Below, at the curved wall entry to the mosque, the pixelated and equally structural word Insan (Human) is added to the steel plates, to create a Hegelian dialectic of God/Man. The juxtaposition of both renders the idea of humanity as an integral part of the equation with God, placed in a new dialectic, and becomes a reminder of the humanistic tradition of Islam, as referenced in noted Islamic theologian Mohammad Arkoun’s book Humanisme et Islam – Combats et Propositions (Paris, Vrin, 2005) which places Islam at the origin of the18th century Enlightenment project.
Insan becomes the epicenter of the ground plane of the plaza.
As one moves around the mosque, the planar reading of the mosque formed by the steel plates becomes transparent, while the two words (Allah/Insan) becomes more apparent, and vice versa. The overall lightness of the mosque’s tectonic sits also in a relational contrast to the heaviness of the Moukhtara’s palace stone volumetric.
A fig tree shades the new plaza, and creating a book end along with the existing Olive tree on the other side of the street, alluding to the ‘Fig and Olive’ verse (souret at-teen) in the Quraan and referencing the importance of both trees in Christian tradition as well. At the threshold, the entry to the mosque’s hall, which accommodates both women and men in the same space, is articulated with a chiseled glass façade holding two wooden doors that float within it.
Interior
On the inside of the existing structure, the minimal intervention involved a ‘white-out’ of the concave surfaces of the vaults, using special Lime mix brought from Aleppo in Syria, as well as the introduction of a new skylight that cuts the vaulted space to register the direction of the Quiblah wall towards Makkah, and bring light towards the Mihrab space.
Through the skylight, one can see the minaret in a visual looping of exterior back to the interior, linking visually the disassociation in typical mosques between the sound and the vision.
Similarly, the Mihrab is articulated with a concave reflective polished stainless steel arched wall that, though pointing towards Makkah, implodes this axiality by merging it visually with the wider context, bringing outside in, and distorting the interior spatiality of the mosque.
Towards the back of the mosque where the actual reading of the Quraan would happen, a wooden wall with the word iqra’ (read) is articulated in relief. It references the Islamic scholar Youssef Siddiq’s argument and interpretation that the first word in the Quraan, iqra’, of which the Quraan word is a derivative, argued for a critical and contextual reading of the Quraan as a post-structuralist ‘text’ to be read critically, and not as a meta-narrative to be recited blindly.
The call to prayer, in collaboration with artists Lawrence Abu Hamdan and Nisrine Khodr, was re- interpreted along the same lines as a variation on the normative call to prayer by the idea of having it spoken rather than sung, in a return to the words where the listener focuses on the meaning rather than the melody.
Overall the design of the mosque is a celebration of the ethos of modernity as it relates tectonically to the notion of abstraction, of ephemerality, and representationally to the continuity of the humanism tradition in Islam. It represents a part of a cultural war of ideas that needs to be fought against the fundamentalist forces across religions, a war where architecture is a weapon.
#restoration , #renovation, #mosque , #interior_desigh, #Lebanon , #typography , #lighting ,#landmark
@revitalization
Insan becomes the epicenter of the ground plane of the plaza.
As one moves around the mosque, the planar reading of the mosque formed by the steel plates becomes transparent, while the two words (Allah/Insan) becomes more apparent, and vice versa. The overall lightness of the mosque’s tectonic sits also in a relational contrast to the heaviness of the Moukhtara’s palace stone volumetric.
A fig tree shades the new plaza, and creating a book end along with the existing Olive tree on the other side of the street, alluding to the ‘Fig and Olive’ verse (souret at-teen) in the Quraan and referencing the importance of both trees in Christian tradition as well. At the threshold, the entry to the mosque’s hall, which accommodates both women and men in the same space, is articulated with a chiseled glass façade holding two wooden doors that float within it.
Interior
On the inside of the existing structure, the minimal intervention involved a ‘white-out’ of the concave surfaces of the vaults, using special Lime mix brought from Aleppo in Syria, as well as the introduction of a new skylight that cuts the vaulted space to register the direction of the Quiblah wall towards Makkah, and bring light towards the Mihrab space.
Through the skylight, one can see the minaret in a visual looping of exterior back to the interior, linking visually the disassociation in typical mosques between the sound and the vision.
Similarly, the Mihrab is articulated with a concave reflective polished stainless steel arched wall that, though pointing towards Makkah, implodes this axiality by merging it visually with the wider context, bringing outside in, and distorting the interior spatiality of the mosque.
Towards the back of the mosque where the actual reading of the Quraan would happen, a wooden wall with the word iqra’ (read) is articulated in relief. It references the Islamic scholar Youssef Siddiq’s argument and interpretation that the first word in the Quraan, iqra’, of which the Quraan word is a derivative, argued for a critical and contextual reading of the Quraan as a post-structuralist ‘text’ to be read critically, and not as a meta-narrative to be recited blindly.
The call to prayer, in collaboration with artists Lawrence Abu Hamdan and Nisrine Khodr, was re- interpreted along the same lines as a variation on the normative call to prayer by the idea of having it spoken rather than sung, in a return to the words where the listener focuses on the meaning rather than the melody.
Overall the design of the mosque is a celebration of the ethos of modernity as it relates tectonically to the notion of abstraction, of ephemerality, and representationally to the continuity of the humanism tradition in Islam. It represents a part of a cultural war of ideas that needs to be fought against the fundamentalist forces across religions, a war where architecture is a weapon.
#restoration , #renovation, #mosque , #interior_desigh, #Lebanon , #typography , #lighting ,#landmark
@revitalization
CREATIVE HUB
Tallinn Creative Hub is a creative centre in the heart of Tallinn. Its doors are open to visitors of all ages. It is available for hosting a variety of cultural events and activities focussing on the creative industry.
• Concerts
• Festivals
• Performances
• Exhibitions
• Creative industry workshops
• Seminars and lectures
• Conferences
• Gala events
AN INSPIRING SPACE FOR EVENT ORGANISERS
LABS FOR IMAGINATIVE IDEAS
• MakerLab / a universal workshop for creating product samples and prototypes
• Recording studio / a studio for recording and producing sound
• FoodLab / a place for creating and trying out recipes
A CREATIVE ENVIRONMENT FOR INTERDISCIPLINARY COLLABORATION
• Creative education / a programme for developing interdisciplinary collaboration
OPEN URBAN SPACE FOR CULTURE AND MUSIC PROGRAMMES
• Tallinn Creative Hub Garden / a community garden open in summer for people to spend free time in, as well as a venue for creative young individuals and amateurs
• Kanala café / The Creative Hub Garden’s summer café
Creative Hub is a creative centre and a place for cultural events in the heart of Tallinn. Its doors are open for all visitors, and it is the venue for various workshops, seminars, conferences, festivals, exhibitions and much more.
In 1913–1979, this thoroughly renovated building was home to Tallinn City Central Power Station. With the founding of the power station at the time, the use of electric power became common in Estonia. The Creative Hub is named after the former boiler room (Kultuurikatel in Estonian). Completed in 1934, this part of the building with limestone walls is now used by art-minded, creative people. The former power station’s first serious encounter with art occurred in 1977, when Andrei Tarkovsky used the complex as a set for his cult film “Stalker”.
#restoration , #renovation , #industrial , #interior_design , #tower , #Estonia , #landmark , #creative_center , #hub , #cultural_center , #lighting
@revitalization
Tallinn Creative Hub is a creative centre in the heart of Tallinn. Its doors are open to visitors of all ages. It is available for hosting a variety of cultural events and activities focussing on the creative industry.
• Concerts
• Festivals
• Performances
• Exhibitions
• Creative industry workshops
• Seminars and lectures
• Conferences
• Gala events
AN INSPIRING SPACE FOR EVENT ORGANISERS
LABS FOR IMAGINATIVE IDEAS
• MakerLab / a universal workshop for creating product samples and prototypes
• Recording studio / a studio for recording and producing sound
• FoodLab / a place for creating and trying out recipes
A CREATIVE ENVIRONMENT FOR INTERDISCIPLINARY COLLABORATION
• Creative education / a programme for developing interdisciplinary collaboration
OPEN URBAN SPACE FOR CULTURE AND MUSIC PROGRAMMES
• Tallinn Creative Hub Garden / a community garden open in summer for people to spend free time in, as well as a venue for creative young individuals and amateurs
• Kanala café / The Creative Hub Garden’s summer café
Creative Hub is a creative centre and a place for cultural events in the heart of Tallinn. Its doors are open for all visitors, and it is the venue for various workshops, seminars, conferences, festivals, exhibitions and much more.
In 1913–1979, this thoroughly renovated building was home to Tallinn City Central Power Station. With the founding of the power station at the time, the use of electric power became common in Estonia. The Creative Hub is named after the former boiler room (Kultuurikatel in Estonian). Completed in 1934, this part of the building with limestone walls is now used by art-minded, creative people. The former power station’s first serious encounter with art occurred in 1977, when Andrei Tarkovsky used the complex as a set for his cult film “Stalker”.
