NO.147
Castello di Rivoli-Castle of Rivoli - MUSEUM OF CONTEMPORARY ART
/ Andrea Bruno
LOCATION: Turin, Rivoli - ITALY
ARCHITECT: Andrea Bruno
Year: 1984
PROPERTY: Common Of Rivoli
DEALER / CONTRACT: "Rivoli Castle - Museum Of Contemporary Art" Cultural Association
CategoryConcessionaires / Assignees Of Public Cultural Goods Or Institutes And Places Of Culture Belonging To The Public (Ex Resolutions / Interpelli AE)
Museum of Contemporary Art
Between past, present and future
Starting out in the 11th century as a military stronghold, the Castle of Rivoli is now home to the Museum of Contemporary Art which has a prestigious permanent collection and occasional major exhibitions in an original historical and architectural context.
Owned by the Savoy since 1247, the castle was the first court of the Duchy of Savoy. In the 1600s it was transformed into courtly residence by Carlo and Amedeo di Castellamonte. The complex also gained the "Manica Lunga", the art gallery of dukes, more than 140 metres long.
In the 1700s, Victor Amadeus II commissioned Juvarra to produce a grandiose rebuilding project, works that were never to be concluded. The incompletion of the construction, emphasised by the restora-tion by Andrea Bruno in 1980s, has created an evocative line of continuity extending from the past, to the present and future.
The first renovation works of the Castello di Rivoli were made by the young Turinese architect An-drea Bruno to mark the centenary of the Unification of Italy in 1961. Unfortunately, at that time the budget was only sufficient to repair structural damage. Some years later, in 1967, Bruno proceeded to demolish the decaying parts of the atrium built in the early 20th century. By 1978, the building was in terrible condition: water infiltration had damaged the walls, ceilings, frescos, and stuccos, causing the first collapses. This led the Region of Piedmont to pledge to take care of the building for 30 years, re-storing it and opening it to the public. The works started in 1979 and ended with the Museum’s inau-guration on 18 December 1984.
Bruno decided to keep the surviving historical traces, giving importance to all the moments in the Castle’s life, starting from the Juvarra building site, passing through Carlo Randoni’s work in the late 18th century, up until the interventions made by the military in the 20th century. Bruno avoided falsifi-cations and completions, respecting the original architecture, which became a true image of the histo-ry of the building and the vicissitudes of the structure. He preserved the internal and external decora-tions, stuccos and paintings damaged by the ravages of time and the carelessness of men.
To give visitors a sense of the Savoy residence, Bruno restored two rooms, one on the first floor made during the Juvarra’s period, and the second in the Duke of Aosta’s apartment. He enhanced the unfin-ished atrium, installed the panorama that juts out from the great brick wall of the Castle, and con-ceived the great suspended staircase, as well as the walkway over the great vault of room 18, putting the past and the present in dialogue. Some rooms have no decorations, while several are richly orna-mented with details that recall the splendours of the dynasty and important moments in Rivoli’s histo-ry.
Some time later, works started on the Manica Lunga, which was to become once again a space for ex-hibitions. Here, the staircases and the lift are external, and they have been made in steel and glass to allow visitors to observe the whole unfinished structure. Bruno used modern materials for the new structures, becoming a pioneer of reversibility, and again stressing the relationship between present and past. In Rivoli, the historic building and contemporary forms interact together, while the frescoes dialogue with the work of today’s artists.
#Italy, #castle ,#interior_design , #museum , #lighting , #gallery , #stair
@revitalization
Castello di Rivoli-Castle of Rivoli - MUSEUM OF CONTEMPORARY ART
/ Andrea Bruno
LOCATION: Turin, Rivoli - ITALY
ARCHITECT: Andrea Bruno
Year: 1984
PROPERTY: Common Of Rivoli
DEALER / CONTRACT: "Rivoli Castle - Museum Of Contemporary Art" Cultural Association
CategoryConcessionaires / Assignees Of Public Cultural Goods Or Institutes And Places Of Culture Belonging To The Public (Ex Resolutions / Interpelli AE)
Museum of Contemporary Art
Between past, present and future
Starting out in the 11th century as a military stronghold, the Castle of Rivoli is now home to the Museum of Contemporary Art which has a prestigious permanent collection and occasional major exhibitions in an original historical and architectural context.
Owned by the Savoy since 1247, the castle was the first court of the Duchy of Savoy. In the 1600s it was transformed into courtly residence by Carlo and Amedeo di Castellamonte. The complex also gained the "Manica Lunga", the art gallery of dukes, more than 140 metres long.
In the 1700s, Victor Amadeus II commissioned Juvarra to produce a grandiose rebuilding project, works that were never to be concluded. The incompletion of the construction, emphasised by the restora-tion by Andrea Bruno in 1980s, has created an evocative line of continuity extending from the past, to the present and future.
