The first two spaces can go from being completely transparent boxes flooded with light, to closed spaces, thanks to the curtains that are hidden in the ceiling and walls. The end of the route reaches the third space, with walls and proportions of 12.40m x 12.40m x 8m, illuminated with indirect overhead light. Also located on this level, are the service areas, the cellar and a staircase to a fourth space on the second level, which functions as an archive. The ruins, converted into spaces of art and contemplation, are decorated with gardens of native rainforest vegetation representative of the country. Three trees of great size and age that were rescued, were transplanted to remain there as survivors.
#Colombia , #interior_design , #house , #public_space , #lighting , #cultural_center , #war_memorial
@revitalization
#Colombia , #interior_design , #house , #public_space , #lighting , #cultural_center , #war_memorial
@revitalization
NO.109.
Villa Castro / AP Valletta + Jens Bruenslow
HOUSES, RENOVATION
NAXXAR, MALTA
• Architects: AP Valletta, Jens Bruenslow
• Area:778.0 m²
• Year:2016
• Client: private
• Manufacturers: Vassallo Joiners, LM Contractor, Vaults
• Costs: €1.2 million
Awards:
World Architecture Festival, 2017, Berlin, New and Old category, Shortlisted
Arbara Coppochin Innternational Biennal Architecture Prize, 2017, Shortlisted
Text description provided by the architects. Villa Castro is located in the town of Naxxar, in the center of the island of Malta. Its location on the perimeter of an Urban Conservation Area has led to drastic modification of the original setting of the villa, recent building developments destroying irreversibly its original context. The project program was organized around the needs of a family and guestrooms to accommodate relatives and friends. The garden, as well as the two internal courtyards, were preserved and, following an unsuccessful attempt at acquiring the remaining portion of the garden immediately adjacent to the existing one, an extension was designed and grafted on the boundary wall to mitigate the negative visual impact of the recent neighboring block of apartments.
The restoration element of the project entailed the securing of dangerous parts, the removal of inserted structures and accretions which conflicted with the authentic organization of space or with the clarity of architectural form, the reopening of blocked arches and the introduction of a few additional openings to allow firstly for more light into the building and, secondly, to strengthen the already well defined symmetry of the garden and courtyard facades. The same principle guided the organization of the external areas. The existing spaces were organized accordingly to the needs of the clients, leaving the ground floor for living, play and entertainment while dedicating the upper entirely to individual bedrooms. Since the depth of the old annex structures is very narrow and rooms typically distributed in an ‘enfilade’ arrangement, an external access balcony was added replacing an existing open balcony.
Moreover, a new stairwell designed in a contemporary language was introduced in an existing backyard to link the long string of rooms aligned along the perimeter, as well as to create space for another bedroom above it. A new extension was built with just enough thickness to house guest quarters that tower over the garden and screen off the new development while closing off the composition of the garden and defining its end facade. They are lifted over the ground on slender columns in order not to obstruct the cornices and pilasters and the pediment of the gate which once led to the garden beyond. All new extensions were conceived as simple volumes and are defined and positioned to compliment, and coexist with the existing building.
They are treated in such a way as to allow maximum light on the inside while retaining a monolithic appearance from the outside in sympathy with the old building. Although almost entirely glazed, this is achieved by means of a dense wooden screen, creating a composition based on the contrast of materiality. The screens are made from American cedar, which will, over time, acquire a natural protective patina of silvery grey that blends in with the limestone surfaces of the old house. Like all projects that involve the rehabilitation and extension of old structures, time is an important element of the composition of which the building is made, and that will unravel with time.
#Malta, #house , #landscape, #villa , #stair , #extention
@revitalization
Villa Castro / AP Valletta + Jens Bruenslow
HOUSES, RENOVATION
NAXXAR, MALTA
• Architects: AP Valletta, Jens Bruenslow
• Area:778.0 m²
• Year:2016
• Client: private
• Manufacturers: Vassallo Joiners, LM Contractor, Vaults
• Costs: €1.2 million
Awards:
World Architecture Festival, 2017, Berlin, New and Old category, Shortlisted
Arbara Coppochin Innternational Biennal Architecture Prize, 2017, Shortlisted
Text description provided by the architects. Villa Castro is located in the town of Naxxar, in the center of the island of Malta. Its location on the perimeter of an Urban Conservation Area has led to drastic modification of the original setting of the villa, recent building developments destroying irreversibly its original context. The project program was organized around the needs of a family and guestrooms to accommodate relatives and friends. The garden, as well as the two internal courtyards, were preserved and, following an unsuccessful attempt at acquiring the remaining portion of the garden immediately adjacent to the existing one, an extension was designed and grafted on the boundary wall to mitigate the negative visual impact of the recent neighboring block of apartments.
The restoration element of the project entailed the securing of dangerous parts, the removal of inserted structures and accretions which conflicted with the authentic organization of space or with the clarity of architectural form, the reopening of blocked arches and the introduction of a few additional openings to allow firstly for more light into the building and, secondly, to strengthen the already well defined symmetry of the garden and courtyard facades. The same principle guided the organization of the external areas. The existing spaces were organized accordingly to the needs of the clients, leaving the ground floor for living, play and entertainment while dedicating the upper entirely to individual bedrooms. Since the depth of the old annex structures is very narrow and rooms typically distributed in an ‘enfilade’ arrangement, an external access balcony was added replacing an existing open balcony.
Moreover, a new stairwell designed in a contemporary language was introduced in an existing backyard to link the long string of rooms aligned along the perimeter, as well as to create space for another bedroom above it. A new extension was built with just enough thickness to house guest quarters that tower over the garden and screen off the new development while closing off the composition of the garden and defining its end facade. They are lifted over the ground on slender columns in order not to obstruct the cornices and pilasters and the pediment of the gate which once led to the garden beyond. All new extensions were conceived as simple volumes and are defined and positioned to compliment, and coexist with the existing building.
They are treated in such a way as to allow maximum light on the inside while retaining a monolithic appearance from the outside in sympathy with the old building. Although almost entirely glazed, this is achieved by means of a dense wooden screen, creating a composition based on the contrast of materiality. The screens are made from American cedar, which will, over time, acquire a natural protective patina of silvery grey that blends in with the limestone surfaces of the old house. Like all projects that involve the rehabilitation and extension of old structures, time is an important element of the composition of which the building is made, and that will unravel with time.
#Malta, #house , #landscape, #villa , #stair , #extention
@revitalization
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
In addition, a horizontal canopy was installed towards the West façade and the sunset, creating a second irradiated anamorphosis of the great pyramid of Khufu which is revealed in the center of the Time Room. Connected to the elements, this architecture opens out without artifices, bays, glazing or other dividers to be in a vivid relationship with its environment, generating a hypercontextual space, sensory and porous. The Cheops Observatory is both open and closed, nomad and sedentary, erectile and matricial construction. Back to the basics of Architecture, the Observatory creates a dialogue between local vernacular architecture and an architectural ready-made, an answer to the necessary mutation of informal architecture, one of the fundamental issues of 21st century ecology
#Egypte , #house , #landscape, #observatory , #Pyramid
@revitalization
#Egypte , #house , #landscape, #observatory , #Pyramid
@revitalization
The exhibition halls of the Cultural Museum is composed of three kinds of individual spaces with water patio, thematically ranging from the “Contemporary” to the “Traditional”, and from the “Traditional” to the “Future”. Due to the serious destruction of the Zhang Family’s house, only the exterior wall is intriguing and therefore preserved, inside which the“Contemporary”exhibition hall is built with an offset of 30cm to show the respect toward the old construction. In comparison, the Village History Hall is well preserved. Its internal wooden load-bearing structure repaired, partition walls removed, the original atrium preserved, the Hall witness the unfolding of a second exhibition space with a theme of "Tradition". Under the research on the Village History Hall, it is determined that there had been another building to its north. Therefore, the third, "Future" exhibition hall is built from the renewal of the original site, as well as a water patio and leisure zone in vacant area.
