#Croatia , #square , #lighting , #plaza , #city_centre , #historical_centre , #archeology , #conservation , #tower , #landmark , #landscape , #historic_site , #ruin , #preserve
@revitalization
@revitalization
The result may seem controversial. The historic building covered and wrapped in the new coat made of steel and glass. However, its biggest spatial asset, a 15 meters wide and about 80 meters long column-less hall, is preserved in its whole, left almost seemingly untouched. The old jewel-like structure made of brick and wood has become a part of the interior (like a gemstone embedded in precious jewelry).
The concept of the coat helped to solve the additional spaces and service and technical premises in a very clear way. The roof of the warehouse formed a wide canopy on both sides covering the logistic platforms where the freight wagons approached on the one side and trucks on the other. Now both platforms under the canopies are turned to posh, glamorous lobbies. Additionally, another full-height space is attached on the (southern) end of the historic building bringing it closer to the street and serving as the main entrance lobby. A new coat of the building also helped to satisfy today’s strict energy efficiency guidelines.
The old building with preserved textures and details is confronted with minimalist materiality of concrete (continuous terrazzo floor), steel and glass creating a nobby harmony and amazing but also poetic spaces. Fine new details express modest references to the railway aesthetics and also the preserved rail track through the new building as well as platforms, now embodied in concrete, are cherishing the memories of the place.
Old warehouse upcycled to the multipurpose venue — for concerts, exhibitions, banquets, and other gatherings now stores and deals with the ‘goods’ of culture. The main hall of 1200 sqm could be divided into three separate spaces, allowing noteworthy flexibility. The new building acquires another appearance by the night when lobbies are illuminated and the picturesque old structure becomes visible from the outside through the generous and transparent lobbies. Silhouettes of people lingering on the stretched platform and along the encounter appear as an actor on the new and snazzy stage in once-neglected city corners.
#Latvia, #lighting , #extention , #interior_design , #lighting , #cultural_center , #industrial , #warehouse , #train_station , #multi_function , #landscape
@revitalization
The concept of the coat helped to solve the additional spaces and service and technical premises in a very clear way. The roof of the warehouse formed a wide canopy on both sides covering the logistic platforms where the freight wagons approached on the one side and trucks on the other. Now both platforms under the canopies are turned to posh, glamorous lobbies. Additionally, another full-height space is attached on the (southern) end of the historic building bringing it closer to the street and serving as the main entrance lobby. A new coat of the building also helped to satisfy today’s strict energy efficiency guidelines.
The old building with preserved textures and details is confronted with minimalist materiality of concrete (continuous terrazzo floor), steel and glass creating a nobby harmony and amazing but also poetic spaces. Fine new details express modest references to the railway aesthetics and also the preserved rail track through the new building as well as platforms, now embodied in concrete, are cherishing the memories of the place.
Old warehouse upcycled to the multipurpose venue — for concerts, exhibitions, banquets, and other gatherings now stores and deals with the ‘goods’ of culture. The main hall of 1200 sqm could be divided into three separate spaces, allowing noteworthy flexibility. The new building acquires another appearance by the night when lobbies are illuminated and the picturesque old structure becomes visible from the outside through the generous and transparent lobbies. Silhouettes of people lingering on the stretched platform and along the encounter appear as an actor on the new and snazzy stage in once-neglected city corners.
#Latvia, #lighting , #extention , #interior_design , #lighting , #cultural_center , #industrial , #warehouse , #train_station , #multi_function , #landscape
@revitalization
NO.106.
Espai CEL – Thermal Baths / Arquetipus projectes arquitectònics
SPA, THERM, CALDES DE MONTBUI, SPAIN
• Architects: Arquetipus projectes arquitectònics
• Area:553.0 m²
• Year:2019
• Manufacturers: Aco, Cosentino, Mapei, Porcelanosa, TOPCRET, Microsoft, Autodesk
• Design Team: Maria Almirall Ferrerons, Ferran Robusté Cumplido
• Draftsman: Raquel García Pérez
• Clients: Balneario Termas Victòria S.A
• Planimetric Survey: Enric Forgas - CARTSIG Serveis Topogràfics
• Structural Engineering: RV4 - Emma Leach y Carme Bernal
• Technical Architect: Josep Rubies
• Contractor: Construcciones Francisco Rubio
Text description provided by the architects. With the aim to create a new thermal water space in the pre-existing building of the Termes Victòria Spa Hotel in Caldes de Montbui, we proposed to enter the spaces created about 250 years ago, and used historically for the reservoir of the original thermal water and of the cooled thermal water for the use mainly curative and well-being of people. Its function of deposits had always left them hidden to the visitor and their discovery was key to deciding that it was a captivating place to show and to convert it as a unique space for the enjoyment of the senses. In the spaces of the old deposits and also partly in the traditional bath gallery, the different swimming pools have been located, each with some characteristic different from the other, but all of them created for the purpose of relaxing and enjoying the mineral-medicinal properties of the thousand year old thermal water.
With the will of being as neutral as possible, we chose to preserve the footprint of the different historical periods that the space has experienced. The original stone, the phase of the walls covered with the conservation of the water mark and the current period in which contemporary elements and materials can clearly be read. The white stone that covers most of the surfaces brings us the memory of the bathtubs still today in use in the traditional thermal spa. Especially intense and interesting for our team and also for the property was the whole process of discovery, data collection, writing of the project, the work and the study of all the sensory factors.
The peculiarity is that at the moment that we decided to work inside, the deposits are still in use and they are full of water. This forced us to make very accurate data in a very short time, knowing that we would not be able to access there again after one year, at the beginning of the works. During the writing of the project we also discovered the existence of a large stream that collects much of the waters of Caldes and runs exactly below the main gallery, and on which one of the main vessels has been located. Finally, the execution, while the hotel building was in full use, forced us to carry out with a very careful coordination to minimize the negative effects of the work on the users of the establishment. In the final result it can be perceived all this intensity and care in the works and in the details, and it is a space that invites you to see it but especially to live it.
#Spain, #lighting , #spa , #bath , #interior_design, #landscape , #terme , #hotel , #glass
@revitalization
Espai CEL – Thermal Baths / Arquetipus projectes arquitectònics
SPA, THERM, CALDES DE MONTBUI, SPAIN
• Architects: Arquetipus projectes arquitectònics
• Area:553.0 m²
• Year:2019
• Manufacturers: Aco, Cosentino, Mapei, Porcelanosa, TOPCRET, Microsoft, Autodesk
• Design Team: Maria Almirall Ferrerons, Ferran Robusté Cumplido
• Draftsman: Raquel García Pérez
• Clients: Balneario Termas Victòria S.A
• Planimetric Survey: Enric Forgas - CARTSIG Serveis Topogràfics
• Structural Engineering: RV4 - Emma Leach y Carme Bernal
• Technical Architect: Josep Rubies
• Contractor: Construcciones Francisco Rubio
Text description provided by the architects. With the aim to create a new thermal water space in the pre-existing building of the Termes Victòria Spa Hotel in Caldes de Montbui, we proposed to enter the spaces created about 250 years ago, and used historically for the reservoir of the original thermal water and of the cooled thermal water for the use mainly curative and well-being of people. Its function of deposits had always left them hidden to the visitor and their discovery was key to deciding that it was a captivating place to show and to convert it as a unique space for the enjoyment of the senses. In the spaces of the old deposits and also partly in the traditional bath gallery, the different swimming pools have been located, each with some characteristic different from the other, but all of them created for the purpose of relaxing and enjoying the mineral-medicinal properties of the thousand year old thermal water.
With the will of being as neutral as possible, we chose to preserve the footprint of the different historical periods that the space has experienced. The original stone, the phase of the walls covered with the conservation of the water mark and the current period in which contemporary elements and materials can clearly be read. The white stone that covers most of the surfaces brings us the memory of the bathtubs still today in use in the traditional thermal spa. Especially intense and interesting for our team and also for the property was the whole process of discovery, data collection, writing of the project, the work and the study of all the sensory factors.