The first renovation works of the Castello di Rivoli were made by the young Turinese architect An-drea Bruno to mark the centenary of the Unification of Italy in 1961. Unfortunately, at that time the budget was only sufficient to repair structural damage. Some years later, in 1967, Bruno proceeded to demolish the decaying parts of the atrium built in the early 20th century. By 1978, the building was in terrible condition: water infiltration had damaged the walls, ceilings, frescos, and stuccos, causing the first collapses. This led the Region of Piedmont to pledge to take care of the building for 30 years, re-storing it and opening it to the public. The works started in 1979 and ended with the Museum’s inau-guration on 18 December 1984.
Bruno decided to keep the surviving historical traces, giving importance to all the moments in the Castle’s life, starting from the Juvarra building site, passing through Carlo Randoni’s work in the late 18th century, up until the interventions made by the military in the 20th century. Bruno avoided falsifi-cations and completions, respecting the original architecture, which became a true image of the histo-ry of the building and the vicissitudes of the structure. He preserved the internal and external decora-tions, stuccos and paintings damaged by the ravages of time and the carelessness of men.
To give visitors a sense of the Savoy residence, Bruno restored two rooms, one on the first floor made during the Juvarra’s period, and the second in the Duke of Aosta’s apartment. He enhanced the unfin-ished atrium, installed the panorama that juts out from the great brick wall of the Castle, and con-ceived the great suspended staircase, as well as the walkway over the great vault of room 18, putting the past and the present in dialogue. Some rooms have no decorations, while several are richly orna-mented with details that recall the splendours of the dynasty and important moments in Rivoli’s histo-ry.
Some time later, works started on the Manica Lunga, which was to become once again a space for ex-hibitions. Here, the staircases and the lift are external, and they have been made in steel and glass to allow visitors to observe the whole unfinished structure. Bruno used modern materials for the new structures, becoming a pioneer of reversibility, and again stressing the relationship between present and past. In Rivoli, the historic building and contemporary forms interact together, while the frescoes dialogue with the work of today’s artists.
#Italy, #castle ,#interior_design , #museum , #lighting , #gallery , #stair
@revitalization
NO.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
the "near / nabij" zone as the mediator between city and library
The rooms on the ground floor constitute the ‘near’ zone, including the en-trance hall, the café (and newspaper reading room) and the cyber zone. The courtyard serves as a terrace and a multipurpose 'outdoor room'. With its various entrances, openings and public functions’, the ground floor opens the building to the city.
the church as ‘agora’
The church remains empty and will serve as the 'agora'. Using minimal means we will make the space suitable for a variety of uses, such as markets, exhibitions and performances.
the "deep" zone on the first floor
The premises of the former monastic library are located on the first floor in the inner ring. These rooms, with their beautiful vaulted ceilings, their digni-fied proportions and their soft light, are ideally suited for use as a classic study library. The spaces around it in the outer ring serve as office spaces and classrooms that are both multifunctional and interchangeable.
the "centre" zone in the attic
In contrast to the other rooms of the monastery, the impressive attic is free of religious meaning and history. With its monumental wooden structure, the attic is a room full of stories and associations, and in our view the ideal place for a general library for children and adults. For additional natural light and better views of the city, we added several dormer windows and skylights.
To preserve the character of the attic as an open, very high space, the main collection is concentrated in a two-level 'bookcase' with gallery and special reading areas ("studioli") in the area of the inner ring. The rest of the attic is furnished with low shelves, tables and benches.
In the new library the impressive timber structure of both the attic and the first floor, with all its origi-nal beams and planks, remains visible. To ensure the safety of the space we reinforced the existing structure from above with an additional steel structure that is largely invisible after completion of the work, concealed in the floor as well as the new roof. It supports the renewed slate roof, relieving load stress in the original timber structure. The space between the existing boards and the new slate roof is filled with insulation material. The attic space thus provides the comfort of a, well-conditioned room while retaining its original character.
a library for the future
In recent years the character and significance of public libraries have been rapidly evolving. We are aware that the role of printed media, books and other sources of information will be different in the future. However, we be-lieve that libraries, as public living rooms and collective working environ-ments, can continue to play a vital role in the public life of our cities.
The building owes its charm to the timeless power of the former monas-tery. Due to its impressive interior the new library has the potential to be-come an important social venue in Mechelen and a lasting attraction. In the years to come the Predikherenkloooster will become, as the mayor put it, "a literary wellness centre".
We think that many of the spatial and functional qualities of these spaces do not necessarily depend on the presence of physical books — the powerful in-terior can easily be adapted to future needs. We made an exception only for the former monastic library on the first floor, where we would like the interi-or lined with books to remain: after two centuries without books, this space is finally set to become the heart of a library once more.
