vision was to refurbish the buidling sympathetically whilst bringing it up to modern standards to fulfill its new role as a prestigious holiday home for groups of up to 24 persons.
The gash in the wall to the SouthTower ruin that made it such a spectacle would remain in the new proposal but now behind it would be a wall of glass and discrete steel structure with small balconies with glass balustrading at First and Second floor level for the inhabitants to enjoy the view.
In both towers, accommodation has been reinstated with floors relating to existing fireplace posi-tions. Existing stone staircases formerly open to the air, were now made water tight with new 'cap houses' at Third floor level which provide access to the new lead roofs. The missing North Tower embattled parapet have been rebuilt in salvaged matching stone recovered from the site.
All windows have been replaced with new metal thin profile units with a brown/black powder coated finish. New external doors, floors and floor beams have been made from oak. Internal walls are finished in lime plaster and painted with a proprietary limewash paint. New 'flat' roof structures and hidden gutters to the North and South towers are finished in lead.
The existing heating system has been overhauled with a new oil fired system feeding under floor heating at Ground floor level and radiators at First floor level. The existing drainage system has been abandoned and replace with a new state of the art reed bed system with treated water discharging into a new wildlife pond on land adjacent to the building. A considered landscaping strategy of judicial tree planting has been incorporated to create an appropriate setting for the building.
It would once have been standard conservation practise to leave both towers at Blencowe Hall as ruins, but English Heritage supported the clients desire to bring these structures back into use,- a building that is being maintained because people use it has far better long term prospects than one from where the inhabitants derive no practical benefit.
English Heritage has recognised it as among the top 20 exemplar conservation projects of recent years, and is identified in their publication 'Constructive Conservation in Practice' as a project that demonstrates a new forward thinging way of rescuing ruins or delapidated building as part of re-generation.
#UK , #house, #interior_design , #stair , #glass , #castle , #hall , #tower , #hotel , #ruin
@revitalization
NO.172
Santa Eulàlia Space / Carles Enrich Studio
CHURCHES, RENOVATION, CULTURAL CENTER
•
SPAIN, Gironella
• Architects: Carles Enrich Studio
• Collaborators: BBG (structure), SJ12 enginyers (installations), Brufau Cusó (quality control)
• Area: 210 m²
• Year: 2020
• Manufacturers: AutoDesk, Adobe, Roca, Samsung
• Contractors: Vesta
• Client: Servei de Patrimoni Arquitectònic Local (Diputació de Barcelona), Gironella Town Council, Consell Comarcal del Berguedà
Adaptation of a former church as a centre for the performing arts.
The former church of Santa Eulàlia in Gironella dates back to the mid-fourteenth century and throughout its six centuries of history it has undergone innumerable changes of use. In 1971, Gironella Council recovered the building in a precarious state of conservation when it was transferred from the previous owner who was unable to guarantee its maintenance. In 2016, due to the poor condition of the building and the lack of services and facilities, it was neces-sary to reformulate the space to carry out cultural activities related to the performing arts, es-pecially dance, music and poetry. This intervention was part of a program to recover existing buildings promoted by Gironella Council.
First, the space of the central aisle was recovered to extend the useful space available and the closed chapels are used for storage. Secondly, a service nucleus was inserted into one of the chapels to guarantee accessibility. Finally an intervention in the facade, reinforcing the metal structure and replacing the translucent facing by transparent glass that expands the field of vision, provides natural light all day, incorporates the street as a second façade and offers views of the church from the outside. The permeability of this facing highlights the public na-ture of Santa Eulàlia as an extension of the urban landscape.
#Spain, #church, #interior_design, #cultural_center, #glass
@revitalization
Santa Eulàlia Space / Carles Enrich Studio
CHURCHES, RENOVATION, CULTURAL CENTER
•
SPAIN, Gironella
• Architects: Carles Enrich Studio
• Collaborators: BBG (structure), SJ12 enginyers (installations), Brufau Cusó (quality control)
• Area: 210 m²
• Year: 2020
• Manufacturers: AutoDesk, Adobe, Roca, Samsung
• Contractors: Vesta
• Client: Servei de Patrimoni Arquitectònic Local (Diputació de Barcelona), Gironella Town Council, Consell Comarcal del Berguedà
Adaptation of a former church as a centre for the performing arts.
The former church of Santa Eulàlia in Gironella dates back to the mid-fourteenth century and throughout its six centuries of history it has undergone innumerable changes of use. In 1971, Gironella Council recovered the building in a precarious state of conservation when it was transferred from the previous owner who was unable to guarantee its maintenance. In 2016, due to the poor condition of the building and the lack of services and facilities, it was neces-sary to reformulate the space to carry out cultural activities related to the performing arts, es-pecially dance, music and poetry. This intervention was part of a program to recover existing buildings promoted by Gironella Council.
First, the space of the central aisle was recovered to extend the useful space available and the closed chapels are used for storage. Secondly, a service nucleus was inserted into one of the chapels to guarantee accessibility. Finally an intervention in the facade, reinforcing the metal structure and replacing the translucent facing by transparent glass that expands the field of vision, provides natural light all day, incorporates the street as a second façade and offers views of the church from the outside. The permeability of this facing highlights the public na-ture of Santa Eulàlia as an extension of the urban landscape.