The peculiarity is that at the moment that we decided to work inside, the deposits are still in use and they are full of water. This forced us to make very accurate data in a very short time, knowing that we would not be able to access there again after one year, at the beginning of the works. During the writing of the project we also discovered the existence of a large stream that collects much of the waters of Caldes and runs exactly below the main gallery, and on which one of the main vessels has been located. Finally, the execution, while the hotel building was in full use, forced us to carry out with a very careful coordination to minimize the negative effects of the work on the users of the establishment. In the final result it can be perceived all this intensity and care in the works and in the details, and it is a space that invites you to see it but especially to live it.
#Spain, #lighting , #spa , #bath , #interior_design, #landscape , #terme , #hotel , #glass
@revitalization
NO.107.
Gallo-roman Museum Vesuna / Ateliers Jean Nouvel
MUSEUM, PÉRIGUEUX, FRANCE
• Architects: Ateliers Jean Nouvel
• Area:6900.0 m²
• Year:2003
• Manufacturers: Goppion, Holz-Bois
• Competition: Alexiane Rossi
• Pilot Study: Laurent Niget
• Studies: Didier Brault
• Construction: Bertrand Beissel, François Leininger, Gaston Tolila
• Competition Architects: Jean Philippe Godin, Thierry Marco
• Pilot Study Architects: Cyril Ruiz
• Studies Architects: Isabelle Agostini, Cristiano Benzoni
• Graphic Design: Sabine Rosant
• Museography: Viviane Morteau, Nathalie Sasso, François Leininger, Gaston Tolila
• Structural Engineering: OVE ARUP
• Lots Techniques: OVE ARUP
• Fire Protection: M. CASSO
• Lighting Museography: Observatoire n° 1 Georges BerneERN
The Museum houses the remains of a grand Gallo-Roman residence, adorned with painted plaster work, known as Domus de Vésone. Jean Nouvel won the competition for the design in 1993.
This site must be protected and preserved with nobility, clarity and the sensibility of today’s culture
/Jean Nouvel
Text description provided by the architects. To Protect and to Reveal
It is perhaps the piles of amnesiac architecture in and around our cities, and the decades of accumulation which causes us to better cite the importance of lost civilizations, and of remains which are increasingly read today like true roots more than simple traces.
With Vesunna in Perigueux, there only remain contradictions, unknowns, and strata lost in the memory of the soil! The archaeological site of the Domus des Bosquets is the tangible illustration of the town buried underground which gave birth to Perigueux. The site needs to be revealed and protected with magnanimity, tact, clarity, and culture, by the means of architecture which would have the formidable privilege of residing next to ancient ghosts. The relationship of history with modernity is an architectural source of great poetry on the condition of being frank, sensitive and right within the legitimate act of building. A metaphysical dimension is born of the vertiginous gap between two fragments of the real confronted in the space of a few meters and in the time of a couple thousand years. Conscious of the risks of the situation, I proposed the simplest observation of protecting and revealing.
An inhabited, planted double-wall would be constructed as a screen encompassing an archaeological dig of the Tour de Vesone, the Villa des Bosquets and the 3rd century wall at the northern extremity. The villa will be covered by a big, high, simple umbrella, with the underside absolutely flat. Using calculated geometry inherited from the Gallo-Roman plan, it would be transcribed with a plan, a pretext to introducing a little elegant graphics of abstract sobriety which exclusively belong to the arts of our times. All the memories of the place will be both protected and revealed to our eyes of today.
#France, #lighting , #archeology , #museum , #interior_design, #landscape, #glass
@revitalization
Gallo-roman Museum Vesuna / Ateliers Jean Nouvel
MUSEUM, PÉRIGUEUX, FRANCE
• Architects: Ateliers Jean Nouvel
• Area:6900.0 m²
• Year:2003
• Manufacturers: Goppion, Holz-Bois
• Competition: Alexiane Rossi
• Pilot Study: Laurent Niget
• Studies: Didier Brault
• Construction: Bertrand Beissel, François Leininger, Gaston Tolila
• Competition Architects: Jean Philippe Godin, Thierry Marco
• Pilot Study Architects: Cyril Ruiz
• Studies Architects: Isabelle Agostini, Cristiano Benzoni
• Graphic Design: Sabine Rosant
• Museography: Viviane Morteau, Nathalie Sasso, François Leininger, Gaston Tolila
• Structural Engineering: OVE ARUP
• Lots Techniques: OVE ARUP
• Fire Protection: M. CASSO
• Lighting Museography: Observatoire n° 1 Georges BerneERN
The Museum houses the remains of a grand Gallo-Roman residence, adorned with painted plaster work, known as Domus de Vésone. Jean Nouvel won the competition for the design in 1993.
This site must be protected and preserved with nobility, clarity and the sensibility of today’s culture
/Jean Nouvel
Text description provided by the architects. To Protect and to Reveal
It is perhaps the piles of amnesiac architecture in and around our cities, and the decades of accumulation which causes us to better cite the importance of lost civilizations, and of remains which are increasingly read today like true roots more than simple traces.
With Vesunna in Perigueux, there only remain contradictions, unknowns, and strata lost in the memory of the soil! The archaeological site of the Domus des Bosquets is the tangible illustration of the town buried underground which gave birth to Perigueux. The site needs to be revealed and protected with magnanimity, tact, clarity, and culture, by the means of architecture which would have the formidable privilege of residing next to ancient ghosts. The relationship of history with modernity is an architectural source of great poetry on the condition of being frank, sensitive and right within the legitimate act of building. A metaphysical dimension is born of the vertiginous gap between two fragments of the real confronted in the space of a few meters and in the time of a couple thousand years. Conscious of the risks of the situation, I proposed the simplest observation of protecting and revealing.
An inhabited, planted double-wall would be constructed as a screen encompassing an archaeological dig of the Tour de Vesone, the Villa des Bosquets and the 3rd century wall at the northern extremity. The villa will be covered by a big, high, simple umbrella, with the underside absolutely flat. Using calculated geometry inherited from the Gallo-Roman plan, it would be transcribed with a plan, a pretext to introducing a little elegant graphics of abstract sobriety which exclusively belong to the arts of our times. All the memories of the place will be both protected and revealed to our eyes of today.
#France, #lighting , #archeology , #museum , #interior_design, #landscape, #glass
@revitalization
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.109.
Villa Castro / AP Valletta + Jens Bruenslow
HOUSES, RENOVATION
NAXXAR, MALTA
• Architects: AP Valletta, Jens Bruenslow
• Area:778.0 m²
• Year:2016
• Client: private
• Manufacturers: Vassallo Joiners, LM Contractor, Vaults
• Costs: €1.2 million
Awards:
World Architecture Festival, 2017, Berlin, New and Old category, Shortlisted
Arbara Coppochin Innternational Biennal Architecture Prize, 2017, Shortlisted
Text description provided by the architects. Villa Castro is located in the town of Naxxar, in the center of the island of Malta. Its location on the perimeter of an Urban Conservation Area has led to drastic modification of the original setting of the villa, recent building developments destroying irreversibly its original context. The project program was organized around the needs of a family and guestrooms to accommodate relatives and friends. The garden, as well as the two internal courtyards, were preserved and, following an unsuccessful attempt at acquiring the remaining portion of the garden immediately adjacent to the existing one, an extension was designed and grafted on the boundary wall to mitigate the negative visual impact of the recent neighboring block of apartments.
The restoration element of the project entailed the securing of dangerous parts, the removal of inserted structures and accretions which conflicted with the authentic organization of space or with the clarity of architectural form, the reopening of blocked arches and the introduction of a few additional openings to allow firstly for more light into the building and, secondly, to strengthen the already well defined symmetry of the garden and courtyard facades. The same principle guided the organization of the external areas. The existing spaces were organized accordingly to the needs of the clients, leaving the ground floor for living, play and entertainment while dedicating the upper entirely to individual bedrooms. Since the depth of the old annex structures is very narrow and rooms typically distributed in an ‘enfilade’ arrangement, an external access balcony was added replacing an existing open balcony.