#Belgium , #library , #church , #monastery , #lighting , #interior_design , #wood , #painting
@revitalization
The rooms on the ground floor constitute the ‘near’ zone, including the en-trance hall, the café (and newspaper reading room) and the cyber zone. The courtyard serves as a terrace and a multipurpose 'outdoor room'. With its various entrances, openings and public functions’, the ground floor opens the building to the city.
the church as ‘agora’
The church remains empty and will serve as the 'agora'. Using minimal means we will make the space suitable for a variety of uses, such as markets, exhibitions and performances.
the "deep" zone on the first floor
The premises of the former monastic library are located on the first floor in the inner ring. These rooms, with their beautiful vaulted ceilings, their digni-fied proportions and their soft light, are ideally suited for use as a classic study library. The spaces around it in the outer ring serve as office spaces and classrooms that are both multifunctional and interchangeable.
the "centre" zone in the attic
In contrast to the other rooms of the monastery, the impressive attic is free of religious meaning and history. With its monumental wooden structure, the attic is a room full of stories and associations, and in our view the ideal place for a general library for children and adults. For additional natural light and better views of the city, we added several dormer windows and skylights.
To preserve the character of the attic as an open, very high space, the main collection is concentrated in a two-level 'bookcase' with gallery and special reading areas ("studioli") in the area of the inner ring. The rest of the attic is furnished with low shelves, tables and benches.
In the new library the impressive timber structure of both the attic and the first floor, with all its origi-nal beams and planks, remains visible. To ensure the safety of the space we reinforced the existing structure from above with an additional steel structure that is largely invisible after completion of the work, concealed in the floor as well as the new roof. It supports the renewed slate roof, relieving load stress in the original timber structure. The space between the existing boards and the new slate roof is filled with insulation material. The attic space thus provides the comfort of a, well-conditioned room while retaining its original character.
a library for the future
In recent years the character and significance of public libraries have been rapidly evolving. We are aware that the role of printed media, books and other sources of information will be different in the future. However, we be-lieve that libraries, as public living rooms and collective working environ-ments, can continue to play a vital role in the public life of our cities.
The building owes its charm to the timeless power of the former monas-tery. Due to its impressive interior the new library has the potential to be-come an important social venue in Mechelen and a lasting attraction. In the years to come the Predikherenkloooster will become, as the mayor put it, "a literary wellness centre".
We think that many of the spatial and functional qualities of these spaces do not necessarily depend on the presence of physical books — the powerful in-terior can easily be adapted to future needs. We made an exception only for the former monastic library on the first floor, where we would like the interi-or lined with books to remain: after two centuries without books, this space is finally set to become the heart of a library once more.
#Belgium , #library , #church , #monastery , #lighting , #interior_design , #wood , #painting
@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.168
República Rosa Boutique Hotel / nicolas&Nicolas
HOTELS
•
QUITO, ECUADOR
• Program: Boutique Hotel
• Architects: nicolas&nicolas
• Collaborators: Juan Pablo Ribadeneira
• Area: 700 m²
• Year: 2020
• Manufacturers: AutoDesk, Adobe, Almacenes Marriott, Briggs, McNeel, Pamesa
• Lead Architects:Nicolás Vivas, Nicolás López Ayoub
• Clients:Casa Anabela Hotel Boutique
Republica Rosa is a hotel in the historic center of Quito, a project that consisted in the materialization of a client's dream, which was the rehabilitation of a property that is part of the Cultural Heritage of Humanity by UNESCO and turn it into an important piece for the city and the hotel sec-tor. Its distinctive pink facade is a republican elevation fac-ing the central courtyard. The idea of giving the hotel an identity caused this facade to be carefully renovated so that the details of curves, reliefs, moldings, edges with its windows and doors are the pink monochrome internal set-ting that reflects joy and creativity.
------
Republica Rosa is a Boutique Hotel located in the colonial center of the city of Quito. Designed on a republican style patio house, there is record that this building dates from 1890 when a Spanish citizen bought the property from the Ecuadorian state. Since then, this house has undergone a process of adaptation and transformation of various uses, ex-tensions, and modifications throughout its history.
The client's requirement was to create an 11-room hotel that rescues some of the elements of the republican architecture of Quito but somehow make it “different” from the other boutique hotels with its own identity. This is how the design, on the one hand, restored some original elements of the house (adobe walls, tile roofs and wooden floors), added other new pieces (Coatings and flooring) and reinterpreted others, such as its distinctive and unusual internal façade that overlooks the central courtyard.
Throughout its history and transformations, the walls of the house had several layers of paint, dirt and stucco. When the restoration work of the internal façade began, which is undoubtedly the main element of the project, all the colors that were part of its interior design came to light. Among them a salmon tone, the same one that was selected as the main color of the new identity.
Around the internal façade is the central courtyard typical of this period, which was re-stored and designed to be the main space that houses all the social activities of the hotel. The new mosaic installed on the floor gives a modern and fresh touch the de interior. The walls surrounding the courtyard were covered with plasterboard to accommodate all the new installations without affecting the bearing adobe walls which were also restored to create exposed details of the original material of the house. The rest of the walls and ceil-ings were painted dark gray to create an opaque environment that contrasts the internal salmon-colored facade.
