The elliptical pivoting windows made of organic glass 7cm thick and 5.5m in diameter weigh approx-imately 2.5t. Each has a unique shape and, due to their size exceeding the standard glazing, these are probably the largest pivot windows in the world. Opening and closing are engine powered. For the operation of the inner spaces, the windows are fixed in the position of 60% of its opening. Other op-tions are automatic opening with motion-detecting sensors, or they can be opened by the bar staff. The fourteen vaults on the Hořejší Embankment have steel sculptural entrances carved into the jamb in such a way that they connect the vault with the riverfront area in the entire space when opened. In the vaults with public toilets, the entrance wings follow a smooth arc into the interior membrane separating the cabins from the public area.
#CZECH , #riverfront , #event , #exhibition , #lighting , #promenade , #open_air, #public_space , #urban
@revitalization
#CZECH , #riverfront , #event , #exhibition , #lighting , #promenade , #open_air, #public_space , #urban
@revitalization
NO.155
Ryoutei Matsuko + Matsuko Fast Food / Tsutsumi and Associates
RESTAURANT, INTERIORS ARCHITECTURE
•
HANGZHOU, CHINA
Space name: "Ri Ting Song Zi" Japanese Restaurant
Space type: dining space, Japanese restaurant, restaurant renovation
• Interior Designers: Tsutsumi & Associates
• Area: 260 m²
• Year: 2020
• Interiors Designers:Tsutsumi and Associates (Yoshimasa Tsutsumi, Xiuxiu Hong, Shuaipeng Luo, Yaojun Peng, Silang Zhang)
• Lighting Design:Ljus Design (Makiko Ishioka)
• Facility Planning:Beijing Dongzhouji Technical Consultation (Hoshiaki Ishikawa, Katsunori Takebayashi, Ryuji Yamazaki)
• Construction:Hangzhou Fengyuan Zhuangshi Sheji Gongcheng Youxian Gongsi
Main space materials: double-layer wooden grille, rattan weave, hemp slate, taikoo, tex-ture coating
Ryoutei Matsuko
3 stories old house on the Xihu lakeside was renovated to 2 types of Japanese Restaurant. We planned traditional Japanese restaurant on the second and third floor which has calm atmosphere.
The entrance of restaurant is planned on the second floor where it has low ceiling height, so it is very important to design the walls as eye-catching ones. For the entrance wall, we disassembled the traditional ASANOHA pattern to two different geometric layers, one layer has diamond pattern and the another has the equilateral triangle pattern. In front of the wall we can recognize it as ASANOHA, but it gradually shifts toward the periphery. On the shoe box panels, they were carved by Japanese traditional technique called as NAGURI, and it had the beautiful shaded expression,
On half of the second floor, there planned private rooms in which the both side of partition was put by washi paper called as TAIKO-BARI. On the other half of the second-floor, there planned dining hall in which the double ASANOHA pattern on the back wall of the tables. At the openings, to keep the daylight and block the realistic scenery of the outside, also feel the greens on the balconies, we used the bottom opened washi partition called as YUKIMI-SHOJI.
On the third floor, there planned VIP rooms of calm atmosphere. For using enough height of attic, we expanded the set of staggered shelves called as CHIGAI-DANA up to the ceiling, and put the indirect lighting on them. This technique is reference of KASUMI-DANA at SHUGAKUIN imperial villa in Kyoto.
Matsuko Fast Food
Many tourists are usually walking around there, so that on the first floor we planned the fast food style which provides low price and keeps high rotation.
Because on the first floor of this old house its ceiling height is very low, so we can’t change the height too much. Also due to satisfy the requested programs, the shape of the space is very irregular so that it’s difficult to attract the tourist around there. Then we referred to “HUNAZOKO” ceiling that means bottom of the ship, which is usually used in the traditional Japanese house. The center line of the ceiling being raised up only a little, we can feel the extent of the space even if it’s very low ceiling height. In addition, using wide wooden colored ceiling panel alternately up and down, the tops of ceiling were connected from entrance to back of the space drawing a curve. On the wall where ceiling panels end, they directly fall down with keeping its strip design.