Moreover, a new stairwell designed in a contemporary language was introduced in an existing backyard to link the long string of rooms aligned along the perimeter, as well as to create space for another bedroom above it. A new extension was built with just enough thickness to house guest quarters that tower over the garden and screen off the new development while closing off the composition of the garden and defining its end facade. They are lifted over the ground on slender columns in order not to obstruct the cornices and pilasters and the pediment of the gate which once led to the garden beyond. All new extensions were conceived as simple volumes and are defined and positioned to compliment, and coexist with the existing building.
They are treated in such a way as to allow maximum light on the inside while retaining a monolithic appearance from the outside in sympathy with the old building. Although almost entirely glazed, this is achieved by means of a dense wooden screen, creating a composition based on the contrast of materiality. The screens are made from American cedar, which will, over time, acquire a natural protective patina of silvery grey that blends in with the limestone surfaces of the old house. Like all projects that involve the rehabilitation and extension of old structures, time is an important element of the composition of which the building is made, and that will unravel with time.
#Malta, #house , #landscape, #villa , #stair , #extention
@revitalization
Villa Castro / AP Valletta + Jens Bruenslow
HOUSES, RENOVATION
NAXXAR, MALTA
• Architects: AP Valletta, Jens Bruenslow
• Area:778.0 m²
• Year:2016
• Client: private
• Manufacturers: Vassallo Joiners, LM Contractor, Vaults
• Costs: €1.2 million
Awards:
World Architecture Festival, 2017, Berlin, New and Old category, Shortlisted
Arbara Coppochin Innternational Biennal Architecture Prize, 2017, Shortlisted
Text description provided by the architects. Villa Castro is located in the town of Naxxar, in the center of the island of Malta. Its location on the perimeter of an Urban Conservation Area has led to drastic modification of the original setting of the villa, recent building developments destroying irreversibly its original context. The project program was organized around the needs of a family and guestrooms to accommodate relatives and friends. The garden, as well as the two internal courtyards, were preserved and, following an unsuccessful attempt at acquiring the remaining portion of the garden immediately adjacent to the existing one, an extension was designed and grafted on the boundary wall to mitigate the negative visual impact of the recent neighboring block of apartments.
The restoration element of the project entailed the securing of dangerous parts, the removal of inserted structures and accretions which conflicted with the authentic organization of space or with the clarity of architectural form, the reopening of blocked arches and the introduction of a few additional openings to allow firstly for more light into the building and, secondly, to strengthen the already well defined symmetry of the garden and courtyard facades. The same principle guided the organization of the external areas. The existing spaces were organized accordingly to the needs of the clients, leaving the ground floor for living, play and entertainment while dedicating the upper entirely to individual bedrooms. Since the depth of the old annex structures is very narrow and rooms typically distributed in an ‘enfilade’ arrangement, an external access balcony was added replacing an existing open balcony.
Moreover, a new stairwell designed in a contemporary language was introduced in an existing backyard to link the long string of rooms aligned along the perimeter, as well as to create space for another bedroom above it. A new extension was built with just enough thickness to house guest quarters that tower over the garden and screen off the new development while closing off the composition of the garden and defining its end facade. They are lifted over the ground on slender columns in order not to obstruct the cornices and pilasters and the pediment of the gate which once led to the garden beyond. All new extensions were conceived as simple volumes and are defined and positioned to compliment, and coexist with the existing building.
They are treated in such a way as to allow maximum light on the inside while retaining a monolithic appearance from the outside in sympathy with the old building. Although almost entirely glazed, this is achieved by means of a dense wooden screen, creating a composition based on the contrast of materiality. The screens are made from American cedar, which will, over time, acquire a natural protective patina of silvery grey that blends in with the limestone surfaces of the old house. Like all projects that involve the rehabilitation and extension of old structures, time is an important element of the composition of which the building is made, and that will unravel with time.
#Malta, #house , #landscape, #villa , #stair , #extention
@revitalization
مرمت تزیینات:
تزیینات حیاط رییسیان در حد بقیه حیاط های مجموعه نیست. صرفاً سطوح محدودی از اندودها و قطاربندی و.. که ارزش های مطلوبی دارند ملاحظه می شود. به عنوان مثال اندود و نقش کندهایی روی گچ در یکی از فضاها باقی مانده که به دلیل نداشتن روزن به حیاط، به نظر می رسد در ترکیب دیگری کار می کرده و مربوط به بنای دیگری بوده است.
کلیه تزیینات و اندودهای قدیمی حفاظت شده و برای ایجاد وضوح بیشتر با به کار گیری اصول مرمتی سعی در خواناتر کردن آنها شده است.
این حیاط پیش از ساخت بنا محل گودال خشت مال ها بوده لذا در زمان ساخت از قسمت هایی که در دل خاک کنده بودند بهره گرفته و سپس دیوارهای تکمیلی چیده شده اند. همچنین برخی قسمت ها از زلزله سال 1192 ه.ق. باقی مانده و در ادامه آنها دیوارها اضافه شده اند. در احیای بنا این قسمت ها به صورت ویترین نشان داده شده یا تثبیت و حفاظت شده تا ضمن افزودن بر ارزش ها، آنچه بر بنا گذشته برای اهل فن قابل شناسایی باشد.
#Iran, #house , #landscape, #hotel , #stair , #lighting , #restoration , #glass , #metal , #interior_design
@revitalization
تزیینات حیاط رییسیان در حد بقیه حیاط های مجموعه نیست. صرفاً سطوح محدودی از اندودها و قطاربندی و.. که ارزش های مطلوبی دارند ملاحظه می شود. به عنوان مثال اندود و نقش کندهایی روی گچ در یکی از فضاها باقی مانده که به دلیل نداشتن روزن به حیاط، به نظر می رسد در ترکیب دیگری کار می کرده و مربوط به بنای دیگری بوده است.
کلیه تزیینات و اندودهای قدیمی حفاظت شده و برای ایجاد وضوح بیشتر با به کار گیری اصول مرمتی سعی در خواناتر کردن آنها شده است.
این حیاط پیش از ساخت بنا محل گودال خشت مال ها بوده لذا در زمان ساخت از قسمت هایی که در دل خاک کنده بودند بهره گرفته و سپس دیوارهای تکمیلی چیده شده اند. همچنین برخی قسمت ها از زلزله سال 1192 ه.ق. باقی مانده و در ادامه آنها دیوارها اضافه شده اند. در احیای بنا این قسمت ها به صورت ویترین نشان داده شده یا تثبیت و حفاظت شده تا ضمن افزودن بر ارزش ها، آنچه بر بنا گذشته برای اهل فن قابل شناسایی باشد.
#Iran, #house , #landscape, #hotel , #stair , #lighting , #restoration , #glass , #metal , #interior_design
@revitalization
In addition, a horizontal canopy was installed towards the West façade and the sunset, creating a second irradiated anamorphosis of the great pyramid of Khufu which is revealed in the center of the Time Room. Connected to the elements, this architecture opens out without artifices, bays, glazing or other dividers to be in a vivid relationship with its environment, generating a hypercontextual space, sensory and porous. The Cheops Observatory is both open and closed, nomad and sedentary, erectile and matricial construction. Back to the basics of Architecture, the Observatory creates a dialogue between local vernacular architecture and an architectural ready-made, an answer to the necessary mutation of informal architecture, one of the fundamental issues of 21st century ecology
#Egypte , #house , #landscape, #observatory , #Pyramid
@revitalization
#Egypte , #house , #landscape, #observatory , #Pyramid
@revitalization
NO.114
Delle Bonifiche Eco-Museum / Archiplanstudio
MUSEUM, RESTORATION, RENOVATION
•BONDANELLO, ITALY
• Architects: Archiplanstudio
• Area:400.0 m²
• Year:2019
• Manufacturers: Seplux, Maxin, Autodesk
• Clients: Amministarzione Comunale di Moglia
• Amministarzione Comunale Di Moglia: Stefano Mazzocchi
• Landscape: Stefano Gorni Silvestrini
The covering in corten was the last phase of the renovation of “Chiavicone Bondanello”, started in 2009. The building, with hydraulic function on “Cavo Fiuma”, was constructed in the XVIIth century and the actual aspect derives from a renovation in 1900. Furthermore in 1960 the building partially collapsed after the river overflow and it was reconstructed.