On the other hand, the rooms had to respond to the current need of a hotel to be flexible and able to transform its rooms according to demand. The confined spaces of this exist-ing architecture forced the creation of a flexible custom-designed furniture manufactured by local artisans, which transforms a single room into a double in a few minutes. The original wooden floors and adobe walls were restored but also a new lighting design was implemented that creates a cozy atmosphere.
Material used.
1. Flooring: Ceramic tiles, Pamesa
2. Doors: Handcrafted locally, local artisans
3. Windows: Handcrafted locally, local artisans
4. Interior lighting: Downlights, Flos
5. Interior furniture: Handcrafted locally, local artisans
#Ecuador, #hotel, #flexible, #stair, #lighting, #UNESCO, #extention, #interior_design
@revitalization
República Rosa Boutique Hotel / nicolas&Nicolas
HOTELS
•
QUITO, ECUADOR
• Program: Boutique Hotel
• Architects: nicolas&nicolas
• Collaborators: Juan Pablo Ribadeneira
• Area: 700 m²
• Year: 2020
• Manufacturers: AutoDesk, Adobe, Almacenes Marriott, Briggs, McNeel, Pamesa
• Lead Architects:Nicolás Vivas, Nicolás López Ayoub
• Clients:Casa Anabela Hotel Boutique
Republica Rosa is a hotel in the historic center of Quito, a project that consisted in the materialization of a client's dream, which was the rehabilitation of a property that is part of the Cultural Heritage of Humanity by UNESCO and turn it into an important piece for the city and the hotel sec-tor. Its distinctive pink facade is a republican elevation fac-ing the central courtyard. The idea of giving the hotel an identity caused this facade to be carefully renovated so that the details of curves, reliefs, moldings, edges with its windows and doors are the pink monochrome internal set-ting that reflects joy and creativity.
------
Republica Rosa is a Boutique Hotel located in the colonial center of the city of Quito. Designed on a republican style patio house, there is record that this building dates from 1890 when a Spanish citizen bought the property from the Ecuadorian state. Since then, this house has undergone a process of adaptation and transformation of various uses, ex-tensions, and modifications throughout its history.
The client's requirement was to create an 11-room hotel that rescues some of the elements of the republican architecture of Quito but somehow make it “different” from the other boutique hotels with its own identity. This is how the design, on the one hand, restored some original elements of the house (adobe walls, tile roofs and wooden floors), added other new pieces (Coatings and flooring) and reinterpreted others, such as its distinctive and unusual internal façade that overlooks the central courtyard.
Throughout its history and transformations, the walls of the house had several layers of paint, dirt and stucco. When the restoration work of the internal façade began, which is undoubtedly the main element of the project, all the colors that were part of its interior design came to light. Among them a salmon tone, the same one that was selected as the main color of the new identity.
Around the internal façade is the central courtyard typical of this period, which was re-stored and designed to be the main space that houses all the social activities of the hotel. The new mosaic installed on the floor gives a modern and fresh touch the de interior. The walls surrounding the courtyard were covered with plasterboard to accommodate all the new installations without affecting the bearing adobe walls which were also restored to create exposed details of the original material of the house. The rest of the walls and ceil-ings were painted dark gray to create an opaque environment that contrasts the internal salmon-colored facade.
On the other hand, the rooms had to respond to the current need of a hotel to be flexible and able to transform its rooms according to demand. The confined spaces of this exist-ing architecture forced the creation of a flexible custom-designed furniture manufactured by local artisans, which transforms a single room into a double in a few minutes. The original wooden floors and adobe walls were restored but also a new lighting design was implemented that creates a cozy atmosphere.
Material used.
1. Flooring: Ceramic tiles, Pamesa
2. Doors: Handcrafted locally, local artisans
3. Windows: Handcrafted locally, local artisans
4. Interior lighting: Downlights, Flos
5. Interior furniture: Handcrafted locally, local artisans
#Ecuador, #hotel, #flexible, #stair, #lighting, #UNESCO, #extention, #interior_design
@revitalization
Right now, the six-inch screen we're holding in our hands has completely reshaped the way we perceive the world, taking us away from concentration and contemplation with its abbreviated images, fragmented messages, and real-time communications. In this era of the bowed generation, a huge screen hanging overhead may temporarily cure contem-porary people's distraction or cervical spondylosis, recovering the tranquility and curiosi-ty of the ancients when they looking up at the starry night.