#restoration , #renovation , #industrial , #interior_design , #tower , #Estonia , #landmark , #creative_center , #hub , #cultural_center , #lighting
@revitalization
The solution for the former wine cellar is remarkable. Now it is a sample and wine tasting room with independent access from the outside. A metal structure, that reminds of the old metal wine racks still present in some homes, was designed a separate piece of furniture, set apart from the walls, to allow a full view of the vaulted room. The ceiling was used for a small lecture hall, with an entrance from the “plaza de armas”.
The stone structure is not covered when its quality and authenticity deserve it. It was cleaned and repointed with a finish similar to that of the exterior walls. A similar criterion was applied to the brick arches and vaults which, against some theories, were never un-plastered and even it they
The exterior openings were closed with stainless steel profile, sandblasted, always accessible and with a minimum impact section to allow the full perception of the medieval opening. The two main halls are directly connected by a spiral staircase with a solid curved wood frame as a banister. The access to this whole area is through a new exterior staircase with metal steps, wrapped in two parallel COR-TEN steel plates.
#restoration , #renovation , #adaptive_reuse , #Rehabilitation , #castle , #tower , #Spain , #landmark , #COR_TEN_steel
@revitalization
The stone structure is not covered when its quality and authenticity deserve it. It was cleaned and repointed with a finish similar to that of the exterior walls. A similar criterion was applied to the brick arches and vaults which, against some theories, were never un-plastered and even it they
The exterior openings were closed with stainless steel profile, sandblasted, always accessible and with a minimum impact section to allow the full perception of the medieval opening. The two main halls are directly connected by a spiral staircase with a solid curved wood frame as a banister. The access to this whole area is through a new exterior staircase with metal steps, wrapped in two parallel COR-TEN steel plates.
#restoration , #renovation , #adaptive_reuse , #Rehabilitation , #castle , #tower , #Spain , #landmark , #COR_TEN_steel
@revitalization
Product Description. The Staircase is based on a steel frame construction, supported on the ruin at only four points to minimize damage on the historical monument. The sides and underside are clad in ash wood, specially treated with heat to maximize durability to up to 60 years without paint. The stairs and handrail are metal, painted in matt black to ensure maximum durability, since the site is at the coast and therefore under tough weather conditions. The stair was constructed in 7 large pieces in a workshop normally used for off-shore elements, and mounted in the tower ruin by crane. The building site was extremely challenging since the whole area is a cultural heritage and strictly protected, therefore, no damage to the tower was allowed and the process was closely monitored.
, #conservation , #tower , #Denmark , #landmark , #stair , #landscape , #archeology , #historic_site
@revitalization
, #conservation , #tower , #Denmark , #landmark , #stair , #landscape , #archeology , #historic_site
@revitalization
#Croatia , #square , #lighting , #plaza , #city_centre , #historical_centre , #archeology , #conservation , #tower , #landmark , #landscape , #historic_site , #ruin , #preserve
@revitalization
@revitalization
Direct economic impact of Barcelona's Network of Municipal Markets
Conducted with the specific aim of finding out the volume of economic activity and of analysing expenditure in municipal markets, it puts the markets' turnover at between 950 million and 1.1 billion.
To achieve the specific objectives, the following aspects were taken into account: economic indicators (turnover volume, number of employees, evolution of turnover and employees), characteristics of the establishments (product category, surface area, possession regime) and the profile of the operators/traders (socio-economic, length of time with establishment in the market and name of establishments) as well as an analysis of the receipts and profile of consumers.
In relation to the operator profile, the study provides information on aspects such as the average age of traders, the age of the establishments and any reforms that have been carried out; where they come from, the future prospects of the business, customer volume and average monthly sales.
With regard to customer expenditure, it includes information on monthly expenditure on food, loyalty to particular stalls on the market, how often customers shop and their average expenditure, among others.
Conclusions
The conclusions, which show that Barcelona's municipal markets have a turnover of between 950 million and 1.1 billion euros, also highlight the fact that Barcelona markets' market share with regard to fresh food produce is between 30% and 35%.
Other aspects highlighted in the conclusions include the fact that Saturdays are the day with the highest average number of customers, that the most widely purchased products on the market are fish (78%) and meat (74%) and that 60% of market customers shop at the supermarket found in the market (in cases where there is a supermarket) while 40% also shop at the shops around the market.
#Spain , #market , #city_centre , #historical_centre , #archeology, #landmark , #historic_site , #ruin , #convent , #economic_impact , #roof , #remodelling
@revitalization
Conducted with the specific aim of finding out the volume of economic activity and of analysing expenditure in municipal markets, it puts the markets' turnover at between 950 million and 1.1 billion.
To achieve the specific objectives, the following aspects were taken into account: economic indicators (turnover volume, number of employees, evolution of turnover and employees), characteristics of the establishments (product category, surface area, possession regime) and the profile of the operators/traders (socio-economic, length of time with establishment in the market and name of establishments) as well as an analysis of the receipts and profile of consumers.
In relation to the operator profile, the study provides information on aspects such as the average age of traders, the age of the establishments and any reforms that have been carried out; where they come from, the future prospects of the business, customer volume and average monthly sales.
With regard to customer expenditure, it includes information on monthly expenditure on food, loyalty to particular stalls on the market, how often customers shop and their average expenditure, among others.
Conclusions
The conclusions, which show that Barcelona's municipal markets have a turnover of between 950 million and 1.1 billion euros, also highlight the fact that Barcelona markets' market share with regard to fresh food produce is between 30% and 35%.
Other aspects highlighted in the conclusions include the fact that Saturdays are the day with the highest average number of customers, that the most widely purchased products on the market are fish (78%) and meat (74%) and that 60% of market customers shop at the supermarket found in the market (in cases where there is a supermarket) while 40% also shop at the shops around the market.
#Spain , #market , #city_centre , #historical_centre , #archeology, #landmark , #historic_site , #ruin , #convent , #economic_impact , #roof , #remodelling
@revitalization
NO.60.
Medieval Mile Museum Kilkenny Ireland / McCullough Mulvin Architects
• Architects: McCullough Mulvin Architects
• Location: Kilkenny, Ireland
• Lead Architects: Niall McCullough, Ronan O’Connor
• Area: 700.0 m2
• Project Year :2017
• Photographs: Christian Richters
• Manufacturers: Flos
St Mary’s Hall, formerly St Mary’s Church, High Street, Kilkenny was founded in the thirteenth century as the parish church of the City. In use as a Parish and Masonic Hall since the mid-20th century, it was purchased by Kilkenny Borough Council in 2010 with assistance from Kilkenny County Council and the Department of Environment, Heritage and Local Government.
The building is a cruciform 13th century stone structure with a later tower at its Western end; it sits in a substantial walled graveyard to the rear of High Street. The graveyard has recently been opened as a garden to the public; it contains many important tombs and monuments from the Middle Ages to the 20th century.
The church had acquired depth and complexity in monuments and nave aisles, elements which were later shorn off, the aisles removed, the chancel demolished- a shape expanding and contracting, already through a violent cycle of change. As found, the interior was cut up into separate rooms and levels to make a parish hall.
The project intention was to restore the church as a museum, retaining some of the 20th century interventions, and to honour its medieval spatial complexity by re-constructing the North aisle and chancel to the original plan but a different internal section and materiality using the base of the original walls in an non-interventive way. The chancel room overlooks the town, re-establishing its dominant form in the urban landscape; the space beneath it becomes a tomb-filled undercroft. Both of the new gabled elements are finished in lead, with rooflights directed to levels of archaeology below.
The St.Mary's project is in essence a conservation project. The design team led by McCullough Mulvin Architects commenced work on the project in March 2012. The Part 8 Planning process was conducted in late 2013. Initial works were three-fold consisting of:
1. Archaeological excavation and extensive surveys of the church fabric with a view to analysing its structure and fabric for conservation purposes and in preparation of contract documents using Public Works Contract.
2. Careful removal of the 1960's interventions in the church- This work was completed in late July 2014 using an Enabling Works Contract by local firm, Ashgrove Construction.
3. Monuments Room: Monuments have been removed from the floor and walls (where necessary) under strict Archaeological/Conservation supervision, placed in protective packing and stored for re-use in the completed project.
The project includes for full restoration of the existing building and two modern extensions, one to the north on the footprint of the original north aisle & the "Kilkenny Room" which will replicate the former Chancel to the east.Graveyard-Memorial Repairs & RestorationPhase 1 of a programme of conservation & repair of 20 monuments was completed in March 2014.
This project included the Shee Mausoleum and those located in the former unroofed Chancel area at the East end of the church where a new room to be called the Kilkenny Room will be constructed.
Following a two stage tender process Duggan Brothers Contractors Ltd., Templemore, Co. Tipperary were appointed as Main Contractors for the project and work commenced on 9th February 2015. Contract sum is € 4.09 million excluding VAT. The project is due for completion in mid-2016.