Around the new buildings, the shadow changes with the light. The sunshine is filtered by the trees and scattered in the yard, lively and warm. Along with the breezes, these details of light forms a range of subtle perceptions. Around the old buildings, be it the mottled wall, a grey masonry brick, a tile at the top of the wall, some grass that moves with the wind, or a crawling insect, there is always moment in space that brings one back to a moment in time.
#China , #house, #village , #museum , #library , #lighting , #interior_design , #landscape , #community_center
@revitalization
Around the new buildings, the shadow changes with the light. The sunshine is filtered by the trees and scattered in the yard, lively and warm. Along with the breezes, these details of light forms a range of subtle perceptions. Around the old buildings, be it the mottled wall, a grey masonry brick, a tile at the top of the wall, some grass that moves with the wind, or a crawling insect, there is always moment in space that brings one back to a moment in time.
#China , #house, #village , #museum , #library , #lighting , #interior_design , #landscape , #community_center
@revitalization
NO.124
National Museum Clemenceau / TITAN
MOUILLERON-SAINT-GERMAIN, FRANCE
• client : ministère de la Culture et de la Communication, service des Musées de France, DRAC des Pays de la Loire
• Year: 2019
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Technical information on the Clemenceau National Museum:
Program - the Clemenceau National Museum
Contracting authority - Ministry of Culture and Communication, Museum Service of France, DRAC Pays de la Loire
address - Mouilleron en Pareds - France
Budget - € 1,800,000 including scenography € 400,000
Surface - 600 m2
Team - titan (architects-scenographers), the baroque office (scenographers), up and down (landscape designer), svelt (graphic designers), 8.18 (lighting designer), mazedia (multimedia designer), ecb (economist), energy tribe (ing . fluids), arest (ing. structure), symbiance (acoustician)
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Technical information on the reception pavilion of the Maison de Clemenceau:
Program - reconstruction of the reception pavilion of the Clemenceau house
Client - Center des monuments nationaux, Direction de la Conservation des Monuments et des Collections
Address - Saint-Vincent sur Jard - France
Budget - € 500,000 including landscaping - € 80,000
Surface - 125 m2
Team - titan (landscape architects), ecb (economist), luc moreau (ing. Cfo-cfa), inddigo (ing. Fluids), arest (ing. Structure).
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Born in 1841 in the Vendée, a coastal department of western France, Georges Clemenceau was a politician and journalist – a dominant figure in the French Third Republic and, as prime minister – a major contributor to the Allied victory in World War I.
Today, his native house in Mouilleron-en-Pareds is transformed into a museum, pulling his private world and public life into the public realm. The project emerged from its location, with respect to its historical structure. Designed to give the opportunity to begin a new narrative, the building seeks to uncover both its original and current purpose. The concept proposes contemporary interventions with minimum visual compromise to the building’s original appearance. From one perspective, the architecture follows, both in compositional and museological terms, the traditional, domestic character of a house. Its essence and rustic materials are preserved, leaving ample space for the museography, designed with scenographers Le Bureau Baroque.
The new elements are interwoven into the visitor’s path to activate a unique experience, following the rhythm of the existing architecture. To create a link with the community, the adjacent barn is reconstructed to add new programmatic opportunities for concerts, screenings and exhibitions. The museum reveals a new perspective on how art and architecture would benefit from each other’s challenges, unveiling the real substance of the building to its visitors, and, through its informal learning opportunities, giving a new vantage point on history and present times. The visit is elaborated, involving all senses to create a real interaction between content, scenography and visitor. An interactive website on the internet, a combination of graphics and multimedia invite the visitor to experience the museum, creating a new public route through the building and exposition.
#France , #house, #museum , #lighting , #interior_design , #landscape , #community_center , #multi_purpose
@revitalization
National Museum Clemenceau / TITAN
MOUILLERON-SAINT-GERMAIN, FRANCE
• client : ministère de la Culture et de la Communication, service des Musées de France, DRAC des Pays de la Loire
• Year: 2019
------
Technical information on the Clemenceau National Museum:
Program - the Clemenceau National Museum
Contracting authority - Ministry of Culture and Communication, Museum Service of France, DRAC Pays de la Loire
address - Mouilleron en Pareds - France
Budget - € 1,800,000 including scenography € 400,000
Surface - 600 m2
Team - titan (architects-scenographers), the baroque office (scenographers), up and down (landscape designer), svelt (graphic designers), 8.18 (lighting designer), mazedia (multimedia designer), ecb (economist), energy tribe (ing . fluids), arest (ing. structure), symbiance (acoustician)
-------
Technical information on the reception pavilion of the Maison de Clemenceau:
Program - reconstruction of the reception pavilion of the Clemenceau house
Client - Center des monuments nationaux, Direction de la Conservation des Monuments et des Collections
Address - Saint-Vincent sur Jard - France
Budget - € 500,000 including landscaping - € 80,000
Surface - 125 m2
Team - titan (landscape architects), ecb (economist), luc moreau (ing. Cfo-cfa), inddigo (ing. Fluids), arest (ing. Structure).
-------
Born in 1841 in the Vendée, a coastal department of western France, Georges Clemenceau was a politician and journalist – a dominant figure in the French Third Republic and, as prime minister – a major contributor to the Allied victory in World War I.
Today, his native house in Mouilleron-en-Pareds is transformed into a museum, pulling his private world and public life into the public realm. The project emerged from its location, with respect to its historical structure. Designed to give the opportunity to begin a new narrative, the building seeks to uncover both its original and current purpose. The concept proposes contemporary interventions with minimum visual compromise to the building’s original appearance. From one perspective, the architecture follows, both in compositional and museological terms, the traditional, domestic character of a house. Its essence and rustic materials are preserved, leaving ample space for the museography, designed with scenographers Le Bureau Baroque.
The new elements are interwoven into the visitor’s path to activate a unique experience, following the rhythm of the existing architecture. To create a link with the community, the adjacent barn is reconstructed to add new programmatic opportunities for concerts, screenings and exhibitions. The museum reveals a new perspective on how art and architecture would benefit from each other’s challenges, unveiling the real substance of the building to its visitors, and, through its informal learning opportunities, giving a new vantage point on history and present times. The visit is elaborated, involving all senses to create a real interaction between content, scenography and visitor. An interactive website on the internet, a combination of graphics and multimedia invite the visitor to experience the museum, creating a new public route through the building and exposition.
#France , #house, #museum , #lighting , #interior_design , #landscape , #community_center , #multi_purpose
@revitalization
According to Will Gamble Architects, the original Parchment Works was built on the site because of a natural spring that runs under the building. This water was used to clean the hides from which the parchment was made, by lowering them into a series of baths.
As part of the project, the studio opened up one of these underground baths to create a water feature. This also doubles as a dry well to dispose of surface runoff.