#China, #factory, #lighting, #stair, #office, #interior_design
@revitalization
#China, #factory, #lighting, #stair, #office, #interior_design
@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
NO.174
صرافی صدیقی / استودیو مورفَکت Morphact
نام پروژه:صرافی صدیقی
آدرس: شیراز- خیابان زند – ابتدای خیابان سعدی
نام شرکت مشاور و یا دفتر معماری: مورفَکت (Morphact)
معمارمسئول: محمد فرجام
تاریخ شروع و اتمام طراحی: اسفند ۱۳۹۶-اردیبهشت۱۳۹۷
تاریخ شروع و اتمام اجرا: اردیبهشت ۱۳۹۷-بهمن ۱۳۹۸
مساحت طبقه همکف: ۳۲ متر مربع – ۱۳ متر مربع بالکن
مساحت کل ساخته شده:۴۵ متر مربع
نوع ساختمان: تجاری
شرکت سازنده/ اجرا : مورفَکت (Morphact)
مدیر اجرایی پروژه: محمد فرجام
طراح سه بعدی: محمد فرجام
گرافیست: سعید قاسمی – کیانا بابایی
متریال های اصلی: آجر – چوب
کارفرما:طیب صدیقی
این بنا در دورهی اول پهلوی و با استفاده از معماری اصیل ایرانی و الگوهای رایج در سال ۱۳۱۰ ساخته شده است که در سال ۱۳۸۲ در فهرست آثار ملی ایران به ثبت رسیده است. در طراحی این پروژه در مرحله نخست، قدمت بنا و تاریخی بودن آن مورد اهمیت قرار گرفت و به این گونه با نگه داشتن اصالت بنا مرمت در اولویت قرار گرفت.
در مرحله بعد طراحی نسبت به نیازهای موجود در فضا و دسترسیها نسبت به کاربری فضا که فوقالعاده امنیتی میبود در نظر گرفته شد. دیوارههای فلزی و بتنی در پوسته بنا برای ایجاد امنیت فضا بدون هیچ آسیبی به بنا به وجود آمد.
روند طراحی:
حل دسترسی ها و دیاگرام فضایی و مشخص کردن ابعاد و اندازه نسبت به کاربری هر فضا به اینگونه شکل گرفت.
1. تعریف ورودی
2. فضای انتظار
3. فضای پیشخوان
4. دسترسی به طبقات
5. اتاق کنترل و خزانه
6. مدیریت
اضافه کردن فضاهایی به صورت الحاقی با استفاده از معماری وضع موجود؛ در نیم طبقه بالا نسبت به معماری آن بنا و در نظر گرفتن متریالهای موجود فضای سرویس بهداشتی ایجاد گردید.
طراحی و ایده پردازی با استفاده از قوسها و چیدمان آجرها به صورتی که بتوانیم فضا را دوباره احیا کنیم شروع شد. شکل گرفتن فرم و حجم هر فضا نسبت به کاربری و ایده پردازی اولیه در طراحی پروژه صورت گرفت. ایدهپردازی به این گونه شکل گرفت که چیدمان آجر از یک پارامتر پیروی میکند و در طراحی پیشخوان از این پارامتر استفاده شد. فرم این پیشخوان در قالب یک حجم پارامتریک طراحی شد.
#Iran, #exchange, #shop, #interior_design, #lighting, #صرافی #شیراز
@revitalization
صرافی صدیقی / استودیو مورفَکت Morphact
نام پروژه:صرافی صدیقی
آدرس: شیراز- خیابان زند – ابتدای خیابان سعدی
نام شرکت مشاور و یا دفتر معماری: مورفَکت (Morphact)
معمارمسئول: محمد فرجام
تاریخ شروع و اتمام طراحی: اسفند ۱۳۹۶-اردیبهشت۱۳۹۷
تاریخ شروع و اتمام اجرا: اردیبهشت ۱۳۹۷-بهمن ۱۳۹۸
مساحت طبقه همکف: ۳۲ متر مربع – ۱۳ متر مربع بالکن
مساحت کل ساخته شده:۴۵ متر مربع
نوع ساختمان: تجاری
شرکت سازنده/ اجرا : مورفَکت (Morphact)
مدیر اجرایی پروژه: محمد فرجام
طراح سه بعدی: محمد فرجام
گرافیست: سعید قاسمی – کیانا بابایی
متریال های اصلی: آجر – چوب
کارفرما:طیب صدیقی
این بنا در دورهی اول پهلوی و با استفاده از معماری اصیل ایرانی و الگوهای رایج در سال ۱۳۱۰ ساخته شده است که در سال ۱۳۸۲ در فهرست آثار ملی ایران به ثبت رسیده است. در طراحی این پروژه در مرحله نخست، قدمت بنا و تاریخی بودن آن مورد اهمیت قرار گرفت و به این گونه با نگه داشتن اصالت بنا مرمت در اولویت قرار گرفت.
در مرحله بعد طراحی نسبت به نیازهای موجود در فضا و دسترسیها نسبت به کاربری فضا که فوقالعاده امنیتی میبود در نظر گرفته شد. دیوارههای فلزی و بتنی در پوسته بنا برای ایجاد امنیت فضا بدون هیچ آسیبی به بنا به وجود آمد.
روند طراحی:
حل دسترسی ها و دیاگرام فضایی و مشخص کردن ابعاد و اندازه نسبت به کاربری هر فضا به اینگونه شکل گرفت.