The installation of the crane was completed on 13th May and is a most welcome addition to the Kilkenny skyline! Regular up-dates will be provided as work progresses on this exciting project.
#Ireland , #church, #archeology, #landmark , #museum , #lighting , #interior_design , #historic_site , #extention , #restoration , #addition , #interior_design , #vitrine , #event , #children
@revitalization
Medieval Mile Museum Kilkenny Ireland / McCullough Mulvin Architects
• Architects: McCullough Mulvin Architects
• Location: Kilkenny, Ireland
• Lead Architects: Niall McCullough, Ronan O’Connor
• Area: 700.0 m2
• Project Year :2017
• Photographs: Christian Richters
• Manufacturers: Flos
St Mary’s Hall, formerly St Mary’s Church, High Street, Kilkenny was founded in the thirteenth century as the parish church of the City. In use as a Parish and Masonic Hall since the mid-20th century, it was purchased by Kilkenny Borough Council in 2010 with assistance from Kilkenny County Council and the Department of Environment, Heritage and Local Government.
The building is a cruciform 13th century stone structure with a later tower at its Western end; it sits in a substantial walled graveyard to the rear of High Street. The graveyard has recently been opened as a garden to the public; it contains many important tombs and monuments from the Middle Ages to the 20th century.
The church had acquired depth and complexity in monuments and nave aisles, elements which were later shorn off, the aisles removed, the chancel demolished- a shape expanding and contracting, already through a violent cycle of change. As found, the interior was cut up into separate rooms and levels to make a parish hall.
The project intention was to restore the church as a museum, retaining some of the 20th century interventions, and to honour its medieval spatial complexity by re-constructing the North aisle and chancel to the original plan but a different internal section and materiality using the base of the original walls in an non-interventive way. The chancel room overlooks the town, re-establishing its dominant form in the urban landscape; the space beneath it becomes a tomb-filled undercroft. Both of the new gabled elements are finished in lead, with rooflights directed to levels of archaeology below.
The St.Mary's project is in essence a conservation project. The design team led by McCullough Mulvin Architects commenced work on the project in March 2012. The Part 8 Planning process was conducted in late 2013. Initial works were three-fold consisting of:
1. Archaeological excavation and extensive surveys of the church fabric with a view to analysing its structure and fabric for conservation purposes and in preparation of contract documents using Public Works Contract.
2. Careful removal of the 1960's interventions in the church- This work was completed in late July 2014 using an Enabling Works Contract by local firm, Ashgrove Construction.
3. Monuments Room: Monuments have been removed from the floor and walls (where necessary) under strict Archaeological/Conservation supervision, placed in protective packing and stored for re-use in the completed project.
The project includes for full restoration of the existing building and two modern extensions, one to the north on the footprint of the original north aisle & the "Kilkenny Room" which will replicate the former Chancel to the east.Graveyard-Memorial Repairs & RestorationPhase 1 of a programme of conservation & repair of 20 monuments was completed in March 2014.
This project included the Shee Mausoleum and those located in the former unroofed Chancel area at the East end of the church where a new room to be called the Kilkenny Room will be constructed.
Following a two stage tender process Duggan Brothers Contractors Ltd., Templemore, Co. Tipperary were appointed as Main Contractors for the project and work commenced on 9th February 2015. Contract sum is € 4.09 million excluding VAT. The project is due for completion in mid-2016.
The installation of the crane was completed on 13th May and is a most welcome addition to the Kilkenny skyline! Regular up-dates will be provided as work progresses on this exciting project.
#Ireland , #church, #archeology, #landmark , #museum , #lighting , #interior_design , #historic_site , #extention , #restoration , #addition , #interior_design , #vitrine , #event , #children
@revitalization
The second level is a children’s Discovery Centre, a single large bright room equipped with smart tables, robot building kits, and built-in feature walls with Lego, Lite Brite and magnets. In keeping with the mixing of old and new, a floating glass boardroom/ teaching space and a large exterior rooftop terrace and green roof overlook the river, and also provide up-close views of the heritage building, including its newly restored slate roof.
One of the greatest pleasures of the building is the attic Makerspace—an all-white space that soars to a peak, and is braced by an elegant arrangement of star-shaped steel trusses, now adapted to hold strips of lighting. Between these trusses the architects have created a fully-equipped studio outfitted with a laser cutter, 3D printers, soldering stations, vinyl cutters, irons, sewing machines, and wood and metal workshop tools. Visitors can gaze up into the clock tower through a glass ceiling, and see its weights and gears in action. An extended glazed parapet condition at the roof level discreetly houses its mechanicals.
As they updated the building for the present, the architects were also thinking about the future. Anticipating that a river walk will eventually follow the water’s edge, they clad the soffit of the cantilever with aluminum panels, polished with a mirror-like finish, heightening the building’s relationship with its surroundings, and giving future walkers a reason to look up.
Cambridge is a small city, but it has a rich architectural and library heritage that provides context for this project. The Old Post Office is just one of a wealth of historic brick and limestone buildings lining Water Street, including a stately brick Carnegie library, one of three built in the area. These nineteenth-century libraries used classical architecture to show the value placed on knowledge and ideas. With their reimagining of the Idea Exchange Old Post Office, juxtaposing brick and slate with glass and metal, RDHA has made the same statement in an updated architectural language, and shown the value in merging the historical with the contemporary. And while the Idea Exchange Old Post Office is bookless, the Idea Exchange Queen’s Square branch, with an extensive book collection, is only a short walk away.
#Canada , #interior_design , #office , #public_space , #landmark , #cultural_center , #library , #hub , #extention , #glass , #skylight
@revitalization
One of the greatest pleasures of the building is the attic Makerspace—an all-white space that soars to a peak, and is braced by an elegant arrangement of star-shaped steel trusses, now adapted to hold strips of lighting. Between these trusses the architects have created a fully-equipped studio outfitted with a laser cutter, 3D printers, soldering stations, vinyl cutters, irons, sewing machines, and wood and metal workshop tools. Visitors can gaze up into the clock tower through a glass ceiling, and see its weights and gears in action. An extended glazed parapet condition at the roof level discreetly houses its mechanicals.
As they updated the building for the present, the architects were also thinking about the future. Anticipating that a river walk will eventually follow the water’s edge, they clad the soffit of the cantilever with aluminum panels, polished with a mirror-like finish, heightening the building’s relationship with its surroundings, and giving future walkers a reason to look up.
Cambridge is a small city, but it has a rich architectural and library heritage that provides context for this project. The Old Post Office is just one of a wealth of historic brick and limestone buildings lining Water Street, including a stately brick Carnegie library, one of three built in the area. These nineteenth-century libraries used classical architecture to show the value placed on knowledge and ideas. With their reimagining of the Idea Exchange Old Post Office, juxtaposing brick and slate with glass and metal, RDHA has made the same statement in an updated architectural language, and shown the value in merging the historical with the contemporary. And while the Idea Exchange Old Post Office is bookless, the Idea Exchange Queen’s Square branch, with an extensive book collection, is only a short walk away.
#Canada , #interior_design , #office , #public_space , #landmark , #cultural_center , #library , #hub , #extention , #glass , #skylight
@revitalization
NO.99.
New Access to Gironella's Historic Center / Carles Enrich
URBAN DESIGN, INFRASTRUCTURE
•
GIRONELLA, SPAIN
• Architects: Carles Enrich
• Year:2015
• Collaborators: Adriana Campmany, Àngel Rosales, Ada Sánchez
• Structure: MA+SAad
• Budget: Jaume Morro
• Project Promoter: Servei de Patrimoni Arquitectònic Local. Diputació de Barcelona.
• Constructor: Solà Cardona
Text description provided by the architects. Gironella is a municipality that has grown, during the last decades, divided by the river Llobregat. Its historic centre is located on top of a 20 metres high hill on the right bank of the river, where the medieval castle, whose wall is declared a BCIN, was set.
Edging
The modern part of Gironella is placed on the other side of the river, next to the road linking Barcelona with Berga, favoured by a more flat topography, which has allowed an expanding urban growth.
Urban discontinuity.
The 20 metres vertical break between the old and new parts of the town has generated a social fracture. Over the years, the historic centre has been depopulated due to difficulties in accessibility. The narrow stepped streets that lead to the Vila Square represent a huge effort to the elderly and the little ones.
The proposal involves the insertion of a new access to the historic centre to enhance the urban connectivity between the two parts of the town, boosting the use of the old town and avoiding social exclusion.
Cal Metre path recovery.
Gironella’s river facade is formed by a series of medieval remains that mean an architectural and historic heritage for the town, just as so are the industrial colonies of the early twentieth century along the river.
Our proposal seeks to be integrated respectfully as a new layer in the historical memory of the place. We suggest the location of an elevator in a strategic point of Cal Metre path, through where people used to get to the textile industries.
The elevator will improve the accessibility to the old town but it will also be a trigger to recover the use of this ancient river passage offering new urban continuity with the Vila Square public space.
Materiality.