#UK , #house, #interior_design , #landscape , #extention , #cattle , #corten , #glass
@revitalization
As part of the project, the studio opened up one of these underground baths to create a water feature. This also doubles as a dry well to dispose of surface runoff.
#UK , #house, #interior_design , #landscape , #extention , #cattle , #corten , #glass
@revitalization
NO.133
Casa Lucciola Renovation / Rafael Schmid Architekten
HOUSES
•
CORIPPO, SWITZERLAND
• Architects: Rafael Schmid Architekten
• Area: 68 m²
• Year: 2019
• Manufacturers: GRAPHISOFT, Chaos Group, Cinema 4D
• Design Team: Rafael Schmid / Michael Schmid
• Consultants: Franco Patà
• Collaborators: Giancarlo Berri, Davide Foletta
Text description provided by the architects. The project site is located in Corippo - the smallest municipality in Switzerland located in the Italian part of the country. Corippo is a renovation project, revitalizing and converting an animal barn - originally built around 1850 - into a cozy and fully sustainable holiday home.
As the inner spaces are quite tight, every inch of the house is considered as storage space. Especially the cupboards under the stairs have been proven as a really convenient solution. Throughout the whole interior, a simple material palette is used, as all the finishes are made out of timber panels to provide a sense of simplicity and an inviting environment.
The home is fully self-sustaining. The electricity is generated through solar panels and water is directly taken out of a freshwater spring that flows next to the houses. The design supports the modern-day lifestyle in a secluded location while embracing engagement with the surrounding nature.
#Switzerland, #house , #interior_design , #self_sustaining , #animal_barn
@revitalization
Casa Lucciola Renovation / Rafael Schmid Architekten
HOUSES
•
CORIPPO, SWITZERLAND
• Architects: Rafael Schmid Architekten
• Area: 68 m²
• Year: 2019
• Manufacturers: GRAPHISOFT, Chaos Group, Cinema 4D
• Design Team: Rafael Schmid / Michael Schmid
• Consultants: Franco Patà
• Collaborators: Giancarlo Berri, Davide Foletta
Text description provided by the architects. The project site is located in Corippo - the smallest municipality in Switzerland located in the Italian part of the country. Corippo is a renovation project, revitalizing and converting an animal barn - originally built around 1850 - into a cozy and fully sustainable holiday home.
As the inner spaces are quite tight, every inch of the house is considered as storage space. Especially the cupboards under the stairs have been proven as a really convenient solution. Throughout the whole interior, a simple material palette is used, as all the finishes are made out of timber panels to provide a sense of simplicity and an inviting environment.
The home is fully self-sustaining. The electricity is generated through solar panels and water is directly taken out of a freshwater spring that flows next to the houses. The design supports the modern-day lifestyle in a secluded location while embracing engagement with the surrounding nature.
#Switzerland, #house , #interior_design , #self_sustaining , #animal_barn
@revitalization
NO.144
Champollion Museum- The Scriptures of the World
Musée Champollion - Les écritures du monde / Agence Moatti et Rivière
Description
Restoration and reconversion of a 14th century building.
Creation of permanent and temporary exhibition rooms.
Location: Figeac, France
Competition: winning project, October 2001
Year completed: 2007 (Year began 2005)
Studios: Agence Moatti et Rivière
Authors: Alain Moatti (1957 France); Henri Rivière (1965 France)
Collaborators
Project architect: Val de Vincelles Graphic design: Pierre di Sciullo Collaborator (external): Pascal Payeur, Fr Rat Engineering: Betom Toulouse Lighting: Fran Gaunand Façades: Concepta Furniture: Goppion Construction company: MGE Interiors: Goubie Others: Etandex Construction: Sotraco
Map: LatLng: (44.609741, 2.034501)
Area: 1,300 m2 HON.
Cost: 4.1 million euros excluding tax.
Project management: City of Figeac (Lot)
Typographic Moucharaby
The museum is housed in three buildings in the heritage area of the old town and articulates three themes: signify the activities of writing and deciphering texts in urban space, take part in public space, extend the history of these places.
The screen façade on place Champollion enables identification of the museum: it is a meta-phor of writing and deciphering. The old stone façade ensures continuity with the urban fabric and houses of Figeac. The screen façade is set back from the alignment and designed as a composition in glass and copper animated by alphabets. This is the polyglot typographic moucharabieh.
Between these two façades are loggias open to the public, and high up, the soleilo, a feature borrowed from the vernacular architecture of the Figeac region. The depth of the façade forms a public transition space between square and museum.
The façade reflects a blend of artisan and industrial processes.
It expresses poetic modernity inspired by living vibrating light - light that breathes and measures time. Luminous and mysterious by day, at night it is part of the lights of the town.
The façade is composed of a sheet of copper laid over a polymer film. Layered glass carries the copper sheet and film between two separating sheets of PVB.
Graphic artist designed the overall composition of this façade; he etched each letter so that it appears in positive on the copper sheet.
The world famous egyptologist Jean-François Champollion (1790-1832) was born in Figeac; he is the tutelary figure of this museum.
From the origins of writing to the new territories of telematic networks, the museographic itin-erary proposes several modes of entrance: graphics (the design and creation of signs, their evolution, the role of the support, handwriting, composition) ; systems and grammars (the con-struction of words and sentences, the relationship to language, phonetics); and usages (func-tions and power of writing, civilizations and society).
#France , #museum, #house, #lighting ,#interior_design , #typography , #cultural_center, #graphic_design
@revitalization
Champollion Museum- The Scriptures of the World
Musée Champollion - Les écritures du monde / Agence Moatti et Rivière
Description
Restoration and reconversion of a 14th century building.
Creation of permanent and temporary exhibition rooms.
Location: Figeac, France
Competition: winning project, October 2001
Year completed: 2007 (Year began 2005)
Studios: Agence Moatti et Rivière
Authors: Alain Moatti (1957 France); Henri Rivière (1965 France)
Collaborators
Project architect: Val de Vincelles Graphic design: Pierre di Sciullo Collaborator (external): Pascal Payeur, Fr Rat Engineering: Betom Toulouse Lighting: Fran Gaunand Façades: Concepta Furniture: Goppion Construction company: MGE Interiors: Goubie Others: Etandex Construction: Sotraco
Map: LatLng: (44.609741, 2.034501)
Area: 1,300 m2 HON.
Cost: 4.1 million euros excluding tax.
Project management: City of Figeac (Lot)
Typographic Moucharaby
The museum is housed in three buildings in the heritage area of the old town and articulates three themes: signify the activities of writing and deciphering texts in urban space, take part in public space, extend the history of these places.
The screen façade on place Champollion enables identification of the museum: it is a meta-phor of writing and deciphering. The old stone façade ensures continuity with the urban fabric and houses of Figeac. The screen façade is set back from the alignment and designed as a composition in glass and copper animated by alphabets. This is the polyglot typographic moucharabieh.
Between these two façades are loggias open to the public, and high up, the soleilo, a feature borrowed from the vernacular architecture of the Figeac region. The depth of the façade forms a public transition space between square and museum.
The façade reflects a blend of artisan and industrial processes.
It expresses poetic modernity inspired by living vibrating light - light that breathes and measures time. Luminous and mysterious by day, at night it is part of the lights of the town.