A new reticular steel structure with polycarbonate wall replace the volume that was destroyed; inside there is a polyfunctional space with the environment center of the Secchia river park.
The new covering in corten linked the restored facade with the new volume and show the stratification of the interventions. The perception of the facades is dynamic and changes from every different angles, emphasizing the historical facade, the relation with the contemporary intervention or also the strength of the oxidised steel.
The polycarbonate wall during the night works like a lamp that emphasize the social function of the building and make it a signal in the landscape.
#Italy , #hydraulic , #museum , #eco_museum #corten , #metal , #polycarbonate , #landscape , #stair
@revitalization
Delle Bonifiche Eco-Museum / Archiplanstudio
MUSEUM, RESTORATION, RENOVATION
•BONDANELLO, ITALY
• Architects: Archiplanstudio
• Area:400.0 m²
• Year:2019
• Manufacturers: Seplux, Maxin, Autodesk
• Clients: Amministarzione Comunale di Moglia
• Amministarzione Comunale Di Moglia: Stefano Mazzocchi
• Landscape: Stefano Gorni Silvestrini
The covering in corten was the last phase of the renovation of “Chiavicone Bondanello”, started in 2009. The building, with hydraulic function on “Cavo Fiuma”, was constructed in the XVIIth century and the actual aspect derives from a renovation in 1900. Furthermore in 1960 the building partially collapsed after the river overflow and it was reconstructed.
A new reticular steel structure with polycarbonate wall replace the volume that was destroyed; inside there is a polyfunctional space with the environment center of the Secchia river park.
The new covering in corten linked the restored facade with the new volume and show the stratification of the interventions. The perception of the facades is dynamic and changes from every different angles, emphasizing the historical facade, the relation with the contemporary intervention or also the strength of the oxidised steel.
The polycarbonate wall during the night works like a lamp that emphasize the social function of the building and make it a signal in the landscape.
#Italy , #hydraulic , #museum , #eco_museum #corten , #metal , #polycarbonate , #landscape , #stair
@revitalization
Carriage House
The carriage house underwent a complex development. The archive and transformer station were located here. Both existing operations are removed on the ground floor and replaced thanks to the location of the carriage house by the function of a café. The second floor is used for the office of the administrator of the chateau complex. The subsequently placed partitions and the modern staircase were removed throughout the building. New masses were set into the space modified in this way in the places where the carriages had once stood. These new elements are the necessary social facilities of the café, bar and seating and are made of translucent laminate. The big question was the exterior appearance of the carriage house, which was regrettably modified in the 1970s, when the ground floor of the building was raised by a floor and again during the actual implementation by ca 70 cm. Mainly, the presentation of the ledge deformed the material solution of the entire building. Therefore, there was a correction of the ledge by the removal of the beams, thanks to which the overall height of the carriage house was slightly reduced. With regard to the exterior facade, the decorative ledges have been removed, which are not proved in any of the original drawings or photographic documentation. The outer appearance of the carriage house should blend in with other buildings with which it had formed a complete configuration in the past, so the outer facade was covered with a light lime stucco.
Children’s Pavilion
An important element is the seasonal building of the summer pavilion, which provides a natural base for children’s activities. This object is a summer pavilion - a tent made up of triangular segments of a lightweight steel construction, where the panelling forms a translucent canvas. The tent is inspired by a child’s dragon that has dragged into the chateau gardens and separated the farm buildings from the English Park. The summer pavilion with a children’s program uses the natural connection to the café located in the carriage house and thus allows also seating. The object is divided into three parts, and mainly thanks to the choice of different activities for the differently aged children from the youngest with access only with the parents to the oldest, where more demanding activities are expected for the greater autonomy of children.
English Park
Part of the overall modifications was also the resolution of the English park, where the main emphasis is placed on the element of water. Since there were water elements in the park in the past, we tried to restore them. The water element naturally starts at the highest point where the chateau pond is preserved. The water management route starts from the greatest distance between the trees and is designed using computer technology with Voronoi geometry. The route of the water element ends in a grotto, which we restored according to the original documentation. The route of the water element is completed in a grotto, which we have restored according to the original documentation. The English Park was disturbed by a large monumental stage from the 1950s, which we have removed and replaced by a mobile alternative, which enables the stage to be built from mobile parts. Within the resolution of the entire park, several small elements were further designed, such as an aviary for peacocks, which is based on the shape of a bushel on which peasants can sit. Another small element is benches representing a kind of crystal, inspired by the chateau sgraffito.
Material Used :
1. Translucent laminate
2. Steel
#Czech_Republic , #castle , #UNESCO , #world_heritage_convention , #park ,
#landscape , #interior_design , #multifunction , #school , #children
@revitalization
The carriage house underwent a complex development. The archive and transformer station were located here. Both existing operations are removed on the ground floor and replaced thanks to the location of the carriage house by the function of a café. The second floor is used for the office of the administrator of the chateau complex. The subsequently placed partitions and the modern staircase were removed throughout the building. New masses were set into the space modified in this way in the places where the carriages had once stood. These new elements are the necessary social facilities of the café, bar and seating and are made of translucent laminate. The big question was the exterior appearance of the carriage house, which was regrettably modified in the 1970s, when the ground floor of the building was raised by a floor and again during the actual implementation by ca 70 cm. Mainly, the presentation of the ledge deformed the material solution of the entire building. Therefore, there was a correction of the ledge by the removal of the beams, thanks to which the overall height of the carriage house was slightly reduced. With regard to the exterior facade, the decorative ledges have been removed, which are not proved in any of the original drawings or photographic documentation. The outer appearance of the carriage house should blend in with other buildings with which it had formed a complete configuration in the past, so the outer facade was covered with a light lime stucco.
Children’s Pavilion
An important element is the seasonal building of the summer pavilion, which provides a natural base for children’s activities. This object is a summer pavilion - a tent made up of triangular segments of a lightweight steel construction, where the panelling forms a translucent canvas. The tent is inspired by a child’s dragon that has dragged into the chateau gardens and separated the farm buildings from the English Park. The summer pavilion with a children’s program uses the natural connection to the café located in the carriage house and thus allows also seating. The object is divided into three parts, and mainly thanks to the choice of different activities for the differently aged children from the youngest with access only with the parents to the oldest, where more demanding activities are expected for the greater autonomy of children.
English Park
Part of the overall modifications was also the resolution of the English park, where the main emphasis is placed on the element of water. Since there were water elements in the park in the past, we tried to restore them. The water element naturally starts at the highest point where the chateau pond is preserved. The water management route starts from the greatest distance between the trees and is designed using computer technology with Voronoi geometry. The route of the water element ends in a grotto, which we restored according to the original documentation. The route of the water element is completed in a grotto, which we have restored according to the original documentation. The English Park was disturbed by a large monumental stage from the 1950s, which we have removed and replaced by a mobile alternative, which enables the stage to be built from mobile parts. Within the resolution of the entire park, several small elements were further designed, such as an aviary for peacocks, which is based on the shape of a bushel on which peasants can sit. Another small element is benches representing a kind of crystal, inspired by the chateau sgraffito.