1. تعریف ورودی
2. فضای انتظار
3. فضای پیشخوان
4. دسترسی به طبقات
5. اتاق کنترل و خزانه
6. مدیریت
اضافه کردن فضاهایی به صورت الحاقی با استفاده از معماری وضع موجود؛ در نیم طبقه بالا نسبت به معماری آن بنا و در نظر گرفتن متریالهای موجود فضای سرویس بهداشتی ایجاد گردید.
طراحی و ایده پردازی با استفاده از قوسها و چیدمان آجرها به صورتی که بتوانیم فضا را دوباره احیا کنیم شروع شد. شکل گرفتن فرم و حجم هر فضا نسبت به کاربری و ایده پردازی اولیه در طراحی پروژه صورت گرفت. ایدهپردازی به این گونه شکل گرفت که چیدمان آجر از یک پارامتر پیروی میکند و در طراحی پیشخوان از این پارامتر استفاده شد. فرم این پیشخوان در قالب یک حجم پارامتریک طراحی شد.
#Iran, #exchange, #shop, #interior_design, #lighting, #صرافی #شیراز
@revitalization
NO.175
New Gallery and Casemates / Bevk Perović arhitekti
NEUE GALERIE UND KASEMATTEN
WIENER NEUSTADT, AUSTRIA
• Architects: Bevk Perović arhitekti
• Area: 2900 m²
• Year: 2019
• Design Team: Matija Bevk, Vasa J. Perović, Johannes Paar, Christophe Riss, Mitja Usenik, Blaz Goričan Irene Salord Vila, Maša Kovač Šmajdek, Juan Miguel Hererro, Vid Tancer, Andrej Ukmar
• Engineering : Fröhlich & Locher und Partner
• Client: City of Wiener Neustadt
• typology: museum, gallery, cultural, education
• competition: held in 2016
competition entry, 1st prize
The fortification , which is unique in terms of architectural history, dates back to the 12th century and was extensively renovated in 2019. What once served as protection against attackers has been shining in the most modern event dress since the state exhibition in 2019.
Highly praised in the international trade media, the winning project by the architec-tural office Bevk Perovic from Ljubljana shows how to skillfully transform old sub-stance with modern elements into a contemporary design.
The completely newly adapted event location offers space for up to 900 people on over 4000 m2 of event space in three event areas.
The historical casemates consist of three parallel, interconnected, vaulted halls, which were restored as part of the revitalization. These rooms offer the perfect setting for concerts, conferences, lectures and seminars.
The new bastion scores with clear lines, daylight and direct access to the out-side. With a catering kitchen and corresponding delivery driveways as well as goods lifts, storage and ancillary rooms, the casemates meet all the infrastructural requirements for professional events of all kinds.
These two areas are connected by the Strada Coperta, an extensive system of corridors that offers the perfect setting for receptions, small concerts and exhibi-tions.
The immediate vicinity of the “Hilton Garden Inn” hotel means that the conference guests can reach the casemates on foot as well as 4-star accommoda-tion. Seminar rooms in the hotel complete the offer around the casemates.
The Kasematten Wiener Neustadt are located in the middle of the city park, just a few minutes' walk from the train station. All of the city's sights, such as the There-sian Military Academy or the St. Peter an der Sperr Museum, can be reached within a 5-10 minute walk and thus offer a wonderful opportunity for supporting programs at events in the casemates.
#Austria, #fortification, #gallery, #cultural_center, #interior_design, #lighting, #prize
@revitalization
New Gallery and Casemates / Bevk Perović arhitekti
NEUE GALERIE UND KASEMATTEN
WIENER NEUSTADT, AUSTRIA
• Architects: Bevk Perović arhitekti
• Area: 2900 m²
• Year: 2019
• Design Team: Matija Bevk, Vasa J. Perović, Johannes Paar, Christophe Riss, Mitja Usenik, Blaz Goričan Irene Salord Vila, Maša Kovač Šmajdek, Juan Miguel Hererro, Vid Tancer, Andrej Ukmar
• Engineering : Fröhlich & Locher und Partner
• Client: City of Wiener Neustadt
• typology: museum, gallery, cultural, education
• competition: held in 2016
competition entry, 1st prize
The fortification , which is unique in terms of architectural history, dates back to the 12th century and was extensively renovated in 2019. What once served as protection against attackers has been shining in the most modern event dress since the state exhibition in 2019.
Highly praised in the international trade media, the winning project by the architec-tural office Bevk Perovic from Ljubljana shows how to skillfully transform old sub-stance with modern elements into a contemporary design.
The completely newly adapted event location offers space for up to 900 people on over 4000 m2 of event space in three event areas.
The historical casemates consist of three parallel, interconnected, vaulted halls, which were restored as part of the revitalization. These rooms offer the perfect setting for concerts, conferences, lectures and seminars.