The façade is composed of a sheet of copper laid over a polymer film. Layered glass carries the copper sheet and film between two separating sheets of PVB.
Graphic artist designed the overall composition of this façade; he etched each letter so that it appears in positive on the copper sheet.
The world famous egyptologist Jean-François Champollion (1790-1832) was born in Figeac; he is the tutelary figure of this museum.
From the origins of writing to the new territories of telematic networks, the museographic itin-erary proposes several modes of entrance: graphics (the design and creation of signs, their evolution, the role of the support, handwriting, composition) ; systems and grammars (the con-struction of words and sentences, the relationship to language, phonetics); and usages (func-tions and power of writing, civilizations and society).
#France , #museum, #house, #lighting ,#interior_design , #typography , #cultural_center, #graphic_design
@revitalization
NO.145
Stone House Transformation in Scaiano / Wespi de Meuron Romeo architects
HOUSES, RENOVATION
•
CAVIANO, SWITZERLAND
• Architects: Wespi de Meuron Romeo architects
• Area: 166 m²
• Year: 2014
• Engineer: de Giorgi & Partners, 6600 Muralto
• Building Physics: IFEC Consulenze SA, 6802 Rivera
• Master Builder: Cassaniti & Walzer SA, 6652 Tegna
• Carpenter: GRG Carpenteria sagl, 6595 Riazzino
• Plasterer: di Marco sagl, 6807 Taverne
• Joiner: Reto Vanzo Schreinerei, 9200 Gossau
The original substance of the historic stone house in the core of scaiano consisted of a main building, with a vaulted cellar and two floors above containing the kitchen, living room and bedrooms. above it was an attic.
the house had an adjoining body, also erected with solid stone walls. the addition contained an alembic on the ground floor, dominated by a bedroom and an attic. the stone staircase in front of the facade of the main building, for access to the upper floors, as well as the lateral boundary walls seem to have been created at the same time as the adjoining volume.
originally - in the period preceding the creation of the adjoining body - in front of the main building there was probably a small public square, the only one in the structure of the nucleus.
the building, no longer inhabited for over two decades before the renovation and protected from decay by a false roof, needed a complete renovation to be adapted to today's functional and technical and en-ergy needs.
it was possible to maintain largely the stone walls, which were insulated inwards and plastered on the outside with lime mortar.
all the wooden beam floors have been replaced by concrete slabs, which also allow to stiffen the old walls.
a new pitched wooden roof has been inserted between the stone walls of the main body, not visible from the paths of the nucleus. the roof of the lateral body is intended as a terrace with massive parapets and pavement in natural stone paving.
a central architectural objective of the construction intervention was to bring out the strength of the mas-sive stone walls and the archaic simplicity of the volumes of the historic building, thus enriching them with a new charm.
so the external stone staircase was removed, restoring the small square in front of the house to the core. furnished with a fountain and bench, the square invites to spontaneous encounters.
the old vaulted cellar has been enhanced as the main entrance: after passing an unheated area, you can access the heated part towards the mountains, with wardrobe and shower.
an opening was cut into the stone walls laterally, in which the staircase leads to the upper floors.
the old alembic was connected laterally to the vaulted atrium and is conceived as a fresh external loggia with a simple raw steel hearth.
towards the lake, the two bedrooms on the first floor as well as the living room / kitchen on the second floor have been protected from the external climate with a glass front set back about 60 cm compared to the old stone walls, as if it were a second glass skin behind the facade. this outdoor area is largely un-covered, allowing rain and snow to flow into the house. this concept has allowed, on the one hand, the authentic preservation of the historic stone facade, which tells the story of the life of the house, on the other hand it generates for the rooms zenithal light and unusual reflections of light, which would not oth-erwise have been possible in the structure of the core with narrow streets.
the interior materialization has been adapted to the archaic pre-existence: exposed impregnated con-crete floors, stone-colored plaster for walls and ceilings, oiled larch for carpenter and kitchen works.
the new interventions are not in contrast with the old substance, but merge with this, thus a new unity created by old and new arises.
#SWITZERLAND, #house,#interior_design , #stone , #lighting
@revitalization
Stone House Transformation in Scaiano / Wespi de Meuron Romeo architects
HOUSES, RENOVATION
•
CAVIANO, SWITZERLAND
• Architects: Wespi de Meuron Romeo architects
• Area: 166 m²
• Year: 2014
• Engineer: de Giorgi & Partners, 6600 Muralto
• Building Physics: IFEC Consulenze SA, 6802 Rivera
• Master Builder: Cassaniti & Walzer SA, 6652 Tegna
• Carpenter: GRG Carpenteria sagl, 6595 Riazzino
• Plasterer: di Marco sagl, 6807 Taverne
• Joiner: Reto Vanzo Schreinerei, 9200 Gossau
The original substance of the historic stone house in the core of scaiano consisted of a main building, with a vaulted cellar and two floors above containing the kitchen, living room and bedrooms. above it was an attic.
the house had an adjoining body, also erected with solid stone walls. the addition contained an alembic on the ground floor, dominated by a bedroom and an attic. the stone staircase in front of the facade of the main building, for access to the upper floors, as well as the lateral boundary walls seem to have been created at the same time as the adjoining volume.
originally - in the period preceding the creation of the adjoining body - in front of the main building there was probably a small public square, the only one in the structure of the nucleus.
the building, no longer inhabited for over two decades before the renovation and protected from decay by a false roof, needed a complete renovation to be adapted to today's functional and technical and en-ergy needs.
it was possible to maintain largely the stone walls, which were insulated inwards and plastered on the outside with lime mortar.
all the wooden beam floors have been replaced by concrete slabs, which also allow to stiffen the old walls.
a new pitched wooden roof has been inserted between the stone walls of the main body, not visible from the paths of the nucleus. the roof of the lateral body is intended as a terrace with massive parapets and pavement in natural stone paving.
a central architectural objective of the construction intervention was to bring out the strength of the mas-sive stone walls and the archaic simplicity of the volumes of the historic building, thus enriching them with a new charm.
so the external stone staircase was removed, restoring the small square in front of the house to the core. furnished with a fountain and bench, the square invites to spontaneous encounters.
the old vaulted cellar has been enhanced as the main entrance: after passing an unheated area, you can access the heated part towards the mountains, with wardrobe and shower.
an opening was cut into the stone walls laterally, in which the staircase leads to the upper floors.
the old alembic was connected laterally to the vaulted atrium and is conceived as a fresh external loggia with a simple raw steel hearth.
towards the lake, the two bedrooms on the first floor as well as the living room / kitchen on the second floor have been protected from the external climate with a glass front set back about 60 cm compared to the old stone walls, as if it were a second glass skin behind the facade. this outdoor area is largely un-covered, allowing rain and snow to flow into the house. this concept has allowed, on the one hand, the authentic preservation of the historic stone facade, which tells the story of the life of the house, on the other hand it generates for the rooms zenithal light and unusual reflections of light, which would not oth-erwise have been possible in the structure of the core with narrow streets.
the interior materialization has been adapted to the archaic pre-existence: exposed impregnated con-crete floors, stone-colored plaster for walls and ceilings, oiled larch for carpenter and kitchen works.
the new interventions are not in contrast with the old substance, but merge with this, thus a new unity created by old and new arises.