Our intention is to dialog with all these pre-existences, enhancing a relation with the textile industries and recognizing the green stratum as a public space.
To this end we solve the case of the elevator with 3 materials: steel, ceramic and glass.
Structure.
The steel structure is done entirely in a local workshop and it is moved to the work area in 4 tranches that are definitely placed in 4 different days. It consists of 80.8 tubular columns and 80.8 tubular rings placed every 1.5 metres. Some L 100 profiles welded to the rings allow holding the ceramic lattice sections.
Porosity.
A ceramic lattice made by holed bricks placed on their side faces covers the 16 upper metres.
The choice of this enclosure material responds, on the one hand, to its role as a solar filter offering at the same time porosity, light entrance and ventilation to the elevator case. On the other hand, it dematerializes the case by letting the light go across it provoking an appearance of lightness that contrasts with the opacity that it is shown in a farther point of view.
Visual contact.
The lattice closes three of the four sides of the structure. The inner face is left open allowing a visual relation with the stone wall during the entire journey.
The lower 8 metres of the case have a glazed enclosure. Its transparency ensures a close relation with Cal Metre river path and its trees, which create a magnificent shadow area that changes with the seasons.
To favour the relationship between the elevator and the activities that take place in the square, the elevators façade towards it is made of glass.
#Spain , #public_space , #landmark, #structure , #urban_design , #infrastructure , #elevator , #accessibility
@revitalization
New Access to Gironella's Historic Center / Carles Enrich
URBAN DESIGN, INFRASTRUCTURE
•
GIRONELLA, SPAIN
• Architects: Carles Enrich
• Year:2015
• Collaborators: Adriana Campmany, Àngel Rosales, Ada Sánchez
• Structure: MA+SAad
• Budget: Jaume Morro
• Project Promoter: Servei de Patrimoni Arquitectònic Local. Diputació de Barcelona.
• Constructor: Solà Cardona
Text description provided by the architects. Gironella is a municipality that has grown, during the last decades, divided by the river Llobregat. Its historic centre is located on top of a 20 metres high hill on the right bank of the river, where the medieval castle, whose wall is declared a BCIN, was set.
Edging
The modern part of Gironella is placed on the other side of the river, next to the road linking Barcelona with Berga, favoured by a more flat topography, which has allowed an expanding urban growth.
Urban discontinuity.
The 20 metres vertical break between the old and new parts of the town has generated a social fracture. Over the years, the historic centre has been depopulated due to difficulties in accessibility. The narrow stepped streets that lead to the Vila Square represent a huge effort to the elderly and the little ones.
The proposal involves the insertion of a new access to the historic centre to enhance the urban connectivity between the two parts of the town, boosting the use of the old town and avoiding social exclusion.
Cal Metre path recovery.
Gironella’s river facade is formed by a series of medieval remains that mean an architectural and historic heritage for the town, just as so are the industrial colonies of the early twentieth century along the river.
Our proposal seeks to be integrated respectfully as a new layer in the historical memory of the place. We suggest the location of an elevator in a strategic point of Cal Metre path, through where people used to get to the textile industries.
The elevator will improve the accessibility to the old town but it will also be a trigger to recover the use of this ancient river passage offering new urban continuity with the Vila Square public space.
Materiality.
Our intention is to dialog with all these pre-existences, enhancing a relation with the textile industries and recognizing the green stratum as a public space.
To this end we solve the case of the elevator with 3 materials: steel, ceramic and glass.
Structure.
The steel structure is done entirely in a local workshop and it is moved to the work area in 4 tranches that are definitely placed in 4 different days. It consists of 80.8 tubular columns and 80.8 tubular rings placed every 1.5 metres. Some L 100 profiles welded to the rings allow holding the ceramic lattice sections.
Porosity.
A ceramic lattice made by holed bricks placed on their side faces covers the 16 upper metres.
The choice of this enclosure material responds, on the one hand, to its role as a solar filter offering at the same time porosity, light entrance and ventilation to the elevator case. On the other hand, it dematerializes the case by letting the light go across it provoking an appearance of lightness that contrasts with the opacity that it is shown in a farther point of view.
Visual contact.
The lattice closes three of the four sides of the structure. The inner face is left open allowing a visual relation with the stone wall during the entire journey.
The lower 8 metres of the case have a glazed enclosure. Its transparency ensures a close relation with Cal Metre river path and its trees, which create a magnificent shadow area that changes with the seasons.
To favour the relationship between the elevator and the activities that take place in the square, the elevators façade towards it is made of glass.
#Spain , #public_space , #landmark, #structure , #urban_design , #infrastructure , #elevator , #accessibility
@revitalization
NO.104.
Art Shield Statue Conservation Pavilion / Hello Wood
PAVILION BUDAPEST, HUNGARY
• Architects: Hello Wood
• Year:2019
• Lead Architect: András Huszár
• Chief Designer: Péter Pozsár
• Design Architects: Tamás Fülöp, Péter Oravecz, Brückner Dóra
• Structural Engineer: Gábor Cséfalvay
• Constructor: Gábor Bognár
• Client: BFTK Budapest Festival and Tourism Centre (2019) on behalf of Mayor’s Office of Budapest
Project details
Width: 14,15 m
Depth: 9,00 m
Height: 10,65 m
Floor area: 112 m2
Art Shield - a new way of statue conservation
Our creative team designed and built a contemporary installation to protect one of Budapest’s most famous monuments from the frigid winters. Breaking the habit of covering the sculpture with a plastic sheet, a functional yet artistic pavilion came to life at the renewed Vörösmarty Square, located in the heart of the city. The Art Shield protects and highlights the monument at the same time, showing a new way of statue conservation. Although this is our first design that is mostly steel, it fits well with our previous works. During the design phase, we did not only focus on quality, but also on ensuring that the installation can be assembled and dismantled swiftly, and that it is also easy to transport and store. It’s important that the example of the spectacular conservational structure should be followed, therefore, we plan to deliver similar projects in the future.
Functional yet artistic
Our studio has approached the winterization of the monument in Vörösmarty tér from a fresh angle. One of the most frequented squares of Budapest has just emerged refreshed from renovation works, and the monument commemorating the rouser of the nation now also stands renewed. We have created a unique temporary space around the artwork, protecting it from the damaging effect of winter’s frost and thaw. Functionality served as our excuse to twist all ideas of statue conservation and crown the monument with 10-metre-tall steel pavilion of sacral overtones. The statue, now on display again in the winter season as well, and the pavilion together form the new gem of Vörösmarty tér and the Christmas Fair setting the example for other public spaces in Europe.
One of Budapest’s foremost attractions is the annual Advent and Christmas Fair in Vörösmarty tér and right in the middle of it stands the Vörösmarty monument. Having been carved from Carrara marble, this artwork is susceptible to damage by moisture and frost. The temporary installation will be dismantled at the end of the season; its elements can be reassembled in the square again next winter. The huge, arched structure owes its airy quality to its weatherproof steel sheets, while the transparent plexiglass facade protects it from the driving rain.
#Hungary, #lighting , #conservation , #statue , #landmark , #protection , #pavilion , #temporary , #installation, #transparent
@revitalization
Art Shield Statue Conservation Pavilion / Hello Wood
PAVILION BUDAPEST, HUNGARY
• Architects: Hello Wood
• Year:2019
• Lead Architect: András Huszár
• Chief Designer: Péter Pozsár
• Design Architects: Tamás Fülöp, Péter Oravecz, Brückner Dóra
• Structural Engineer: Gábor Cséfalvay
• Constructor: Gábor Bognár
• Client: BFTK Budapest Festival and Tourism Centre (2019) on behalf of Mayor’s Office of Budapest
Project details
Width: 14,15 m
Depth: 9,00 m
Height: 10,65 m
Floor area: 112 m2
Art Shield - a new way of statue conservation
Our creative team designed and built a contemporary installation to protect one of Budapest’s most famous monuments from the frigid winters. Breaking the habit of covering the sculpture with a plastic sheet, a functional yet artistic pavilion came to life at the renewed Vörösmarty Square, located in the heart of the city. The Art Shield protects and highlights the monument at the same time, showing a new way of statue conservation. Although this is our first design that is mostly steel, it fits well with our previous works. During the design phase, we did not only focus on quality, but also on ensuring that the installation can be assembled and dismantled swiftly, and that it is also easy to transport and store. It’s important that the example of the spectacular conservational structure should be followed, therefore, we plan to deliver similar projects in the future.
Functional yet artistic
Our studio has approached the winterization of the monument in Vörösmarty tér from a fresh angle. One of the most frequented squares of Budapest has just emerged refreshed from renovation works, and the monument commemorating the rouser of the nation now also stands renewed. We have created a unique temporary space around the artwork, protecting it from the damaging effect of winter’s frost and thaw. Functionality served as our excuse to twist all ideas of statue conservation and crown the monument with 10-metre-tall steel pavilion of sacral overtones. The statue, now on display again in the winter season as well, and the pavilion together form the new gem of Vörösmarty tér and the Christmas Fair setting the example for other public spaces in Europe.