Material Used :
1. Translucent laminate
2. Steel
#Czech_Republic , #castle , #UNESCO , #world_heritage_convention , #park ,
#landscape , #interior_design , #multifunction , #school , #children
@revitalization
NO.118
The renovated Victoria & Albert Museum / AL_A
• MUSEUM, LONDON, UNITED KINGDOM
• Architects: AL_A
• Area: 6360.0 m²
• Year: 2017
Engineers (Smep) : Arup
Quantity Surveyor : Aecom
Lighting Designer: DHA Designs
Historic Building Adviser : Giles Quarme & Associates
Planning Consultant : DP9
Project Manager: Lendlease
Main Contractor: Wates
Specialist Aws Contractor: PAYE
Specialist Subcontractors: Koninklijke Tichelaar Makkum – porcelain tiles; Octatube – oculus; Midland Alloy – Aston Webb Screen gates; Astins – gallery ceiling; EE Stairs – gallery staircase; Cornish Concrete – stepped terrace; Mazorati Ronchetti – café bar
Principal: Amanda Levete
Project Director: Alice Dietsch
Project Architect: Matt Wilkinson
Team: Ho-Yin Ng, Maximiliano Arrocet, Alex Bulygin, Blandine Plenard, Chiara Zaccagnini, Fernando Ruiz Barberan, Filippo Previtali, Giulio Pellizzon, Matthew Riley, Michael Levy, Michael Wetmore, Patrick Drewello, Peter Angrave, Peter King, Raffael Petrovic, Robert Rice, Rumen Stefanov, Song Jie Lim, Stefano Bertotti, Stephen Citrone, Win Assakul
Client: Victoria & Albert
The Victoria and Albert Museum in London is the world's largest museum of applied and decorative arts and design, as well as sculpture, housing a permanent collection of over 2.27 million objects. It was founded in 1852 and named after Queen Victoria and Prince Albert.
Text description provided by the architects. The V&A Exhibition Road Quarter took six years to realise and transforms the V&A’s former boilerhouse yard on London’s great cultural artery, Exhibition Road. This new entrance connects the Museum with its neighbours, reinforcing the Albertopolis vision of intellectual ambition and innovation and creates a sequence of major new spaces.
The Sackler Courtyard is the world’s first all-porcelain public courtyard, and comprises over 11,000 handmade porcelain tiles, inspired by the rich tradition of ceramics at the V&A. This new public space for London also houses a café with furniture designed for the space by AL_A and manufactured by Moroso. The Sackler Courtyard reveals architecturally significant façades and details that have never previously been seen by the public. These include sgraffito decoration on the side of the Henry Cole Wing – a decorative Renaissance technique using multiple layers of coloured plaster created by the first art students at the Museum, in the late 19th century. The stonework of the Aston Webb Screen retains the damage that World War II inflicted on the Museum, which is reflected in 11 sets of new metal gates, designed by AL_A. The gates have been manufactured with a pattern of perforations tracing the imprint of the shrapnel damage on the stonework as well as the Royal Crest in the central gate
The Blavatnik Hall is a new space that will transform how visitors experience and discover the Museum and collections. Connecting the newly displayed Robert H. N. Ho Family Foundation Galleries of Buddhist Art and the Dorothy and Michael Hintze Sculpture Galleries, The Blavatnik Hall gives views through to The John Madejski Garden, leads to a new shop, and connects to the historic Ceramic Staircase as well as the Sackler Centre for arts education, which reopens featuring the new John Lyon’s Charity Community Gallery.
The versatile, 1,100m sq column-free Sainsbury Gallery is one of the largest temporary exhibition galleries in the UK. This flexible exhibition space sits above a floor dedicated to art handling, conservation and preparation space. The new spaces reach as far as 18 metres below ground, directly beneath the Western Range of the V&A’s Grade I listed buildings: a daring engineering and construction challenge that is made visible to the public by steel columns and a beam painted in vivid international orange that are literally holding the weight of history and the Museum’s priceless collections above.
#UK , #museum , #entrance , #gallery , #landscape , #interior_design , #exhibition , #lighting , #stair
@revitalization
The renovated Victoria & Albert Museum / AL_A
• MUSEUM, LONDON, UNITED KINGDOM
• Architects: AL_A
• Area: 6360.0 m²
• Year: 2017
Engineers (Smep) : Arup
Quantity Surveyor : Aecom
Lighting Designer: DHA Designs
Historic Building Adviser : Giles Quarme & Associates
Planning Consultant : DP9
Project Manager: Lendlease
Main Contractor: Wates
Specialist Aws Contractor: PAYE
Specialist Subcontractors: Koninklijke Tichelaar Makkum – porcelain tiles; Octatube – oculus; Midland Alloy – Aston Webb Screen gates; Astins – gallery ceiling; EE Stairs – gallery staircase; Cornish Concrete – stepped terrace; Mazorati Ronchetti – café bar
Principal: Amanda Levete
Project Director: Alice Dietsch
Project Architect: Matt Wilkinson
Team: Ho-Yin Ng, Maximiliano Arrocet, Alex Bulygin, Blandine Plenard, Chiara Zaccagnini, Fernando Ruiz Barberan, Filippo Previtali, Giulio Pellizzon, Matthew Riley, Michael Levy, Michael Wetmore, Patrick Drewello, Peter Angrave, Peter King, Raffael Petrovic, Robert Rice, Rumen Stefanov, Song Jie Lim, Stefano Bertotti, Stephen Citrone, Win Assakul
Client: Victoria & Albert
The Victoria and Albert Museum in London is the world's largest museum of applied and decorative arts and design, as well as sculpture, housing a permanent collection of over 2.27 million objects. It was founded in 1852 and named after Queen Victoria and Prince Albert.
Text description provided by the architects. The V&A Exhibition Road Quarter took six years to realise and transforms the V&A’s former boilerhouse yard on London’s great cultural artery, Exhibition Road. This new entrance connects the Museum with its neighbours, reinforcing the Albertopolis vision of intellectual ambition and innovation and creates a sequence of major new spaces.
The Sackler Courtyard is the world’s first all-porcelain public courtyard, and comprises over 11,000 handmade porcelain tiles, inspired by the rich tradition of ceramics at the V&A. This new public space for London also houses a café with furniture designed for the space by AL_A and manufactured by Moroso. The Sackler Courtyard reveals architecturally significant façades and details that have never previously been seen by the public. These include sgraffito decoration on the side of the Henry Cole Wing – a decorative Renaissance technique using multiple layers of coloured plaster created by the first art students at the Museum, in the late 19th century. The stonework of the Aston Webb Screen retains the damage that World War II inflicted on the Museum, which is reflected in 11 sets of new metal gates, designed by AL_A. The gates have been manufactured with a pattern of perforations tracing the imprint of the shrapnel damage on the stonework as well as the Royal Crest in the central gate
The Blavatnik Hall is a new space that will transform how visitors experience and discover the Museum and collections. Connecting the newly displayed Robert H. N. Ho Family Foundation Galleries of Buddhist Art and the Dorothy and Michael Hintze Sculpture Galleries, The Blavatnik Hall gives views through to The John Madejski Garden, leads to a new shop, and connects to the historic Ceramic Staircase as well as the Sackler Centre for arts education, which reopens featuring the new John Lyon’s Charity Community Gallery.
The versatile, 1,100m sq column-free Sainsbury Gallery is one of the largest temporary exhibition galleries in the UK. This flexible exhibition space sits above a floor dedicated to art handling, conservation and preparation space. The new spaces reach as far as 18 metres below ground, directly beneath the Western Range of the V&A’s Grade I listed buildings: a daring engineering and construction challenge that is made visible to the public by steel columns and a beam painted in vivid international orange that are literally holding the weight of history and the Museum’s priceless collections above.