#SWITZERLAND, #house,#interior_design , #stone , #lighting
@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.154
LANDHAUS / Thomas Kröger Architekt
HOUSES, REFURBISHMENT
•
BERLIN, GERMANY
• Architects: Thomas Kröger Architekt
• Area: 320 m²
• Year: 2014
Materials: larch, Pine floorboards. Corian
•
In a small village in the middle of the Uckermark - north of Berlin, a large stable was converted into a country house with a holiday apartment to be used separately. The sta-ble was built 140 years ago in a mixed construction of brick masonry and wooden con-tainers. In its time, a highly modern functional building. After the squire was driven out and the land was divided, the complex was used for two settler families including cattle in a semi-detached house.
One half was now redesigned by Thomas Kröger Architekt for a young family in such a way that the language of the house was adapted to reinvent it with its own means and rules. This former cowshed together with the barn is an extremely stable building with thick stone walls, small windows on the upper floor and a large wooden gate below. The own beauty of the raw structure and the spaciousness of the room could only be experi-enced again through the gutting.
The center of the house is a double-height living room with a fireplace. Three large new arch openings, which can be closed by massive wooden gates, give a view of the green country with the many fruit trees. The house is designed so that the large hall is unheat-ed and is enclosed by a closed, heated room. In cold seasons, only the smaller and more sociable areas of the house can be used, similar to bird nests. Right next to the hall there is a slightly raised living room with a free-standing kitchen. The dining area next to it is crowned by a wooden pyramid. On the upper floor, the hall is enclosed like a bracket of three bedrooms, two bathrooms, two study rooms and a loggia. There is a holiday home for guests on the gable end. The apartment is separately accessible and also connected to the central hall. The living and dining area is located on the ground floor and two bedrooms and a bathroom on the upper floor.
A transformation also took place on the building envelope. The intervention in the struc-ture is hardly legible on the street side. The representative gesture shows itself with new openings to the private garden and only brings the desired interlocking of interior and exterior space with it. The entire building was also energetically upgraded during this careful renovation. The walls of the heated rooms were insulated on the inside and pro-vided with wall heating and clay plaster. All rooms, whether heated or unheated, have the same surface qualities.
The building was completely redesigned in order to convert it from the former agricul-tural use into a residential building.
#Germany , #stable , #house , #interior_design
@revitalization
LANDHAUS / Thomas Kröger Architekt
HOUSES, REFURBISHMENT
•
BERLIN, GERMANY
• Architects: Thomas Kröger Architekt
• Area: 320 m²
• Year: 2014
Materials: larch, Pine floorboards. Corian
•
In a small village in the middle of the Uckermark - north of Berlin, a large stable was converted into a country house with a holiday apartment to be used separately. The sta-ble was built 140 years ago in a mixed construction of brick masonry and wooden con-tainers. In its time, a highly modern functional building. After the squire was driven out and the land was divided, the complex was used for two settler families including cattle in a semi-detached house.
One half was now redesigned by Thomas Kröger Architekt for a young family in such a way that the language of the house was adapted to reinvent it with its own means and rules. This former cowshed together with the barn is an extremely stable building with thick stone walls, small windows on the upper floor and a large wooden gate below. The own beauty of the raw structure and the spaciousness of the room could only be experi-enced again through the gutting.
The center of the house is a double-height living room with a fireplace. Three large new arch openings, which can be closed by massive wooden gates, give a view of the green country with the many fruit trees. The house is designed so that the large hall is unheat-ed and is enclosed by a closed, heated room. In cold seasons, only the smaller and more sociable areas of the house can be used, similar to bird nests. Right next to the hall there is a slightly raised living room with a free-standing kitchen. The dining area next to it is crowned by a wooden pyramid. On the upper floor, the hall is enclosed like a bracket of three bedrooms, two bathrooms, two study rooms and a loggia. There is a holiday home for guests on the gable end. The apartment is separately accessible and also connected to the central hall. The living and dining area is located on the ground floor and two bedrooms and a bathroom on the upper floor.
A transformation also took place on the building envelope. The intervention in the struc-ture is hardly legible on the street side. The representative gesture shows itself with new openings to the private garden and only brings the desired interlocking of interior and exterior space with it. The entire building was also energetically upgraded during this careful renovation. The walls of the heated rooms were insulated on the inside and pro-vided with wall heating and clay plaster. All rooms, whether heated or unheated, have the same surface qualities.
The building was completely redesigned in order to convert it from the former agricul-tural use into a residential building.
#Germany , #stable , #house , #interior_design
@revitalization
NO.155
Ryoutei Matsuko + Matsuko Fast Food / Tsutsumi and Associates
RESTAURANT, INTERIORS ARCHITECTURE
•
HANGZHOU, CHINA
Space name: "Ri Ting Song Zi" Japanese Restaurant
Space type: dining space, Japanese restaurant, restaurant renovation
• Interior Designers: Tsutsumi & Associates
• Area: 260 m²
• Year: 2020
• Interiors Designers:Tsutsumi and Associates (Yoshimasa Tsutsumi, Xiuxiu Hong, Shuaipeng Luo, Yaojun Peng, Silang Zhang)
• Lighting Design:Ljus Design (Makiko Ishioka)
• Facility Planning:Beijing Dongzhouji Technical Consultation (Hoshiaki Ishikawa, Katsunori Takebayashi, Ryuji Yamazaki)
• Construction:Hangzhou Fengyuan Zhuangshi Sheji Gongcheng Youxian Gongsi
Main space materials: double-layer wooden grille, rattan weave, hemp slate, taikoo, tex-ture coating
Ryoutei Matsuko
3 stories old house on the Xihu lakeside was renovated to 2 types of Japanese Restaurant. We planned traditional Japanese restaurant on the second and third floor which has calm atmosphere.
The entrance of restaurant is planned on the second floor where it has low ceiling height, so it is very important to design the walls as eye-catching ones. For the entrance wall, we disassembled the traditional ASANOHA pattern to two different geometric layers, one layer has diamond pattern and the another has the equilateral triangle pattern. In front of the wall we can recognize it as ASANOHA, but it gradually shifts toward the periphery. On the shoe box panels, they were carved by Japanese traditional technique called as NAGURI, and it had the beautiful shaded expression,
On half of the second floor, there planned private rooms in which the both side of partition was put by washi paper called as TAIKO-BARI. On the other half of the second-floor, there planned dining hall in which the double ASANOHA pattern on the back wall of the tables. At the openings, to keep the daylight and block the realistic scenery of the outside, also feel the greens on the balconies, we used the bottom opened washi partition called as YUKIMI-SHOJI.
On the third floor, there planned VIP rooms of calm atmosphere. For using enough height of attic, we expanded the set of staggered shelves called as CHIGAI-DANA up to the ceiling, and put the indirect lighting on them. This technique is reference of KASUMI-DANA at SHUGAKUIN imperial villa in Kyoto.
Matsuko Fast Food
Many tourists are usually walking around there, so that on the first floor we planned the fast food style which provides low price and keeps high rotation.
Because on the first floor of this old house its ceiling height is very low, so we can’t change the height too much. Also due to satisfy the requested programs, the shape of the space is very irregular so that it’s difficult to attract the tourist around there. Then we referred to “HUNAZOKO” ceiling that means bottom of the ship, which is usually used in the traditional Japanese house. The center line of the ceiling being raised up only a little, we can feel the extent of the space even if it’s very low ceiling height. In addition, using wide wooden colored ceiling panel alternately up and down, the tops of ceiling were connected from entrance to back of the space drawing a curve. On the wall where ceiling panels end, they directly fall down with keeping its strip design.