One of Budapest’s foremost attractions is the annual Advent and Christmas Fair in Vörösmarty tér and right in the middle of it stands the Vörösmarty monument. Having been carved from Carrara marble, this artwork is susceptible to damage by moisture and frost. The temporary installation will be dismantled at the end of the season; its elements can be reassembled in the square again next winter. The huge, arched structure owes its airy quality to its weatherproof steel sheets, while the transparent plexiglass facade protects it from the driving rain.
#Hungary, #lighting , #conservation , #statue , #landmark , #protection , #pavilion , #temporary , #installation, #transparent
@revitalization
NO.108.
Restoration of Castello dei Doria a Dolceacqua / LD+SR architetti
RESTORATION, DOLCEACQUA, ITALY
• Architects: LD+SR architetti
• Year:2015
• Lead Architects: Luca Dolmetta, Silvia Rizzo architetti
• Project Team: Arch. Danilo Cupioli, Arch. Paola Pilotto, Arch. Amir Reza Arya
• Structural Engineering : Ing. Mauro Cevoli
• Installations : Ing. Alberto Frisoni
• Designers: Arch. William Meli, Arch. Bernardet Urbanovics
• Cse : Ing. Claudio Perrino
Text description provided by the architects. After widespread interventions of restoration undertaken since the early 90 's, 2012-2015 covered the restoration and consolidation of certain portions of the main external walls of the Castle (sailing North, Savoy bastion minor), the recovery of the main open spaces that surround it in diffuse form the complex, the establishment of a system of trails that leads the visitor to discover different points of perception of landscapes that surround the monument. The "value" of the Castle is the close relationship between Castle and place where it fits. A relationship was so charming by bringing Claude Monet repeatedly to visit Dolceacqua and capture bridge and Castle in a famous painting by 1884 housed in the Musée Marmottan Monet in Paris.
The Castle situated in a dominant position overlooking the village below is in extreme point advantage to control the Valley of the river of the Nervia Valley. The project seeks to enhance the strategic position, making travel to the visitor the different stages of completion of the building discover some enclosed spaces created in the few portions of the building survived the various bombings and ensuing fires over time, but especially a guided path towards the various land control points.
The restoration and strengthening of masonry degraded extensively featured in significant form the surgery completed in 2015. Any need for structural reinforcement or static improvement though it was turned into an architectural project, also of iron parts that, depending on the requirement, have become paths, passages, elements of reconstruction of portions of walls partly missing or being complete detachment. Items always perceived as new parts, reversible and always side by side with existing fit evident
#Italy, #castle , #landscape, #metal , #stair , #museum , #landmark , #installation
@revitalization
Restoration of Castello dei Doria a Dolceacqua / LD+SR architetti
RESTORATION, DOLCEACQUA, ITALY
• Architects: LD+SR architetti
• Year:2015
• Lead Architects: Luca Dolmetta, Silvia Rizzo architetti
• Project Team: Arch. Danilo Cupioli, Arch. Paola Pilotto, Arch. Amir Reza Arya
• Structural Engineering : Ing. Mauro Cevoli
• Installations : Ing. Alberto Frisoni
• Designers: Arch. William Meli, Arch. Bernardet Urbanovics
• Cse : Ing. Claudio Perrino
Text description provided by the architects. After widespread interventions of restoration undertaken since the early 90 's, 2012-2015 covered the restoration and consolidation of certain portions of the main external walls of the Castle (sailing North, Savoy bastion minor), the recovery of the main open spaces that surround it in diffuse form the complex, the establishment of a system of trails that leads the visitor to discover different points of perception of landscapes that surround the monument. The "value" of the Castle is the close relationship between Castle and place where it fits. A relationship was so charming by bringing Claude Monet repeatedly to visit Dolceacqua and capture bridge and Castle in a famous painting by 1884 housed in the Musée Marmottan Monet in Paris.
The Castle situated in a dominant position overlooking the village below is in extreme point advantage to control the Valley of the river of the Nervia Valley. The project seeks to enhance the strategic position, making travel to the visitor the different stages of completion of the building discover some enclosed spaces created in the few portions of the building survived the various bombings and ensuing fires over time, but especially a guided path towards the various land control points.
The restoration and strengthening of masonry degraded extensively featured in significant form the surgery completed in 2015. Any need for structural reinforcement or static improvement though it was turned into an architectural project, also of iron parts that, depending on the requirement, have become paths, passages, elements of reconstruction of portions of walls partly missing or being complete detachment. Items always perceived as new parts, reversible and always side by side with existing fit evident
#Italy, #castle , #landscape, #metal , #stair , #museum , #landmark , #installation
@revitalization
NO.130
Recovery of Merola’s Tower / Carles Enrich Studio
RESTORATION, LANDMARKS & MONUMENTS
•
PUIG-REIG, SPAIN
• Arquitectos: Carles Enrich Studio
• Area: 40.0 m²
• Year: 2019
• Manufacturers: AutoDesk, Tallfusta
• Lead Architect: Carles Enrich Giménez
• Clients: Servei de Patrimoni Arquitectònic Local (Diputació de Barcelona) and Puig-reig Town Council
• Engineering: MASAad
• Landscaping: Carles Enrich Studio
• Collaborators: Brufau Cusó (executive supervision)
• Built Area Tower: 40 m2
• Built Area Environment: 160 m2
In the south of the municipality of Puig-reig stand the remains of the heritage site of the castle of Merola, dating from the late thirteenth century. Due to the documented earth tremors that shook Catalonia in the 1500s, only one of the faces of the defense tower, originally with a rectangular plant of 5 x 3,8 m and 14,8 m height, is still standing. The detachment of a part of its coronation in 2016 puts Puig-reig Town Council on alert. The high risk of collapse, with the subsequent loss of the monument, called for an intervention to guarantee the preservation of the remains and recover the building for the village and as an attraction for visitors.
Two basic lines of intervention were adopted to meet these aims: the consolidation of the surviving remains and the reinforcement of the medieval structure. Reinforcement takes the form of a timber structure comprising 18 sections of 14-cm square that follow the original perimeter of the stone wall. Like scaffolding, it structurally stabilizes the pre-existing construction, recovers the original volume and restores its function in the territory as a lookout and defense point.
The new structure resolves the functional reinforcement conditions and establishes a dialogue with the pre-existing stone wall, evidencing the intervention with respect to the original construction. The missing foundation is recovered with lime concrete and the two structures are tied using wooden profiles anchored to the stone canvas at 14 points.
The insertion of a stairway inside the structure provides access to the three original levels of circulation and facilitates future maintenance of the monument. The ascent to the upper level of the tower recovers a point of view that had been inaccessible since the fifteenth century.
Finally, the stones found in the archaeological excavation are reused to delimit the intervention and show the original demolition material.
#Spain , #landscape , #wall , #lighting , #open_air, #demolition , #pedestrian , #public_space , #church , #lighting , #landmark
@revitalization
Recovery of Merola’s Tower / Carles Enrich Studio
RESTORATION, LANDMARKS & MONUMENTS
•
PUIG-REIG, SPAIN
• Arquitectos: Carles Enrich Studio
• Area: 40.0 m²
• Year: 2019
• Manufacturers: AutoDesk, Tallfusta
• Lead Architect: Carles Enrich Giménez
• Clients: Servei de Patrimoni Arquitectònic Local (Diputació de Barcelona) and Puig-reig Town Council
• Engineering: MASAad
• Landscaping: Carles Enrich Studio
• Collaborators: Brufau Cusó (executive supervision)
• Built Area Tower: 40 m2
• Built Area Environment: 160 m2
In the south of the municipality of Puig-reig stand the remains of the heritage site of the castle of Merola, dating from the late thirteenth century. Due to the documented earth tremors that shook Catalonia in the 1500s, only one of the faces of the defense tower, originally with a rectangular plant of 5 x 3,8 m and 14,8 m height, is still standing. The detachment of a part of its coronation in 2016 puts Puig-reig Town Council on alert. The high risk of collapse, with the subsequent loss of the monument, called for an intervention to guarantee the preservation of the remains and recover the building for the village and as an attraction for visitors.
Two basic lines of intervention were adopted to meet these aims: the consolidation of the surviving remains and the reinforcement of the medieval structure. Reinforcement takes the form of a timber structure comprising 18 sections of 14-cm square that follow the original perimeter of the stone wall. Like scaffolding, it structurally stabilizes the pre-existing construction, recovers the original volume and restores its function in the territory as a lookout and defense point.
The new structure resolves the functional reinforcement conditions and establishes a dialogue with the pre-existing stone wall, evidencing the intervention with respect to the original construction. The missing foundation is recovered with lime concrete and the two structures are tied using wooden profiles anchored to the stone canvas at 14 points.
The insertion of a stairway inside the structure provides access to the three original levels of circulation and facilitates future maintenance of the monument. The ascent to the upper level of the tower recovers a point of view that had been inaccessible since the fifteenth century.