#UK , #museum , #entrance , #gallery , #landscape , #interior_design , #exhibition , #lighting , #stair
@revitalization
The exhibition halls of the Cultural Museum is composed of three kinds of individual spaces with water patio, thematically ranging from the “Contemporary” to the “Traditional”, and from the “Traditional” to the “Future”. Due to the serious destruction of the Zhang Family’s house, only the exterior wall is intriguing and therefore preserved, inside which the“Contemporary”exhibition hall is built with an offset of 30cm to show the respect toward the old construction. In comparison, the Village History Hall is well preserved. Its internal wooden load-bearing structure repaired, partition walls removed, the original atrium preserved, the Hall witness the unfolding of a second exhibition space with a theme of "Tradition". Under the research on the Village History Hall, it is determined that there had been another building to its north. Therefore, the third, "Future" exhibition hall is built from the renewal of the original site, as well as a water patio and leisure zone in vacant area.
Around the new buildings, the shadow changes with the light. The sunshine is filtered by the trees and scattered in the yard, lively and warm. Along with the breezes, these details of light forms a range of subtle perceptions. Around the old buildings, be it the mottled wall, a grey masonry brick, a tile at the top of the wall, some grass that moves with the wind, or a crawling insect, there is always moment in space that brings one back to a moment in time.
#China , #house, #village , #museum , #library , #lighting , #interior_design , #landscape , #community_center
@revitalization
Around the new buildings, the shadow changes with the light. The sunshine is filtered by the trees and scattered in the yard, lively and warm. Along with the breezes, these details of light forms a range of subtle perceptions. Around the old buildings, be it the mottled wall, a grey masonry brick, a tile at the top of the wall, some grass that moves with the wind, or a crawling insect, there is always moment in space that brings one back to a moment in time.
#China , #house, #village , #museum , #library , #lighting , #interior_design , #landscape , #community_center
@revitalization
NO.124
National Museum Clemenceau / TITAN
MOUILLERON-SAINT-GERMAIN, FRANCE
• client : ministère de la Culture et de la Communication, service des Musées de France, DRAC des Pays de la Loire
• Year: 2019
------
Technical information on the Clemenceau National Museum:
Program - the Clemenceau National Museum
Contracting authority - Ministry of Culture and Communication, Museum Service of France, DRAC Pays de la Loire
address - Mouilleron en Pareds - France
Budget - € 1,800,000 including scenography € 400,000
Surface - 600 m2
Team - titan (architects-scenographers), the baroque office (scenographers), up and down (landscape designer), svelt (graphic designers), 8.18 (lighting designer), mazedia (multimedia designer), ecb (economist), energy tribe (ing . fluids), arest (ing. structure), symbiance (acoustician)
-------
Technical information on the reception pavilion of the Maison de Clemenceau:
Program - reconstruction of the reception pavilion of the Clemenceau house
Client - Center des monuments nationaux, Direction de la Conservation des Monuments et des Collections
Address - Saint-Vincent sur Jard - France
Budget - € 500,000 including landscaping - € 80,000
Surface - 125 m2
Team - titan (landscape architects), ecb (economist), luc moreau (ing. Cfo-cfa), inddigo (ing. Fluids), arest (ing. Structure).
-------
Born in 1841 in the Vendée, a coastal department of western France, Georges Clemenceau was a politician and journalist – a dominant figure in the French Third Republic and, as prime minister – a major contributor to the Allied victory in World War I.
Today, his native house in Mouilleron-en-Pareds is transformed into a museum, pulling his private world and public life into the public realm. The project emerged from its location, with respect to its historical structure. Designed to give the opportunity to begin a new narrative, the building seeks to uncover both its original and current purpose. The concept proposes contemporary interventions with minimum visual compromise to the building’s original appearance. From one perspective, the architecture follows, both in compositional and museological terms, the traditional, domestic character of a house. Its essence and rustic materials are preserved, leaving ample space for the museography, designed with scenographers Le Bureau Baroque.
The new elements are interwoven into the visitor’s path to activate a unique experience, following the rhythm of the existing architecture. To create a link with the community, the adjacent barn is reconstructed to add new programmatic opportunities for concerts, screenings and exhibitions. The museum reveals a new perspective on how art and architecture would benefit from each other’s challenges, unveiling the real substance of the building to its visitors, and, through its informal learning opportunities, giving a new vantage point on history and present times. The visit is elaborated, involving all senses to create a real interaction between content, scenography and visitor. An interactive website on the internet, a combination of graphics and multimedia invite the visitor to experience the museum, creating a new public route through the building and exposition.
#France , #house, #museum , #lighting , #interior_design , #landscape , #community_center , #multi_purpose
@revitalization
National Museum Clemenceau / TITAN
MOUILLERON-SAINT-GERMAIN, FRANCE
• client : ministère de la Culture et de la Communication, service des Musées de France, DRAC des Pays de la Loire
• Year: 2019
------
Technical information on the Clemenceau National Museum:
Program - the Clemenceau National Museum
Contracting authority - Ministry of Culture and Communication, Museum Service of France, DRAC Pays de la Loire
address - Mouilleron en Pareds - France
Budget - € 1,800,000 including scenography € 400,000
Surface - 600 m2
Team - titan (architects-scenographers), the baroque office (scenographers), up and down (landscape designer), svelt (graphic designers), 8.18 (lighting designer), mazedia (multimedia designer), ecb (economist), energy tribe (ing . fluids), arest (ing. structure), symbiance (acoustician)
-------
Technical information on the reception pavilion of the Maison de Clemenceau:
Program - reconstruction of the reception pavilion of the Clemenceau house
Client - Center des monuments nationaux, Direction de la Conservation des Monuments et des Collections
Address - Saint-Vincent sur Jard - France
Budget - € 500,000 including landscaping - € 80,000
Surface - 125 m2
Team - titan (landscape architects), ecb (economist), luc moreau (ing. Cfo-cfa), inddigo (ing. Fluids), arest (ing. Structure).
-------
Born in 1841 in the Vendée, a coastal department of western France, Georges Clemenceau was a politician and journalist – a dominant figure in the French Third Republic and, as prime minister – a major contributor to the Allied victory in World War I.
Today, his native house in Mouilleron-en-Pareds is transformed into a museum, pulling his private world and public life into the public realm. The project emerged from its location, with respect to its historical structure. Designed to give the opportunity to begin a new narrative, the building seeks to uncover both its original and current purpose. The concept proposes contemporary interventions with minimum visual compromise to the building’s original appearance. From one perspective, the architecture follows, both in compositional and museological terms, the traditional, domestic character of a house. Its essence and rustic materials are preserved, leaving ample space for the museography, designed with scenographers Le Bureau Baroque.
The new elements are interwoven into the visitor’s path to activate a unique experience, following the rhythm of the existing architecture. To create a link with the community, the adjacent barn is reconstructed to add new programmatic opportunities for concerts, screenings and exhibitions. The museum reveals a new perspective on how art and architecture would benefit from each other’s challenges, unveiling the real substance of the building to its visitors, and, through its informal learning opportunities, giving a new vantage point on history and present times. The visit is elaborated, involving all senses to create a real interaction between content, scenography and visitor. An interactive website on the internet, a combination of graphics and multimedia invite the visitor to experience the museum, creating a new public route through the building and exposition.
#France , #house, #museum , #lighting , #interior_design , #landscape , #community_center , #multi_purpose
@revitalization
—————————
3S Studio has designed an "urban" walk without distorting the identity of an area which, for a strange paradox, has been maintained by being in a state of semi-abandonment for 40 years. The general objectives of the design , relating to the general themes were:
Give continuity to pedestrian paths
Increase the usability of the coastal stretch
Intervention reversibility
Low environmental impact materials
Increase in public green spaces and requalification of existing ones
Compatible tourism development "
————————————-
The cost per square meter (true evaluation parameter of public space projects) was very limited in the face of the complex interventions (including structural and concerning works at sea) subject to constraint, of the great final environmental quality.
All this is the result of the design strategies that have always privileged the real change of the boundary conditions, the activation of virtuous circles and the overall vision.
The materials usually used, simple but "safe", are the confirmation of how much the complexity / articulation of the spaces and the real usability of the new structures have been preferred over the decoration and richness of the finishes. They have thus obtainedimportant results in terms of:
extension of the project area
achievement of initially unforeseen results - effects on economic and tourist activities - environmental requalification
creation of new routes (such as that of the tunnel, previously inaccessible).