In Japan, the narrow and long room is called as “eel’s bed room”. Later this restaurant started to provide eel food, so this space design like a “eel’s bed room” matched with the provided food unexpectedly.
#China , #restaurant , #fast_food , #house , #interior_design , #lighting , #Japan
@revitalization
Ryoutei Matsuko + Matsuko Fast Food / Tsutsumi and Associates
RESTAURANT, INTERIORS ARCHITECTURE
•
HANGZHOU, CHINA
Space name: "Ri Ting Song Zi" Japanese Restaurant
Space type: dining space, Japanese restaurant, restaurant renovation
• Interior Designers: Tsutsumi & Associates
• Area: 260 m²
• Year: 2020
• Interiors Designers:Tsutsumi and Associates (Yoshimasa Tsutsumi, Xiuxiu Hong, Shuaipeng Luo, Yaojun Peng, Silang Zhang)
• Lighting Design:Ljus Design (Makiko Ishioka)
• Facility Planning:Beijing Dongzhouji Technical Consultation (Hoshiaki Ishikawa, Katsunori Takebayashi, Ryuji Yamazaki)
• Construction:Hangzhou Fengyuan Zhuangshi Sheji Gongcheng Youxian Gongsi
Main space materials: double-layer wooden grille, rattan weave, hemp slate, taikoo, tex-ture coating
Ryoutei Matsuko
3 stories old house on the Xihu lakeside was renovated to 2 types of Japanese Restaurant. We planned traditional Japanese restaurant on the second and third floor which has calm atmosphere.
The entrance of restaurant is planned on the second floor where it has low ceiling height, so it is very important to design the walls as eye-catching ones. For the entrance wall, we disassembled the traditional ASANOHA pattern to two different geometric layers, one layer has diamond pattern and the another has the equilateral triangle pattern. In front of the wall we can recognize it as ASANOHA, but it gradually shifts toward the periphery. On the shoe box panels, they were carved by Japanese traditional technique called as NAGURI, and it had the beautiful shaded expression,
On half of the second floor, there planned private rooms in which the both side of partition was put by washi paper called as TAIKO-BARI. On the other half of the second-floor, there planned dining hall in which the double ASANOHA pattern on the back wall of the tables. At the openings, to keep the daylight and block the realistic scenery of the outside, also feel the greens on the balconies, we used the bottom opened washi partition called as YUKIMI-SHOJI.
On the third floor, there planned VIP rooms of calm atmosphere. For using enough height of attic, we expanded the set of staggered shelves called as CHIGAI-DANA up to the ceiling, and put the indirect lighting on them. This technique is reference of KASUMI-DANA at SHUGAKUIN imperial villa in Kyoto.
Matsuko Fast Food
Many tourists are usually walking around there, so that on the first floor we planned the fast food style which provides low price and keeps high rotation.
Because on the first floor of this old house its ceiling height is very low, so we can’t change the height too much. Also due to satisfy the requested programs, the shape of the space is very irregular so that it’s difficult to attract the tourist around there. Then we referred to “HUNAZOKO” ceiling that means bottom of the ship, which is usually used in the traditional Japanese house. The center line of the ceiling being raised up only a little, we can feel the extent of the space even if it’s very low ceiling height. In addition, using wide wooden colored ceiling panel alternately up and down, the tops of ceiling were connected from entrance to back of the space drawing a curve. On the wall where ceiling panels end, they directly fall down with keeping its strip design.
In Japan, the narrow and long room is called as “eel’s bed room”. Later this restaurant started to provide eel food, so this space design like a “eel’s bed room” matched with the provided food unexpectedly.
#China , #restaurant , #fast_food , #house , #interior_design , #lighting , #Japan
@revitalization
Bedroom. The bedroom’s layout was altered to isolate the children's room. A partition was made with the door reinstalled, glass added at the top, and cloakrooms arranged at the sides. The apartment’s owner wished to use two wooden beams removed from an old Hutsul house in the country. Those beams with engraved inscriptions originate from the house that was built by the owner’s grandfa-ther. As the old house does not exist anymore the beams are of special importance and create a link between the family generations.
#Ukraine , #house , #appartement , #interior_design
@revitalization
#Ukraine , #house , #appartement , #interior_design
@revitalization
NO.157
A Country House in Chievo / studio wok
RESIDENTIAL ARCHITECTURE, RENOVATION
•
VERONA, ITALY
• Architects: studio wok
• Area: 250 m²
• Year: 2018
• Photographs: Simone Bossi
• Manufacturers:Artemide,Cassina,Fioroni,Flos,Grassi Pietre,Flos
• Lead Architects:Marcello Bondavalli, Nicola Brenna and Carlo Alberto Tagliabue
• Collaborators:Arch. Federica Torri
• General Contractor:PFM contract, Verona
• Structural Engineering, Sustainability:Studio Tecnico associato Breoni
• Agronomy:Simone Bellamoli
• Stone Flooring :Grassi Pietre, Nanto (VI)
• Windows And Tailor, Made Furniture :GF Arredamenti, Ardenno (SO)
• Client:Private
Between history and modernity: a spatial and material dialogue in a rural court.
The new home has been built into a section of the barn of an agricultural court at the gates of Verona, near the river Adige. The project’s leitmotif is a spatial and material dialogue between history and modernity, and it is also characterized by the great care taken in terms of environmental sustainabil-ity. In addition to the use of technical devices and systems for efficient energy, special attention has been given to the surrounding territory and landscape in the use of materials and design choices.
Together with the building, the surrounding garden has also been redesigned and is now an integral part of the house.
The focal element of the garden and the house is a magnolia tree, preserved upon the clients' request. Bordered by a square black flowerbed, in contrast to the stone flooring on which the pool is set, the tree is the protagonist of the outdoor space and perfectly dialogues with the house: the shadow of its foliage is projected at sunset on the stone façade and is visible from all rooms.
The plaster has been detached on the façades, so as to bring the river pebbles into view which form the structure’s load-bearing walls.
On the front towards the garden, a large arch has been reopened as a reminder of the site’s historical agricultural function, making it the fulcrum around which the spaces of the house are distributed. A large rear door frames the masonry arch, becoming a threshold and an element of dialogue between the interior space and the garden.
The front facing the courtyard is characterized by a glass façade with wooden uprights that recalls, in a contemporary way, the wooden walls typical of barns found in local rural courts.
The materials of the façades are traditional and typical of rural architecture around Verona: on the façade, river pebbles are grafted on modern frames in Biancone, local stone from Lessinia and the monolithic elements that house the larch windows.
The house is set out across three floors and all levels engage with the space at the full height of the living room. The ground floor, distinguished by a Vicenza stone pavement, welcomes guests into a large living area and a library with brick fireplace; the upper floors, perceived as a wooden volume hanging from the ceiling, contain the bedrooms.
The birch plywood cladding designs and defines the interior space, marking a clear distinction be-tween the different sections of the home.
A large rear door frames the masonry arch, becoming a threshold and an element of dialogue between the interior space and the garden.