Finally, the stones found in the archaeological excavation are reused to delimit the intervention and show the original demolition material.
#Spain , #landscape , #wall , #lighting , #open_air, #demolition , #pedestrian , #public_space , #church , #lighting , #landmark
@revitalization
The interior of the tower was significantly altered in recent years. The projects objective was to remove all the additions, close newly made openings and remove the plaster coating that hid the original fabric. The original interior staircase, which was partially demolished, is rebuilt based on the typology found in similar towers.
The floor was covered with late twenty century tiles that were taken out: a new floating wood floor is placed instead, detached from the original walls.
After removing the plaster coating on the walls, the original brick fabric emerged.
The use of colour and materials in the interior intend to create a warm, welcoming feeling in contrast with the hash, introverted nature of the building’s exterior.
This simple yet emphatic intervention is intended to show the strength of an ageless construction, made by anonymous builders with simple materials, as well as to emphasize the provisional, light, degradable nature of the contemporary.
#Spain , #landscape , #tower , #open_air, #public_space , #landmark , #extension , #corten , #archeology
@revitalization
The floor was covered with late twenty century tiles that were taken out: a new floating wood floor is placed instead, detached from the original walls.
After removing the plaster coating on the walls, the original brick fabric emerged.
The use of colour and materials in the interior intend to create a warm, welcoming feeling in contrast with the hash, introverted nature of the building’s exterior.
This simple yet emphatic intervention is intended to show the strength of an ageless construction, made by anonymous builders with simple materials, as well as to emphasize the provisional, light, degradable nature of the contemporary.
#Spain , #landscape , #tower , #open_air, #public_space , #landmark , #extension , #corten , #archeology
@revitalization
NO.134
Castillo De La Luz Museum / Nieto Sobejano Arquitectos
MUSEUM
•
LAS PALMAS DE GRAN CANARIA, SPAIN
Architects: Nieto Sobejano Arquitectos
Year: 2013
Client: Ministry of Public Works of Spain
Property: Municipality of Las Palmas de Gran Canaria
Project Architect: Pedro Quero, Alexandra Sobral
Collaborators: Carlos Ballesteros, lago Blanco, Mauro Herrero, Juan Carlos Redondo
Site Management: Nieto Sobejano Arquitectos, S.L.P., Fuensanta Nieto – Enrique Sobejano, Miguel Mesas Izquierdo, José Mena, Edward Lynch, Aparejadores
Structures: N.B.35, S.L.
Facilities: Aguilera Ingenieros, S.A.
Models: Nieto Sobejano Arquitectos, S.L.P.
Project Date: 2000 (1st Phase) , 2006 (2nd Phase)
Construction: 2003-2004 (1st Phase), 2006-2013 (2nd Phase)
Construction Company: Dragados, S.A. (1st Phase), Trycsa_Técnicas de la Restauración y Construcciones, S.A. (2nd Phase)
Prize: Mention Prize Arquitectura Española 2015. CSCAE
The first governor of the Canary Islands ordered the construction of a tower at the end of the fifteenth century, and when it was extended a few years later, the space located between the tower and the new perimeter walls was filled with earth to increase the building’s strength and resistance. That purely defensive need would become the structuring argument of our architectural proposal for the Castillo de La Luz. Located in La Isleta, the isthmus at which the Castilian ships protecting the city arrived, it concealed those primitive walls originally beaten by the sea. The passage of time affected not only its initial use and preservation, but also the conditions of its closest environment: the old coastal fortress that was wrapped by the water during high tide became gradually surrounded by the structures of the port and the growing city of Las Palmas. After being involved in battles at the end of the sixteenth century -in which the city was plundered, burnt, and rebuilt- the fortress retained its military role but gradually declined, reaching the twentieth century in a state of ruin. In the 1960s, however, it was partially reconstructed to become an exhibition gallery.
When undertaking the project to build in the historic castle, which was to be transformed into a new exhibition space equipped with the installations appropriate to a contemporary museum, we decided to begin with a close reading of the circumstances of its past. If, for five centuries, the space between the outer walls and the original tower had remained hidden, filled with earth, our task essentially consisted in emptying it and recovering the view of the primitive fortress, transformed now into the protagonist of the new museum. Where once there was only hardpan, a space up to now concealed from view, a void emerged, covered with a white concrete slab that is separated from the stone walls of the old tower to let natural light pass through narrow skylights. On the exterior, a recently built, fake perimeter pit has been dismantled to free up a vast surface of the terrain on the original, ground level of the fortress, revealing its full dimensions. A new, partially buried pavilion adds complementary spaces for the museum: access, shop, restrooms, storage, and multipurpose hall. A thin horizontal platform that barely emerges from the terrain will be the only visible trace of an intervention that aims at going unnoticed adjacent to the building it serves and complements.
Any contemporary intervention in historical heritage generates a difficult relationship. On occasions like this one it becomes the expression of a direct and clear response to the apparently insignificant circumstances, which simply demanded one fundamental action. Rather than rebuilding or renovating the Castillo de La Luz (“castle of light”), we merely emptied it, revealing its concealed past, now transformed into a space filled with light -as if paying tribute to its name- by means of an architecture that displays itself and its own history.
#Spain, #museum , #interior_design , #tower , #castle , #corten , #prize , #lighting , #park , #landmark
@revitalization
Castillo De La Luz Museum / Nieto Sobejano Arquitectos
MUSEUM
•
LAS PALMAS DE GRAN CANARIA, SPAIN
Architects: Nieto Sobejano Arquitectos
Year: 2013
Client: Ministry of Public Works of Spain
Property: Municipality of Las Palmas de Gran Canaria
Project Architect: Pedro Quero, Alexandra Sobral
Collaborators: Carlos Ballesteros, lago Blanco, Mauro Herrero, Juan Carlos Redondo
Site Management: Nieto Sobejano Arquitectos, S.L.P., Fuensanta Nieto – Enrique Sobejano, Miguel Mesas Izquierdo, José Mena, Edward Lynch, Aparejadores
Structures: N.B.35, S.L.
Facilities: Aguilera Ingenieros, S.A.
Models: Nieto Sobejano Arquitectos, S.L.P.
Project Date: 2000 (1st Phase) , 2006 (2nd Phase)
Construction: 2003-2004 (1st Phase), 2006-2013 (2nd Phase)
Construction Company: Dragados, S.A. (1st Phase), Trycsa_Técnicas de la Restauración y Construcciones, S.A. (2nd Phase)
Prize: Mention Prize Arquitectura Española 2015. CSCAE
The first governor of the Canary Islands ordered the construction of a tower at the end of the fifteenth century, and when it was extended a few years later, the space located between the tower and the new perimeter walls was filled with earth to increase the building’s strength and resistance. That purely defensive need would become the structuring argument of our architectural proposal for the Castillo de La Luz. Located in La Isleta, the isthmus at which the Castilian ships protecting the city arrived, it concealed those primitive walls originally beaten by the sea. The passage of time affected not only its initial use and preservation, but also the conditions of its closest environment: the old coastal fortress that was wrapped by the water during high tide became gradually surrounded by the structures of the port and the growing city of Las Palmas. After being involved in battles at the end of the sixteenth century -in which the city was plundered, burnt, and rebuilt- the fortress retained its military role but gradually declined, reaching the twentieth century in a state of ruin. In the 1960s, however, it was partially reconstructed to become an exhibition gallery.
When undertaking the project to build in the historic castle, which was to be transformed into a new exhibition space equipped with the installations appropriate to a contemporary museum, we decided to begin with a close reading of the circumstances of its past. If, for five centuries, the space between the outer walls and the original tower had remained hidden, filled with earth, our task essentially consisted in emptying it and recovering the view of the primitive fortress, transformed now into the protagonist of the new museum. Where once there was only hardpan, a space up to now concealed from view, a void emerged, covered with a white concrete slab that is separated from the stone walls of the old tower to let natural light pass through narrow skylights. On the exterior, a recently built, fake perimeter pit has been dismantled to free up a vast surface of the terrain on the original, ground level of the fortress, revealing its full dimensions. A new, partially buried pavilion adds complementary spaces for the museum: access, shop, restrooms, storage, and multipurpose hall. A thin horizontal platform that barely emerges from the terrain will be the only visible trace of an intervention that aims at going unnoticed adjacent to the building it serves and complements.
Any contemporary intervention in historical heritage generates a difficult relationship. On occasions like this one it becomes the expression of a direct and clear response to the apparently insignificant circumstances, which simply demanded one fundamental action. Rather than rebuilding or renovating the Castillo de La Luz (“castle of light”), we merely emptied it, revealing its concealed past, now transformed into a space filled with light -as if paying tribute to its name- by means of an architecture that displays itself and its own history.