The new bastion scores with clear lines, daylight and direct access to the out-side. With a catering kitchen and corresponding delivery driveways as well as goods lifts, storage and ancillary rooms, the casemates meet all the infrastructural requirements for professional events of all kinds.
These two areas are connected by the Strada Coperta, an extensive system of corridors that offers the perfect setting for receptions, small concerts and exhibi-tions.
The immediate vicinity of the “Hilton Garden Inn” hotel means that the conference guests can reach the casemates on foot as well as 4-star accommoda-tion. Seminar rooms in the hotel complete the offer around the casemates.
The Kasematten Wiener Neustadt are located in the middle of the city park, just a few minutes' walk from the train station. All of the city's sights, such as the There-sian Military Academy or the St. Peter an der Sperr Museum, can be reached within a 5-10 minute walk and thus offer a wonderful opportunity for supporting programs at events in the casemates.
#Austria, #fortification, #gallery, #cultural_center, #interior_design, #lighting, #prize
@revitalization
NO.176
Battersea Arts Centre / Haworth Tompkins
VISUAL ARTS CENTER, ADAPTIVE REUSE
•
LONDON, UNITED KINGDOM
• Architects: Haworth Tompkins
• Area: 3800 m²
• Year: 2018
• Manufacturers: Domus Tiles, Hakwood, Triple E, Yannedis, Modular Clay Products
• Lead Architects: Steve Tompkins, Martin Lydon, Imogen Long
• Contractor: 8Build, Gilbert-Ash
• Acoustic Engineer: Gillieron Scott Acoustic Design, SoundSpace Design
• Structural Engineers: Price & Myers, Heyne Tillett Steel
• Services Engineers: Skelly & Couch, XCO2
• Theatre Consultant:Charcoalblue, Theatreplan
• Quantity Surveyor:Bristow Johnson
• Signage:Jake Tilson
• Light Fittings:Haworth Tompkins, Rob McIntyre
the rebirth of a town hall for community and theatre use
Battersea Town Hall is a handsome, beautifully made civic building in south west London, designed by E. W. Mountford in 1893 and Grade II* listed both for its architectural significance and for its important po-litical role in the birth of the suffragette and labour movements in the early twentieth century. Since 1974 it has been home to the arts centre that is regarded as one of the most important incubators of new perfor-mance work in the UK.
Haworth Tompkins have been working alongside the Battersea Arts Centre team, the local community and theatre artists for over a decade on a series of ongoing, experimental, phased projects that are gradually transforming the entire building into a powerhouse of creative commu-nal activity and an explicit record of the buildings vivid history.
Drawing on the existing richness of the building and patterns of use by artists, a number of improvised, non-invasive alterations were made alongside specific productions - such as Punchdrunk’s Masque of the Red Death - to test strategies for change and to evolve a playful but rig-orous architectural language.
Following a period of experimentation, a brief for more permanent work was developed. These projects include the creation of a new pub-lic outdoor courtyard performance space by selectively stripping back and patching in a disused light well, and the conversion of unused attics and rooftops for the organisation’s offices and garden.
Cumulatively, these interventions have resulted in the reconfiguration of the entire interior to allow the possibility of multiple, interconnected performance, heritage and community uses, equipping the organisation for the next phase of its life.
In the context of this narrative approach, the rebuilding of the build-ing’s Grand Hall after the shocking fire that partially destroyed it in 2015 was able to be assimilated into the project as another, albeit highly significant, moment of evolution and change.
Haworth Tompkins took the former decorative plaster vault as a starting point for a new, timber grid ceiling, allowing far greater theatrical pos-sibility and a much clearer acoustic. The surface of the walls of the hall and its surrounding corridors have been preserved in their extraordi-nary, almost Pompeiian post-fire richness and complexity.
A creative relationship of this duration allows both ‘client’ and ‘archi-tect’ to evaluate the ways in which the collaboration has informed their respective wider practices. As the project has unfolded over the last 12 years, so BACs mission has evolved from a purely theatrical undertak-ing to become a far more wide ranging social project with access and inclusivity at its core.
Equally, as architects our theatre work has increasingly been directed towards establishing a ‘cultural commons’ in which buildings for thea-tre can be seen less as individual entities, competing for a market share of an established theatre audience, and more as a diverse, conglomerate civic space that is available - and meaningful - to the whole community.
.