#Italy , #barn , #rural , #house , #interior_design , #stair
@revitalization
A Country House in Chievo / studio wok
RESIDENTIAL ARCHITECTURE, RENOVATION
•
VERONA, ITALY
• Architects: studio wok
• Area: 250 m²
• Year: 2018
• Photographs: Simone Bossi
• Manufacturers:Artemide,Cassina,Fioroni,Flos,Grassi Pietre,Flos
• Lead Architects:Marcello Bondavalli, Nicola Brenna and Carlo Alberto Tagliabue
• Collaborators:Arch. Federica Torri
• General Contractor:PFM contract, Verona
• Structural Engineering, Sustainability:Studio Tecnico associato Breoni
• Agronomy:Simone Bellamoli
• Stone Flooring :Grassi Pietre, Nanto (VI)
• Windows And Tailor, Made Furniture :GF Arredamenti, Ardenno (SO)
• Client:Private
Between history and modernity: a spatial and material dialogue in a rural court.
The new home has been built into a section of the barn of an agricultural court at the gates of Verona, near the river Adige. The project’s leitmotif is a spatial and material dialogue between history and modernity, and it is also characterized by the great care taken in terms of environmental sustainabil-ity. In addition to the use of technical devices and systems for efficient energy, special attention has been given to the surrounding territory and landscape in the use of materials and design choices.
Together with the building, the surrounding garden has also been redesigned and is now an integral part of the house.
The focal element of the garden and the house is a magnolia tree, preserved upon the clients' request. Bordered by a square black flowerbed, in contrast to the stone flooring on which the pool is set, the tree is the protagonist of the outdoor space and perfectly dialogues with the house: the shadow of its foliage is projected at sunset on the stone façade and is visible from all rooms.
The plaster has been detached on the façades, so as to bring the river pebbles into view which form the structure’s load-bearing walls.
On the front towards the garden, a large arch has been reopened as a reminder of the site’s historical agricultural function, making it the fulcrum around which the spaces of the house are distributed. A large rear door frames the masonry arch, becoming a threshold and an element of dialogue between the interior space and the garden.
The front facing the courtyard is characterized by a glass façade with wooden uprights that recalls, in a contemporary way, the wooden walls typical of barns found in local rural courts.
The materials of the façades are traditional and typical of rural architecture around Verona: on the façade, river pebbles are grafted on modern frames in Biancone, local stone from Lessinia and the monolithic elements that house the larch windows.
The house is set out across three floors and all levels engage with the space at the full height of the living room. The ground floor, distinguished by a Vicenza stone pavement, welcomes guests into a large living area and a library with brick fireplace; the upper floors, perceived as a wooden volume hanging from the ceiling, contain the bedrooms.
The birch plywood cladding designs and defines the interior space, marking a clear distinction be-tween the different sections of the home.
A large rear door frames the masonry arch, becoming a threshold and an element of dialogue between the interior space and the garden.
#Italy , #barn , #rural , #house , #interior_design , #stair
@revitalization
NO.159
House Inside a Ruin / ORA
HOUSES
•
JEVÍČKO, CZECH REPUBLIC
• Architects: ORA
• Area: 249 m²
• Year: 2020
• Manufacturers: Grohe, HELUZ, Hisbalit, Laufen, Berker, Gelco, Marrakesh Cement Tiles, TON
• Design Team:Jan Hora, Barbora Hora, Jan Veisser, Tomáš Pospíšil
• Clients:Sýpka Arnoštov
• Landscape:Štěpánka Černá
ORA reconverts a 17th century rural building, maintaining the brick shell but completely transforming its interiors.
Nestled in the countryside of Jevíčko, Czech Republic, is a 17th century brick granary with a characteristic pitched roof. Seen from afar, the struc-ture looks decadent, but as you get closer you begin to notice the details of the renovation carried out by the studio ORA: new and larger openings, marked by metal lintels or a concrete frame, which connects the living room with the garden. Otherwise the outer shell has been preserved in its natural state, because even a restoration would have undermined its romantic character.
Entering the building you immediately notice the contrast with the outside: the interiors have been completely reorganized and are now very spacious, bright, refined and contemporary. The double-height living area is the ful-crum around which the new life of the structure revolves, which has been converted into a reception area with five bedrooms. The wood of the ceiling, the doors and the new partitions help to give shape to a modern but wel-coming space, reinterpreting rural well-being and comfort.
----
Text description provided by the architects. We were approached to reconstruct a fascinating build-ing. We found a house that suffered significant damage, a former homestead rebuilt under the com-munist regime into a granary. The house was looted and reorganised for another purpose. During the first site visit, we analysed its joints, niches, and protrusions, discovering the original forms. Despite its previous inconsiderate rebuilding, the house has not lost any of its grandeur. On the contrary, the way it is situated, the way it rises to the sky, and the way its raw matter resists time, have proven to be of the highest quality.
It was ruin to the bone. All that was left of the original house was a brick envelope with a roof. To-gether with the building owners, we asked ourselves whether the house had a place to return to. Any attempt at a traditional repair would mean losing the original character of the ruin. Relatively soon, therefore, we rejected a speculative reconstruction of the original state, as well as any other imita-tions. We proposed to fix the current state of the romantic ruins and enter the house anew. House to house, house inside a ruin.
#CZECH_REPUBLIC , #house , #lighting , #interior_design , #wood
@revitalization
House Inside a Ruin / ORA
HOUSES
•
JEVÍČKO, CZECH REPUBLIC
• Architects: ORA
• Area: 249 m²
• Year: 2020
• Manufacturers: Grohe, HELUZ, Hisbalit, Laufen, Berker, Gelco, Marrakesh Cement Tiles, TON
• Design Team:Jan Hora, Barbora Hora, Jan Veisser, Tomáš Pospíšil
• Clients:Sýpka Arnoštov
• Landscape:Štěpánka Černá
ORA reconverts a 17th century rural building, maintaining the brick shell but completely transforming its interiors.
Nestled in the countryside of Jevíčko, Czech Republic, is a 17th century brick granary with a characteristic pitched roof. Seen from afar, the struc-ture looks decadent, but as you get closer you begin to notice the details of the renovation carried out by the studio ORA: new and larger openings, marked by metal lintels or a concrete frame, which connects the living room with the garden. Otherwise the outer shell has been preserved in its natural state, because even a restoration would have undermined its romantic character.
Entering the building you immediately notice the contrast with the outside: the interiors have been completely reorganized and are now very spacious, bright, refined and contemporary. The double-height living area is the ful-crum around which the new life of the structure revolves, which has been converted into a reception area with five bedrooms. The wood of the ceiling, the doors and the new partitions help to give shape to a modern but wel-coming space, reinterpreting rural well-being and comfort.
----
Text description provided by the architects. We were approached to reconstruct a fascinating build-ing. We found a house that suffered significant damage, a former homestead rebuilt under the com-munist regime into a granary. The house was looted and reorganised for another purpose. During the first site visit, we analysed its joints, niches, and protrusions, discovering the original forms. Despite its previous inconsiderate rebuilding, the house has not lost any of its grandeur. On the contrary, the way it is situated, the way it rises to the sky, and the way its raw matter resists time, have proven to be of the highest quality.
It was ruin to the bone. All that was left of the original house was a brick envelope with a roof. To-gether with the building owners, we asked ourselves whether the house had a place to return to. Any attempt at a traditional repair would mean losing the original character of the ruin. Relatively soon, therefore, we rejected a speculative reconstruction of the original state, as well as any other imita-tions. We proposed to fix the current state of the romantic ruins and enter the house anew. House to house, house inside a ruin.