#Spain, #museum , #interior_design , #tower , #castle , #corten , #prize , #lighting , #park , #landmark
@revitalization
NO.139
Summer Stage at Kastav, Crekvina / Nenad Fabijanić
Extension
Location: Kastav, Croatia
• Architects: Nenad Fabijanić
• Area: 1680 m²
• Year: 2018
Design Team: Željko Pavlović
The rebuild design of the internal and external areas at the site Crekvina – Kastav is based on and inspired by archaeological remains of the baroque Jesuit Church of Holy Mary i.e. fragments of the wall and apsis of the never fully built and completed church. Its exact construction date has never been known and according to different sources it varies from the beginning to the end of the 18th century; it was built at the site of the previously demolished, considerably smaller Church of Holy Mary.
Today Crekvina is a plateau with a parking lot and a belvedere along its eastern boundary, with the remains of the sanctuary and the western wall of the nave with five chapels. In accordance with the brief, the design is conceived as bi-functional: in summer as a stage for the events of the Kastav Culture Summer and the rest of the time as a freely accessible square and a belvedere. The impressive construction remains form a spatial “shell”, an ideal stage for architectural artifacts, enable a unique spatial experience during the organization of public and cultural events.
This is a terrace, whose layout is defined by the typological pattern of the envisaged church and belvedere that enable the attraction of a view against a wide horizon. This project is aimed at proving the possibility of achieving a higher level in both functional and aesthetic sense. The points of departure are determined by the fact of the existing archaeological remains whose structure is preserved at the level of the original excavations and disburdened of additional hypothetic simulations of the “old” church (portals, openings, vestries, garages and the like). The newly designed structure in a contrasting shape and material is in all its elements detached from the original layers of walls and foundations.
#Croatia, #church, #ruin, #extention , #archeology , #lighying , #landmark , #corten
@revitalization
Summer Stage at Kastav, Crekvina / Nenad Fabijanić
Extension
Location: Kastav, Croatia
• Architects: Nenad Fabijanić
• Area: 1680 m²
• Year: 2018
Design Team: Željko Pavlović
The rebuild design of the internal and external areas at the site Crekvina – Kastav is based on and inspired by archaeological remains of the baroque Jesuit Church of Holy Mary i.e. fragments of the wall and apsis of the never fully built and completed church. Its exact construction date has never been known and according to different sources it varies from the beginning to the end of the 18th century; it was built at the site of the previously demolished, considerably smaller Church of Holy Mary.
Today Crekvina is a plateau with a parking lot and a belvedere along its eastern boundary, with the remains of the sanctuary and the western wall of the nave with five chapels. In accordance with the brief, the design is conceived as bi-functional: in summer as a stage for the events of the Kastav Culture Summer and the rest of the time as a freely accessible square and a belvedere. The impressive construction remains form a spatial “shell”, an ideal stage for architectural artifacts, enable a unique spatial experience during the organization of public and cultural events.
This is a terrace, whose layout is defined by the typological pattern of the envisaged church and belvedere that enable the attraction of a view against a wide horizon. This project is aimed at proving the possibility of achieving a higher level in both functional and aesthetic sense. The points of departure are determined by the fact of the existing archaeological remains whose structure is preserved at the level of the original excavations and disburdened of additional hypothetic simulations of the “old” church (portals, openings, vestries, garages and the like). The newly designed structure in a contrasting shape and material is in all its elements detached from the original layers of walls and foundations.
#Croatia, #church, #ruin, #extention , #archeology , #lighying , #landmark , #corten
@revitalization
NO.151
Hastings Pier / dRMM
PUBLIC SPACE, PIER, REFURBISHMENT
•
HASTINGS, UNITED KINGDOM
• Architects: dRMM
• Area: 11720 m²
• Year: 2016
• Manufacturers: Roles Broderick Roofing
• Client: Hastings Pier Charity
• Cost Consultant: PT Projects
• Structural Engineer: Ramboll
• Service Engineer: Ramboll
• Cdm Coordinator: KMCS
• Joinery Company: Timber Craft UK
• Structural Clt Supplier: KLH
• Furniture: dRMM and Hastings & Bexhill Wood Recycling
Hastings Pier is a public pleasure pier in Hastings, East Sussex, England. Built in 1872 and enjoying its prime in the 1930s, it became a popular music venue in the 1960s. The structure suffered major storm damage in 1990, and was closed to the public for a time before closing completely in 2008, and 95% destroyed by a fire in 2010.
Hastings Pier Charity oversaw a rebuilding project, with the pier reopening on 27 April 2016. The redeveloped pier won the 2017 Stirling Prize for architecture
Text description provided by the architects. The 2010 destruction of Hastings Pier by fire was an oppor-tunity to redefine what a pier could be in the 21st century; transforming the shanty town of commer-cialism it was in the 20th century.
After local stakeholder consultation it was clear the Pier would be expected to host many different populist scenarios. dRMM’s re-design master-move was to create a strong, well-serviced platform that could support endless uses; from big-top circus to major music events, local fishing to international markets. In homage to conceptualist Cedric Price, users bring their own architecture to plug in and play.
This is the first phase of regeneration. Most of the work so far has been up to and including deck level. The HLF grant enabled extensive foundation and structural repairs covering fire, sea and storm dam-age (£9M). Further funding (£2.5M) facilitated two buildings, the first of which, the remaining derelict Victorian Pavilion, was transformed into an open-plan, fully-glazed restaurant. dRMM were responsi-ble for the exterior shell and cores; the interior fit-out was by tenant.
The new Visitor Centre is a cross-laminated timber structure, inventively clad in reclaimed decking. Replacing the weakest central section of the damaged pier, it offers adaptable space for events, exhi-bitions and education, with an elevated rooftop belvedere. Reclaimed timber deck furniture was de-signed by dRMM and Hastings & Bexhill Wood Recycling as part of a local employment initiative.
The pier is an extension of the promenade from which it projects; a large public open space. The expe-rience of free space and ‘walking on water’ is heightened by the optics of a louvred balustrade design and quality timber deck. The new pier is a catalyst for urban regeneration. It offers flexibility, material and functional sustainability, and an uninterrupted vista of the natural and built surroundings of the special seaside town of Hastings.
#UK , #pier , #fire , #visitor_centre , #event , #exhibition , #light ,#regeneration, #restaurant, #promenade , #open_air, #public_space , #landmark , #prize
@revitalization
Hastings Pier / dRMM
PUBLIC SPACE, PIER, REFURBISHMENT
•
HASTINGS, UNITED KINGDOM
• Architects: dRMM
• Area: 11720 m²
• Year: 2016
• Manufacturers: Roles Broderick Roofing
• Client: Hastings Pier Charity
• Cost Consultant: PT Projects
• Structural Engineer: Ramboll
• Service Engineer: Ramboll
• Cdm Coordinator: KMCS
• Joinery Company: Timber Craft UK
• Structural Clt Supplier: KLH
• Furniture: dRMM and Hastings & Bexhill Wood Recycling
Hastings Pier is a public pleasure pier in Hastings, East Sussex, England. Built in 1872 and enjoying its prime in the 1930s, it became a popular music venue in the 1960s. The structure suffered major storm damage in 1990, and was closed to the public for a time before closing completely in 2008, and 95% destroyed by a fire in 2010.
Hastings Pier Charity oversaw a rebuilding project, with the pier reopening on 27 April 2016. The redeveloped pier won the 2017 Stirling Prize for architecture
Text description provided by the architects. The 2010 destruction of Hastings Pier by fire was an oppor-tunity to redefine what a pier could be in the 21st century; transforming the shanty town of commer-cialism it was in the 20th century.
After local stakeholder consultation it was clear the Pier would be expected to host many different populist scenarios. dRMM’s re-design master-move was to create a strong, well-serviced platform that could support endless uses; from big-top circus to major music events, local fishing to international markets. In homage to conceptualist Cedric Price, users bring their own architecture to plug in and play.
This is the first phase of regeneration. Most of the work so far has been up to and including deck level. The HLF grant enabled extensive foundation and structural repairs covering fire, sea and storm dam-age (£9M). Further funding (£2.5M) facilitated two buildings, the first of which, the remaining derelict Victorian Pavilion, was transformed into an open-plan, fully-glazed restaurant. dRMM were responsi-ble for the exterior shell and cores; the interior fit-out was by tenant.
The new Visitor Centre is a cross-laminated timber structure, inventively clad in reclaimed decking. Replacing the weakest central section of the damaged pier, it offers adaptable space for events, exhi-bitions and education, with an elevated rooftop belvedere. Reclaimed timber deck furniture was de-signed by dRMM and Hastings & Bexhill Wood Recycling as part of a local employment initiative.
The pier is an extension of the promenade from which it projects; a large public open space. The expe-rience of free space and ‘walking on water’ is heightened by the optics of a louvred balustrade design and quality timber deck. The new pier is a catalyst for urban regeneration. It offers flexibility, material and functional sustainability, and an uninterrupted vista of the natural and built surroundings of the special seaside town of Hastings.
#UK , #pier , #fire , #visitor_centre , #event , #exhibition , #light ,#regeneration, #restaurant, #promenade , #open_air, #public_space , #landmark , #prize
@revitalization
NO.170
THE RECONSTRUCTION OF THE COLOSSEUM ARENA
ROMA, ITALY
A competition has been announced for the reconstruction of the Colosseum in Italy. The arena will become a platform for cultural events.