#Italy , #railway, #interior_design , #landscape ,#corten , #park , #tunnel , #lighting
@revitalization
3S Studio has designed an "urban" walk without distorting the identity of an area which, for a strange paradox, has been maintained by being in a state of semi-abandonment for 40 years. The general objectives of the design , relating to the general themes were:
Give continuity to pedestrian paths
Increase the usability of the coastal stretch
Intervention reversibility
Low environmental impact materials
Increase in public green spaces and requalification of existing ones
Compatible tourism development "
————————————-
The cost per square meter (true evaluation parameter of public space projects) was very limited in the face of the complex interventions (including structural and concerning works at sea) subject to constraint, of the great final environmental quality.
All this is the result of the design strategies that have always privileged the real change of the boundary conditions, the activation of virtuous circles and the overall vision.
The materials usually used, simple but "safe", are the confirmation of how much the complexity / articulation of the spaces and the real usability of the new structures have been preferred over the decoration and richness of the finishes. They have thus obtainedimportant results in terms of:
extension of the project area
achievement of initially unforeseen results - effects on economic and tourist activities - environmental requalification
creation of new routes (such as that of the tunnel, previously inaccessible).
#Italy , #railway, #interior_design , #landscape ,#corten , #park , #tunnel , #lighting
@revitalization
According to Will Gamble Architects, the original Parchment Works was built on the site because of a natural spring that runs under the building. This water was used to clean the hides from which the parchment was made, by lowering them into a series of baths.
As part of the project, the studio opened up one of these underground baths to create a water feature. This also doubles as a dry well to dispose of surface runoff.
#UK , #house, #interior_design , #landscape , #extention , #cattle , #corten , #glass
@revitalization
As part of the project, the studio opened up one of these underground baths to create a water feature. This also doubles as a dry well to dispose of surface runoff.
#UK , #house, #interior_design , #landscape , #extention , #cattle , #corten , #glass
@revitalization
NO.127
Torri Superiore
A Medieval Village Transformed Into Self-Sufficient Eco-Community
Italy, Torri Superiore
• Started Planning: 1989
• Started Living Together: 1995
• Torri Superiore Cultural Association
• Area: 4.9 acres
Energy Sources: Solar, Biomass & Clean Energy from the Grid
• Type(s):
o Ecovillage (organized around ecology and sustainability)
o Shared Housing, Cohouseholding, or Coliving (multiple individuals sharing a dwelling)
• Programs & Activities:
o School, Educational Institute or Experience
o Volunteer, Internship, or Apprenticeship, or WWOOF’ing
o Ethical Business, Investment Group, or Alternative Currency
o Festivals, Conferences, Events
During the twentieth century, the medieval village of Torri Superiore was gradually abandoned by all the inhabitants, falling into decay and slowly turning into a ghost village.
Its beautiful stone towers, internal courtyards, connecting stairs and agricultural terraces gradually became deserted and ruined.
At the beginning of the 90s the Torri Superiore Cultural Association began negotiations for the purchase of houses by a huge number of owners, through a tiring and long cadastral research and laborious negotiations. The purpose of the Association was to transform the village into an Ecovillage, creating on-site residences and resources for a new resident community.
Over the following years, a detailed study of the structure of the buildings led to the development of a complex restoration project that balances the parts for public use and those for private use.
The careful restoration plan has been developed by a team of architects, engineers and surveyors who have generously supported the project over the years. This work has guaranteed the preservation and redevelopment of the medieval features of the structure through the use of natural and eco-friendly materials, the principles of green building and structural interventions in harmony with the surrounding environment.
Two areas have been designed for different uses: in the north part the structure for common use and open to the public, consisting of bedrooms, central kitchen, dining rooms, library and meeting rooms. This area is owned by the Torri Superiore Cultural Association. In the southern part, 22 private housing units, owned by the members, with an internal size that varies from 30 to 80 square meters.
Small local companies have been employed to manage the construction sites with the constant support of the members of the Association and the residents, and with the generous contribution of groups of volunteers from all over the world.
The restorations began in 1997 and in 2012 the works on the accommodation were completed. The restoration of the 22 private housing units ended in 2016. Solar panels were also installed for the production of hot water and electricity.
#Italy , #village, #ecovillage , #landscape , #eco_friendly, #sustainable , #hotel , #residence #ecotourism
@revitalization
Torri Superiore
A Medieval Village Transformed Into Self-Sufficient Eco-Community
Italy, Torri Superiore
• Started Planning: 1989
• Started Living Together: 1995
• Torri Superiore Cultural Association
• Area: 4.9 acres
Energy Sources: Solar, Biomass & Clean Energy from the Grid
• Type(s):
o Ecovillage (organized around ecology and sustainability)
o Shared Housing, Cohouseholding, or Coliving (multiple individuals sharing a dwelling)
• Programs & Activities:
o School, Educational Institute or Experience
o Volunteer, Internship, or Apprenticeship, or WWOOF’ing
o Ethical Business, Investment Group, or Alternative Currency
o Festivals, Conferences, Events
During the twentieth century, the medieval village of Torri Superiore was gradually abandoned by all the inhabitants, falling into decay and slowly turning into a ghost village.
Its beautiful stone towers, internal courtyards, connecting stairs and agricultural terraces gradually became deserted and ruined.
At the beginning of the 90s the Torri Superiore Cultural Association began negotiations for the purchase of houses by a huge number of owners, through a tiring and long cadastral research and laborious negotiations. The purpose of the Association was to transform the village into an Ecovillage, creating on-site residences and resources for a new resident community.
Over the following years, a detailed study of the structure of the buildings led to the development of a complex restoration project that balances the parts for public use and those for private use.
The careful restoration plan has been developed by a team of architects, engineers and surveyors who have generously supported the project over the years. This work has guaranteed the preservation and redevelopment of the medieval features of the structure through the use of natural and eco-friendly materials, the principles of green building and structural interventions in harmony with the surrounding environment.
Two areas have been designed for different uses: in the north part the structure for common use and open to the public, consisting of bedrooms, central kitchen, dining rooms, library and meeting rooms. This area is owned by the Torri Superiore Cultural Association. In the southern part, 22 private housing units, owned by the members, with an internal size that varies from 30 to 80 square meters.
Small local companies have been employed to manage the construction sites with the constant support of the members of the Association and the residents, and with the generous contribution of groups of volunteers from all over the world.
The restorations began in 1997 and in 2012 the works on the accommodation were completed. The restoration of the 22 private housing units ended in 2016. Solar panels were also installed for the production of hot water and electricity.
#Italy , #village, #ecovillage , #landscape , #eco_friendly, #sustainable , #hotel , #residence #ecotourism
@revitalization
NO.128
Museum Park of The the Polytechnic Museum / Wowhaus
MOSCOW, RUSSIA
• Architects: Wowhaus
• Area: 14000.0 m²
• Design phase: 2015 – 2016
• Construction phase: 2017 – 2019
• Design Team: Mikhail Kozlov (senior project architect), Maria Khokhlova, Anastasia Rychkova, Anton Sevastyanov, Igor Yakovlev, Marina Yarmarkina, Denis Manshilin, Alyona Zaitseva, Margarita Leonova
• Clients: OAO MNIITEP, Polytechnic Museum Development Fund
• Landscape: Nature form studio
• Lightning: Ultimatum Group
Objective:
Following the concept by Junya Ishigami the territory around the Polytechnic Museum was to be transformed into a Museum Park – a thoroughly designed public space, whose structure takes into account the needs of the Museum and its visitors, as well as intensive transport and pedestrian flows, and the requirements of the city authorities concerning streets and town squares
Solution:
A park-amphitheatre in front of the Museum - an open-air foyer that will become an extension of the spaces inside the building and will act as a prologue, while the inner space is under construction. It will be able to host events while uniting the new pedestrian zone in the building’s lower ground level with the outdoor area alongside Lubyanka Square, attracting pedestrians and providing them with a convenient and pleasant route into the Museum complex.