#CZECH_REPUBLIC , #house , #lighting , #interior_design , #wood
@revitalization
The house has been built around two main spaces in double and triple-height, visually con-nected to each other in all their diagonals and in constant relationship with the outside. Inside them the program associated with the day is developed, such as eating, cooking, meeting, working, playing, socializing, relaxing, etc. The bedrooms are located in the integrated volume placed in the west zone, in a more private area. Finally, in the adjacent volume on the north-east, an additional bedroom has been situated, which is independent of the main house.
To connect the vertical spaces, the original stairs have been conserved, with steps formed by large stones that offload their weight onto the ground. As an antagonist, a new metal sheet staircase has been designed that seems to levitate on the wooden floor.
The old stable has thus become a house that is experienced as a natural topography. A cave inhabited by little savages in an unconventional way. As in the forest, in nature, on Mount Pin-do, one has to move to look at the ground, and upwards, alert, with caution. A sustainable house like village houses, without technological impostures.
“These days I am building a house in a village, the land of my ancestors, in the Celtic Olympus [1]. In fact, it is a rehabilitation of a small animal stable made of large, well-arranged, granite ashlars. Almost like occupying a cave. I will use only 7 cm thick Oregon pine planks to solve the floor slabs. You may wonder why from Oregon and not from my country. That’s a fight be-tween me and the moths. The moths suffer more from the stomach with a wood that is not na-tive and that, at least, is winning the first battle.
The slabs have to bridge a distance of 5.20 meters between supports. The loose planks with-out gluing or tongue will solve everything with the help of simple truck straps.
The carpenter who sold me the wood says that it won’t work, the structural engineer, an infalli-ble guy, has serious doubts, and I do nothing but appeal to common sense or, what is the same, remember that evasive phrase: «But if God works by traction»… We will soon know if, as old Oteiza wrote, «there is a God to the northwest» [2], or maybe not.” – Arturo Franco
[1] It refers to Mount Pindo in the municipality of Carnota in A Coruña.
[2] OTEIZA, Jorge: Existe dios al noroeste, Navarra: Pamiela, 1990.
“Now the old stable has become a house that is experienced as a natural topography. A cave inhabited by little savages in an unconventional way. As in the forest, in nature, on Mount Pin-do, one has to move looking at the ground, and upwards, alert, with caution. A sustainable house like village houses, without technological impostures. 70 / 80 cm stone walls, a triple ventilated roof made of fibre cement and wood, and a new window open to the west, to squeeze the afternoon sun, so needed in this land with no sun.”- Arturo Franco
#Spain, #house, #structure, #interior_design, #wood, #stone, #stable, #farmhouse
@revitalization
To connect the vertical spaces, the original stairs have been conserved, with steps formed by large stones that offload their weight onto the ground. As an antagonist, a new metal sheet staircase has been designed that seems to levitate on the wooden floor.
The old stable has thus become a house that is experienced as a natural topography. A cave inhabited by little savages in an unconventional way. As in the forest, in nature, on Mount Pin-do, one has to move to look at the ground, and upwards, alert, with caution. A sustainable house like village houses, without technological impostures.
“These days I am building a house in a village, the land of my ancestors, in the Celtic Olympus [1]. In fact, it is a rehabilitation of a small animal stable made of large, well-arranged, granite ashlars. Almost like occupying a cave. I will use only 7 cm thick Oregon pine planks to solve the floor slabs. You may wonder why from Oregon and not from my country. That’s a fight be-tween me and the moths. The moths suffer more from the stomach with a wood that is not na-tive and that, at least, is winning the first battle.
The slabs have to bridge a distance of 5.20 meters between supports. The loose planks with-out gluing or tongue will solve everything with the help of simple truck straps.
The carpenter who sold me the wood says that it won’t work, the structural engineer, an infalli-ble guy, has serious doubts, and I do nothing but appeal to common sense or, what is the same, remember that evasive phrase: «But if God works by traction»… We will soon know if, as old Oteiza wrote, «there is a God to the northwest» [2], or maybe not.” – Arturo Franco
[1] It refers to Mount Pindo in the municipality of Carnota in A Coruña.
[2] OTEIZA, Jorge: Existe dios al noroeste, Navarra: Pamiela, 1990.
“Now the old stable has become a house that is experienced as a natural topography. A cave inhabited by little savages in an unconventional way. As in the forest, in nature, on Mount Pin-do, one has to move looking at the ground, and upwards, alert, with caution. A sustainable house like village houses, without technological impostures. 70 / 80 cm stone walls, a triple ventilated roof made of fibre cement and wood, and a new window open to the west, to squeeze the afternoon sun, so needed in this land with no sun.”- Arturo Franco
#Spain, #house, #structure, #interior_design, #wood, #stone, #stable, #farmhouse
@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
NO.180
Azin Historical House / Ravagh Atelier
RENOVATION
•
KASHAN, IRAN
• Architects: Ravagh Atelier
• Area: 300 m²
• Year: 2016
• Manufacturers: Farzaneh Art Studio
• Lead Architect: Padideh Azin
• Construction And Restoration: Mohsen Shahi
• Architects: Ravagh Atelier
A conservation and renovation project to breathe a new soul to a place of authenticity and grace: Kashan project was aimed to create a holiday home and place for the gathering of the loved ones. Kashan a historic town 240km south of Tehran provided a unique setting for this inspiring job. The town suffered a massive earthquake in 1778 during the Safavid reign after which point many of the original buildings were leveled. The site of this project however saw various uses since then, primarily as a textile factory with Qajari influ-ences. The renovation project aimed to bring back the glorious aesthetic of the original building while creat-ing a modern, minimal space for contemporary use as a residential single-family house.
In contrast to traditional houses in Kashan, this building provided the opportunity to sport a very spacious living area, this was utilized by eliminating the interfering featuring and then creating a rather seamless ar-ea to be used as a living room, incorporating a modern kitchen and open, airy sitting and dining areas. A master bedroom and guest rooms were also created using other spacious areas of the original factory.
#Iran, #house, #interior_design, #Kashan, #lighting
@revitalization
Azin Historical House / Ravagh Atelier
RENOVATION
•
KASHAN, IRAN
• Architects: Ravagh Atelier
• Area: 300 m²
• Year: 2016
• Manufacturers: Farzaneh Art Studio
• Lead Architect: Padideh Azin
• Construction And Restoration: Mohsen Shahi
• Architects: Ravagh Atelier
A conservation and renovation project to breathe a new soul to a place of authenticity and grace: Kashan project was aimed to create a holiday home and place for the gathering of the loved ones. Kashan a historic town 240km south of Tehran provided a unique setting for this inspiring job. The town suffered a massive earthquake in 1778 during the Safavid reign after which point many of the original buildings were leveled. The site of this project however saw various uses since then, primarily as a textile factory with Qajari influ-ences. The renovation project aimed to bring back the glorious aesthetic of the original building while creat-ing a modern, minimal space for contemporary use as a residential single-family house.
In contrast to traditional houses in Kashan, this building provided the opportunity to sport a very spacious living area, this was utilized by eliminating the interfering featuring and then creating a rather seamless ar-ea to be used as a living room, incorporating a modern kitchen and open, airy sitting and dining areas. A master bedroom and guest rooms were also created using other spacious areas of the original factory.
#Iran, #house, #interior_design, #Kashan, #lighting
@revitalization