The idea of rebuilding the Colosseum arena was launched by archaeolo-gist Daniele Manacorda in 2014 and supported by Minister Franceschini, who had included the intervention in the Strategic Plan Great Cultural Projects in 2015 for a total funding of 18.5 million euros.
The UNESCO World Heritage Site is one of the most iconic structures in the world, with the Colosseum originally open in 80 A.D. and holding up to 35,000 Romans. Proposals for the renovation are due by 1February 2021. The new floor is expected to be installed by 2023.
Italy's government is seeking bids from engineers to rebuild the floor of the Colosseum in Rome and return it to its former glory.
The retractable floor is expected to feature trap doors and hidden lifts.
"The reconstruction... is a great idea which has gone around the world," Culture Minister Dario Franceschini said in a statement.
"It will be a major technological intervention that will offer visitors the opportunity to, not only see the underground rooms... but also appreciate the beauty of the Colosseum while standing in the center of the arena," he added.
The culture ministry said the redesigned floor, and any trap doors or mechanical components, must be able to close quickly in order to protect the underground spaces from rain.
A new floor would "allow the public to fully understand the use and function of this icon of the ancient world", the statement added.
The ministry said cultural events, such as concerts and theatres, could potentially be held in the Colosseum once the floor is installed.
Built 2,000 years ago, the Colosseum was the biggest amphitheater built in the Roman Em-pire, and hosted gladiatorial fights and other public entertainments.
It remains one of Italy's most famous landmarks, and about 7.6 million people visited the site in 2019.
#Italy, #arena, #lighting, #ruin, #archeology, #reconstruction, #elevator, #cultural_center, #amphitheater, #UNESCO, #landmark
@revitalization
THE RECONSTRUCTION OF THE COLOSSEUM ARENA
ROMA, ITALY
A competition has been announced for the reconstruction of the Colosseum in Italy. The arena will become a platform for cultural events.
The idea of rebuilding the Colosseum arena was launched by archaeolo-gist Daniele Manacorda in 2014 and supported by Minister Franceschini, who had included the intervention in the Strategic Plan Great Cultural Projects in 2015 for a total funding of 18.5 million euros.
The UNESCO World Heritage Site is one of the most iconic structures in the world, with the Colosseum originally open in 80 A.D. and holding up to 35,000 Romans. Proposals for the renovation are due by 1February 2021. The new floor is expected to be installed by 2023.
Italy's government is seeking bids from engineers to rebuild the floor of the Colosseum in Rome and return it to its former glory.
The retractable floor is expected to feature trap doors and hidden lifts.
"The reconstruction... is a great idea which has gone around the world," Culture Minister Dario Franceschini said in a statement.
"It will be a major technological intervention that will offer visitors the opportunity to, not only see the underground rooms... but also appreciate the beauty of the Colosseum while standing in the center of the arena," he added.
The culture ministry said the redesigned floor, and any trap doors or mechanical components, must be able to close quickly in order to protect the underground spaces from rain.
A new floor would "allow the public to fully understand the use and function of this icon of the ancient world", the statement added.
The ministry said cultural events, such as concerts and theatres, could potentially be held in the Colosseum once the floor is installed.
Built 2,000 years ago, the Colosseum was the biggest amphitheater built in the Roman Em-pire, and hosted gladiatorial fights and other public entertainments.
It remains one of Italy's most famous landmarks, and about 7.6 million people visited the site in 2019.
#Italy, #arena, #lighting, #ruin, #archeology, #reconstruction, #elevator, #cultural_center, #amphitheater, #UNESCO, #landmark
@revitalization
NO.179
The Reconstruction of the Basilica of Siponto
/ Edoardo Tresoldi
RENOVATION
•
• Architects: Edoardo Tresoldi
• Year: 2016
• Archaeological Park of Siponto
Manfredonia (FG), Italy
• Permanent installation
Commissioned by Ministry of Cultural Heritage and Activities and Tourism
• Awards: "Gold Medal for Italian Architecture" collective show, curated by Lorenza Baroncelli
Triennale Milano, 2018
The basilica of Siponto [...] in Italy’s Puglia region, has long been easy to miss—just another church among the thousands around the country. But these days, the 12th century structure at-tracts a crowd, sometimes even queues. [...]
Art reconstructs time
Archaeology meets contemporary art in the landscape of the Gargano.
The Basilica di Siponto by Edoardo Tresoldi has been awarded the “Gold Medal for Italian Architec-ture – Special Prize to Commission,” considered the most prestigious award in Italian architecture.
The wire mesh sculpture reinterprets the volumes of an Early Christian basilica which formerly sat on the site of the sculpture, adjacent to an existing Romanesque church. The scheme serves as a “bridge towards the memory of the place” allowing the public to contemplate time and history.
The Basilica was inaugurated in March 2016, and has since captivated worldwide attention, provok-ing discussions on new scenarios for the preservation and enhancement of archaeological heritage.
The award follows another accolade bestowed on the Basilica, which was awarded the Riccar-do Francovich Archaeological Prize in 2016 for acknowledging “the site’s capacity to combine aca-demic rigor with an effective communication to the non-specialized audience.”
The intervention realized in the Archaeological Park of Siponto reinterprets the volumes of the an-cient Early Christian basilica located close to the existing Romanesque church, which was erected 600 years later. Promoted by the MIBACT Regional Secretariat and the Archaeological Superintend-ency of Apulia, the project is linked to a conservative intervention.
The majestic wire mesh transparent sculpture presents itself as a contemporary artefact perfectly integrated with the surroundings, and establishes a new dialogue between ancient and contempo-rary, opening up new scenarios for preservation and enhancement of the historical and archaeologi-cal heritage. Detached by strong visual and volumetric decompositions and cherished by the atmos-pheric factors, the installation outlines as a bridge towards the memory of the place and allows the public to relate with time and history.
The visual power is based on the essential necessity to coincide art, landscape, history and sur-rounding environment, and configures itself as an artistic development of the classical concept of restoration, an innovative reinterpretation of archaeology realized with the support of contemporary art.
#Italy, #basilica, #church, #instalation, #lighting, #mesh, #museum, #archeological_park, #archeological_site, #ruin, #landmark, #sculpture, #awards
@revitalization
The Reconstruction of the Basilica of Siponto
/ Edoardo Tresoldi
RENOVATION
•
• Architects: Edoardo Tresoldi
• Year: 2016
• Archaeological Park of Siponto
Manfredonia (FG), Italy
• Permanent installation
Commissioned by Ministry of Cultural Heritage and Activities and Tourism
• Awards: "Gold Medal for Italian Architecture" collective show, curated by Lorenza Baroncelli
Triennale Milano, 2018
The basilica of Siponto [...] in Italy’s Puglia region, has long been easy to miss—just another church among the thousands around the country. But these days, the 12th century structure at-tracts a crowd, sometimes even queues. [...]
Art reconstructs time
Archaeology meets contemporary art in the landscape of the Gargano.
The Basilica di Siponto by Edoardo Tresoldi has been awarded the “Gold Medal for Italian Architec-ture – Special Prize to Commission,” considered the most prestigious award in Italian architecture.
The wire mesh sculpture reinterprets the volumes of an Early Christian basilica which formerly sat on the site of the sculpture, adjacent to an existing Romanesque church. The scheme serves as a “bridge towards the memory of the place” allowing the public to contemplate time and history.
The Basilica was inaugurated in March 2016, and has since captivated worldwide attention, provok-ing discussions on new scenarios for the preservation and enhancement of archaeological heritage.
The award follows another accolade bestowed on the Basilica, which was awarded the Riccar-do Francovich Archaeological Prize in 2016 for acknowledging “the site’s capacity to combine aca-demic rigor with an effective communication to the non-specialized audience.”
The intervention realized in the Archaeological Park of Siponto reinterprets the volumes of the an-cient Early Christian basilica located close to the existing Romanesque church, which was erected 600 years later. Promoted by the MIBACT Regional Secretariat and the Archaeological Superintend-ency of Apulia, the project is linked to a conservative intervention.
The majestic wire mesh transparent sculpture presents itself as a contemporary artefact perfectly integrated with the surroundings, and establishes a new dialogue between ancient and contempo-rary, opening up new scenarios for preservation and enhancement of the historical and archaeologi-cal heritage. Detached by strong visual and volumetric decompositions and cherished by the atmos-pheric factors, the installation outlines as a bridge towards the memory of the place and allows the public to relate with time and history.
The visual power is based on the essential necessity to coincide art, landscape, history and sur-rounding environment, and configures itself as an artistic development of the classical concept of restoration, an innovative reinterpretation of archaeology realized with the support of contemporary art.
#Italy, #basilica, #church, #instalation, #lighting, #mesh, #museum, #archeological_park, #archeological_site, #ruin, #landmark, #sculpture, #awards
@revitalization