#Spain, #church, #interior_design, #cultural_center, #glass
@revitalization
NO.173
Ca'n Terra House / ENSAMBLE STUDIO
• Country: Spain
• Area: 1000 m²
• Year: 2020
• Architects: ENSAMBLE STUDIO
• Manufacturers: AutoDesk, DANCOVER, Faro, PENTACERO HIERROS, PIEDRA MARES
• Lead Architects: Antón García-Abril, Debora Mesa Molina
• Design Team: Javier Cuesta, Borja Soriano, Alvaro Catalan, Massimo Loia, Marco Antrodic-chia, Sebastián Zapata, Arianna Sebastiani, Ekam Sahni, Yu-Ting Li, Joel Kim, Gonzalo Pe-ña, Barbara Doroszuk, Yvonne Asiimwe, Mónica Acosta
• Developer:Ensamble Studio
• Engineer: Urculo engineering (m/e/p)
• Waterproof Reinforced Plastic: Dancover
• Lighting: efectoLED
• Photovoltaic System: AutoSolar
Literally meaning ‘house of the earth’ in Catalan, Ca’n Terra embodies a place that, like the earth from where it is built, continually shapes and transforms in form and function.
Originally a quarry that was used as an ammunitions dump during the Spanish Civil War, the Menorca structure was reimagined by architects Antón García-Abril and Débora Mesa of Ensamble Studio as an ode to the Earth’s continually transforming space, and our role in it.
The relationship between people and the environment is evident in the balance between the natural and the livable. While retaining most of the original cavernous aesthetic, plumbing and solar-powered struc-tures are discreetly hidden among the rock walls, and skylights are strategically carved into the ceiling to allow proper natural illumination. Aside from the hammock and the metal frame, the home looks like a space that begs to be formed and molded — very much the architects’ intent.
“Our goal is to touch the space very gently, to add the necessary elements to make it inhabitable and therefore preserve it and give it new meaning and new life,” Mesa says. “It’s a project that found us. It’s something we came across; we found meaning in it, and once we saw it, it was probably the architect in us who just couldn’t ignore it.”
#Spain, #cavern, #house, #minimalism, #interior_design, #glass, #lighting
@revitalization
Ca'n Terra House / ENSAMBLE STUDIO
• Country: Spain
• Area: 1000 m²
• Year: 2020
• Architects: ENSAMBLE STUDIO
• Manufacturers: AutoDesk, DANCOVER, Faro, PENTACERO HIERROS, PIEDRA MARES
• Lead Architects: Antón García-Abril, Debora Mesa Molina
• Design Team: Javier Cuesta, Borja Soriano, Alvaro Catalan, Massimo Loia, Marco Antrodic-chia, Sebastián Zapata, Arianna Sebastiani, Ekam Sahni, Yu-Ting Li, Joel Kim, Gonzalo Pe-ña, Barbara Doroszuk, Yvonne Asiimwe, Mónica Acosta
• Developer:Ensamble Studio
• Engineer: Urculo engineering (m/e/p)
• Waterproof Reinforced Plastic: Dancover
• Lighting: efectoLED
• Photovoltaic System: AutoSolar
Literally meaning ‘house of the earth’ in Catalan, Ca’n Terra embodies a place that, like the earth from where it is built, continually shapes and transforms in form and function.
Originally a quarry that was used as an ammunitions dump during the Spanish Civil War, the Menorca structure was reimagined by architects Antón García-Abril and Débora Mesa of Ensamble Studio as an ode to the Earth’s continually transforming space, and our role in it.
The relationship between people and the environment is evident in the balance between the natural and the livable. While retaining most of the original cavernous aesthetic, plumbing and solar-powered struc-tures are discreetly hidden among the rock walls, and skylights are strategically carved into the ceiling to allow proper natural illumination. Aside from the hammock and the metal frame, the home looks like a space that begs to be formed and molded — very much the architects’ intent.
“Our goal is to touch the space very gently, to add the necessary elements to make it inhabitable and therefore preserve it and give it new meaning and new life,” Mesa says. “It’s a project that found us. It’s something we came across; we found meaning in it, and once we saw it, it was probably the architect in us who just couldn’t ignore it.”
#Spain, #cavern, #house, #minimalism, #interior_design, #glass, #lighting
@revitalization
Concrete paths. On the ground floor, we designed a network of marching areas and pavements from precise smooth pre-cast concrete boards laid down into individual areas. Pre-cast concrete is defined by rigorously straight Corten steel profiles that create a distance from uneven and ir-regular walls. The area between the precise profile and irregular walls is dumped by gravel that highlights both and conciliates irregularity with the uncompromising straight forefront.
Past and present. Our concept is based on respect towards the historical building and it pursues a major effort to preserve the castle’s authentic character. The palace gained an attractive sight-seeing route that allows the visitors to learn about the building history and enjoy the picturesque views from the footbridges on the upper levels of the castle what once used to be a roof. Contem-porary architecture does not compete with the historical building, rather it creates a cohesive unit in which all the elements, old and new go hand in hand.
#Czech, #castle, #interior_design, #lighting, #corten, #glass, #museum, #stair
@revitalization
Past and present. Our concept is based on respect towards the historical building and it pursues a major effort to preserve the castle’s authentic character. The palace gained an attractive sight-seeing route that allows the visitors to learn about the building history and enjoy the picturesque views from the footbridges on the upper levels of the castle what once used to be a roof. Contem-porary architecture does not compete with the historical building, rather it creates a cohesive unit in which all the elements, old and new go hand in hand.
#Czech, #castle, #interior_design, #lighting, #corten, #glass, #museum, #stair
@revitalization