#UK, #hall, #gallery, #cultural_center, #interior_design, #lighting, #fire
@revitalization
Battersea Arts Centre / Haworth Tompkins
VISUAL ARTS CENTER, ADAPTIVE REUSE
•
LONDON, UNITED KINGDOM
• Architects: Haworth Tompkins
• Area: 3800 m²
• Year: 2018
• Manufacturers: Domus Tiles, Hakwood, Triple E, Yannedis, Modular Clay Products
• Lead Architects: Steve Tompkins, Martin Lydon, Imogen Long
• Contractor: 8Build, Gilbert-Ash
• Acoustic Engineer: Gillieron Scott Acoustic Design, SoundSpace Design
• Structural Engineers: Price & Myers, Heyne Tillett Steel
• Services Engineers: Skelly & Couch, XCO2
• Theatre Consultant:Charcoalblue, Theatreplan
• Quantity Surveyor:Bristow Johnson
• Signage:Jake Tilson
• Light Fittings:Haworth Tompkins, Rob McIntyre
the rebirth of a town hall for community and theatre use
Battersea Town Hall is a handsome, beautifully made civic building in south west London, designed by E. W. Mountford in 1893 and Grade II* listed both for its architectural significance and for its important po-litical role in the birth of the suffragette and labour movements in the early twentieth century. Since 1974 it has been home to the arts centre that is regarded as one of the most important incubators of new perfor-mance work in the UK.
Haworth Tompkins have been working alongside the Battersea Arts Centre team, the local community and theatre artists for over a decade on a series of ongoing, experimental, phased projects that are gradually transforming the entire building into a powerhouse of creative commu-nal activity and an explicit record of the buildings vivid history.
Drawing on the existing richness of the building and patterns of use by artists, a number of improvised, non-invasive alterations were made alongside specific productions - such as Punchdrunk’s Masque of the Red Death - to test strategies for change and to evolve a playful but rig-orous architectural language.
Following a period of experimentation, a brief for more permanent work was developed. These projects include the creation of a new pub-lic outdoor courtyard performance space by selectively stripping back and patching in a disused light well, and the conversion of unused attics and rooftops for the organisation’s offices and garden.
Cumulatively, these interventions have resulted in the reconfiguration of the entire interior to allow the possibility of multiple, interconnected performance, heritage and community uses, equipping the organisation for the next phase of its life.
In the context of this narrative approach, the rebuilding of the build-ing’s Grand Hall after the shocking fire that partially destroyed it in 2015 was able to be assimilated into the project as another, albeit highly significant, moment of evolution and change.
Haworth Tompkins took the former decorative plaster vault as a starting point for a new, timber grid ceiling, allowing far greater theatrical pos-sibility and a much clearer acoustic. The surface of the walls of the hall and its surrounding corridors have been preserved in their extraordi-nary, almost Pompeiian post-fire richness and complexity.
A creative relationship of this duration allows both ‘client’ and ‘archi-tect’ to evaluate the ways in which the collaboration has informed their respective wider practices. As the project has unfolded over the last 12 years, so BACs mission has evolved from a purely theatrical undertak-ing to become a far more wide ranging social project with access and inclusivity at its core.
Equally, as architects our theatre work has increasingly been directed towards establishing a ‘cultural commons’ in which buildings for thea-tre can be seen less as individual entities, competing for a market share of an established theatre audience, and more as a diverse, conglomerate civic space that is available - and meaningful - to the whole community.
.
#UK, #hall, #gallery, #cultural_center, #interior_design, #lighting, #fire
@revitalization
HIGHLIGHTS
• Electrical conduits were hidden in channels carved out of the existing plaster walls to vis-ually preserve the historic character of the building.
• Careful planning and coordination of the mechanical and electrical spaces minimized vis-ual impact to the occupied spaces.
• Exhibit thermal sensors were integrated with the central campus BAS to enable monitoring and automated alerts.
SERVICES
This adaptive reuse and renovation project turned a classroom into a flexible meeting room and gallery space. 2RW’s services included MEP design for:
• An energy-efficient HVAC system that ties in to campus utilities and features variable air volume (VAV) controls and demand control ventilation (DCV) strategies
• Micro-environment controls with humidity and temperature sensors within the sealed ex-hibit panels
• Museum-quality exhibit lighting
• Lighting controls integrated into the building automation system
• Audio visual, telecommunications, and security system conduits
RESULTS
The new HVAC systems and lighting meet 21st-century museum standards without compromis-ing the historic fabric of the building.
#USA, #hall, #interior_design, #lighting, #HVAC
@revitalization
• Electrical conduits were hidden in channels carved out of the existing plaster walls to vis-ually preserve the historic character of the building.
• Careful planning and coordination of the mechanical and electrical spaces minimized vis-ual impact to the occupied spaces.
• Exhibit thermal sensors were integrated with the central campus BAS to enable monitoring and automated alerts.
SERVICES
This adaptive reuse and renovation project turned a classroom into a flexible meeting room and gallery space. 2RW’s services included MEP design for:
• An energy-efficient HVAC system that ties in to campus utilities and features variable air volume (VAV) controls and demand control ventilation (DCV) strategies
• Micro-environment controls with humidity and temperature sensors within the sealed ex-hibit panels
• Museum-quality exhibit lighting
• Lighting controls integrated into the building automation system
• Audio visual, telecommunications, and security system conduits
RESULTS
The new HVAC systems and lighting meet 21st-century museum standards without compromis-ing the historic fabric of the building.
#USA, #hall, #interior_design, #lighting, #HVAC
@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
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