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Text description provided by the architects. In the contemporary city, the museum long since ceased to be simply a place for storing exhibits, school trips and the “cultural leisure” of adults on their days off. It should be a full-fledged participant in urban life, able to compete on equal terms with parks, cinemas and restaurants. Museum Park is a pedestrian zone and public space that helps draw city dwellers into the Polytechnic Museum.
Following the concept by Jun’ya Ishigami the territory around the Polytechnic Museum was to be transformed into a Museum Park – a thoroughly designed public space, whose structure takes into account the needs of the Museum and its visitors, as well as intensive transport and pedestrian flows, and the requirements of the city authorities concerning streets and town squares.
A park-amphitheatre in front of the Museum - an open-air foyer that will become an extension of the spaces inside the building and will act as a prologue, while the inner space is under construction. It will be able to host events while uniting the new pedestrian zone in the building’s lower ground level with the outdoor area alongside Lubyanka Square, attracting pedestrians and providing them with a convenient and pleasant route into the Museum complex.
#Russia , #museum, #landscape , #extention , #lighting , #open_air , #park , #amphitheatre , #pedestrian , #public_space
@revitalization
Museum Park of The the Polytechnic Museum / Wowhaus
MOSCOW, RUSSIA
• Architects: Wowhaus
• Area: 14000.0 m²
• Design phase: 2015 – 2016
• Construction phase: 2017 – 2019
• Design Team: Mikhail Kozlov (senior project architect), Maria Khokhlova, Anastasia Rychkova, Anton Sevastyanov, Igor Yakovlev, Marina Yarmarkina, Denis Manshilin, Alyona Zaitseva, Margarita Leonova
• Clients: OAO MNIITEP, Polytechnic Museum Development Fund
• Landscape: Nature form studio
• Lightning: Ultimatum Group
Objective:
Following the concept by Junya Ishigami the territory around the Polytechnic Museum was to be transformed into a Museum Park – a thoroughly designed public space, whose structure takes into account the needs of the Museum and its visitors, as well as intensive transport and pedestrian flows, and the requirements of the city authorities concerning streets and town squares
Solution:
A park-amphitheatre in front of the Museum - an open-air foyer that will become an extension of the spaces inside the building and will act as a prologue, while the inner space is under construction. It will be able to host events while uniting the new pedestrian zone in the building’s lower ground level with the outdoor area alongside Lubyanka Square, attracting pedestrians and providing them with a convenient and pleasant route into the Museum complex.
--------------
Text description provided by the architects. In the contemporary city, the museum long since ceased to be simply a place for storing exhibits, school trips and the “cultural leisure” of adults on their days off. It should be a full-fledged participant in urban life, able to compete on equal terms with parks, cinemas and restaurants. Museum Park is a pedestrian zone and public space that helps draw city dwellers into the Polytechnic Museum.
Following the concept by Jun’ya Ishigami the territory around the Polytechnic Museum was to be transformed into a Museum Park – a thoroughly designed public space, whose structure takes into account the needs of the Museum and its visitors, as well as intensive transport and pedestrian flows, and the requirements of the city authorities concerning streets and town squares.
A park-amphitheatre in front of the Museum - an open-air foyer that will become an extension of the spaces inside the building and will act as a prologue, while the inner space is under construction. It will be able to host events while uniting the new pedestrian zone in the building’s lower ground level with the outdoor area alongside Lubyanka Square, attracting pedestrians and providing them with a convenient and pleasant route into the Museum complex.
#Russia , #museum, #landscape , #extention , #lighting , #open_air , #park , #amphitheatre , #pedestrian , #public_space
@revitalization
NO.129
Can Sau. Emergency Scener / unparelld’arquitectes
Consolidation and adaptation of a party wall in the center of Olot, SPAIN
• Architects: unparelld’arquitectes
• Area: 113.0 m²
• Year: 2019
• Manufacturers: Modern Masters, Rajoleria Llensa, Rixaab
• Lead Architect: Eduard Callís, Guillem Moliner
• Lead Artist: Quim Domene
• Design Team: Clàudia Calvet, Xevi Rodeja, Sara Palmada, Sergi Jiménez
• Client: Olot town hall
• Builder: Construo Construccions Generals
• Consultants: Amaia López, Structural designer
•
The Tura church, confined between narrow streets, gains a public space, presided by the blinded door of the previous temple of the XV century.
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unparelld’arquitectes has transformed a party wall in the old city center of olot, spain, with an inhabitable brick façade of three vaults and four niches. titled can sau emergency scenery, the intervention offers a new public space while consolidating the party wall and guaranteeing its waterproof qualities. the structure completes the four existing stepped buttresses it has been built upon, revealing in the background the traces of domestic activity marked on the party wall.
unparelld’arquitectes’ intervention occupies an urban void in the old city center of olot, created when half of can sau building was demolished for street alignment purposes. the empty lot is characterized by a party wall and four stepped buttresses that faced the side façade of the church of the patron saint of olot. ‘in the compact city, the façades take responsibility for giving shape and character to the street,’ explains the local architecture studio. as such, apart from guaranteeing the waterproof qualities of the party wall, the studio has transformed the abandoned lot into a public space where a porous façade offers the background for various cultural activities and social interactions.
using hollow bricks, unparelld’arquitectes built an emergency scenery that completes what the four existing buttresses suggest, revealing traces of domestic activity marked on the party wall. the construction comprises three vaults and four niches, accompanied by a minimum of stands. visual artist, quim domene, intervened a posteriori in the niches, with elements allegorical to the history of the neighborhood.
#Spain , #landscape , #wall , #lighting , #open_air, #demolition , #pedestrian , #public_space , #church , #lighting
@revitalization
Can Sau. Emergency Scener / unparelld’arquitectes
Consolidation and adaptation of a party wall in the center of Olot, SPAIN
• Architects: unparelld’arquitectes
• Area: 113.0 m²
• Year: 2019
• Manufacturers: Modern Masters, Rajoleria Llensa, Rixaab
• Lead Architect: Eduard Callís, Guillem Moliner
• Lead Artist: Quim Domene
• Design Team: Clàudia Calvet, Xevi Rodeja, Sara Palmada, Sergi Jiménez
• Client: Olot town hall
• Builder: Construo Construccions Generals
• Consultants: Amaia López, Structural designer
•
The Tura church, confined between narrow streets, gains a public space, presided by the blinded door of the previous temple of the XV century.
--------
unparelld’arquitectes has transformed a party wall in the old city center of olot, spain, with an inhabitable brick façade of three vaults and four niches. titled can sau emergency scenery, the intervention offers a new public space while consolidating the party wall and guaranteeing its waterproof qualities. the structure completes the four existing stepped buttresses it has been built upon, revealing in the background the traces of domestic activity marked on the party wall.
unparelld’arquitectes’ intervention occupies an urban void in the old city center of olot, created when half of can sau building was demolished for street alignment purposes. the empty lot is characterized by a party wall and four stepped buttresses that faced the side façade of the church of the patron saint of olot. ‘in the compact city, the façades take responsibility for giving shape and character to the street,’ explains the local architecture studio. as such, apart from guaranteeing the waterproof qualities of the party wall, the studio has transformed the abandoned lot into a public space where a porous façade offers the background for various cultural activities and social interactions.
using hollow bricks, unparelld’arquitectes built an emergency scenery that completes what the four existing buttresses suggest, revealing traces of domestic activity marked on the party wall. the construction comprises three vaults and four niches, accompanied by a minimum of stands. visual artist, quim domene, intervened a posteriori in the niches, with elements allegorical to the history of the neighborhood.
#Spain , #landscape , #wall , #lighting , #open_air, #demolition , #pedestrian , #public_space , #church , #lighting
@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