In Japan, the narrow and long room is called as “eel’s bed room”. Later this restaurant started to provide eel food, so this space design like a “eel’s bed room” matched with the provided food unexpectedly.
#China , #restaurant , #fast_food , #house , #interior_design , #lighting , #Japan
@revitalization
Ryoutei Matsuko + Matsuko Fast Food / Tsutsumi and Associates
RESTAURANT, INTERIORS ARCHITECTURE
•
HANGZHOU, CHINA
Space name: "Ri Ting Song Zi" Japanese Restaurant
Space type: dining space, Japanese restaurant, restaurant renovation
• Interior Designers: Tsutsumi & Associates
• Area: 260 m²
• Year: 2020
• Interiors Designers:Tsutsumi and Associates (Yoshimasa Tsutsumi, Xiuxiu Hong, Shuaipeng Luo, Yaojun Peng, Silang Zhang)
• Lighting Design:Ljus Design (Makiko Ishioka)
• Facility Planning:Beijing Dongzhouji Technical Consultation (Hoshiaki Ishikawa, Katsunori Takebayashi, Ryuji Yamazaki)
• Construction:Hangzhou Fengyuan Zhuangshi Sheji Gongcheng Youxian Gongsi
Main space materials: double-layer wooden grille, rattan weave, hemp slate, taikoo, tex-ture coating
Ryoutei Matsuko
3 stories old house on the Xihu lakeside was renovated to 2 types of Japanese Restaurant. We planned traditional Japanese restaurant on the second and third floor which has calm atmosphere.
The entrance of restaurant is planned on the second floor where it has low ceiling height, so it is very important to design the walls as eye-catching ones. For the entrance wall, we disassembled the traditional ASANOHA pattern to two different geometric layers, one layer has diamond pattern and the another has the equilateral triangle pattern. In front of the wall we can recognize it as ASANOHA, but it gradually shifts toward the periphery. On the shoe box panels, they were carved by Japanese traditional technique called as NAGURI, and it had the beautiful shaded expression,
On half of the second floor, there planned private rooms in which the both side of partition was put by washi paper called as TAIKO-BARI. On the other half of the second-floor, there planned dining hall in which the double ASANOHA pattern on the back wall of the tables. At the openings, to keep the daylight and block the realistic scenery of the outside, also feel the greens on the balconies, we used the bottom opened washi partition called as YUKIMI-SHOJI.
On the third floor, there planned VIP rooms of calm atmosphere. For using enough height of attic, we expanded the set of staggered shelves called as CHIGAI-DANA up to the ceiling, and put the indirect lighting on them. This technique is reference of KASUMI-DANA at SHUGAKUIN imperial villa in Kyoto.
Matsuko Fast Food
Many tourists are usually walking around there, so that on the first floor we planned the fast food style which provides low price and keeps high rotation.
Because on the first floor of this old house its ceiling height is very low, so we can’t change the height too much. Also due to satisfy the requested programs, the shape of the space is very irregular so that it’s difficult to attract the tourist around there. Then we referred to “HUNAZOKO” ceiling that means bottom of the ship, which is usually used in the traditional Japanese house. The center line of the ceiling being raised up only a little, we can feel the extent of the space even if it’s very low ceiling height. In addition, using wide wooden colored ceiling panel alternately up and down, the tops of ceiling were connected from entrance to back of the space drawing a curve. On the wall where ceiling panels end, they directly fall down with keeping its strip design.
In Japan, the narrow and long room is called as “eel’s bed room”. Later this restaurant started to provide eel food, so this space design like a “eel’s bed room” matched with the provided food unexpectedly.
#China , #restaurant , #fast_food , #house , #interior_design , #lighting , #Japan
@revitalization
the "near / nabij" zone as the mediator between city and library
The rooms on the ground floor constitute the ‘near’ zone, including the en-trance hall, the café (and newspaper reading room) and the cyber zone. The courtyard serves as a terrace and a multipurpose 'outdoor room'. With its various entrances, openings and public functions’, the ground floor opens the building to the city.
the church as ‘agora’
The church remains empty and will serve as the 'agora'. Using minimal means we will make the space suitable for a variety of uses, such as markets, exhibitions and performances.
the "deep" zone on the first floor
The premises of the former monastic library are located on the first floor in the inner ring. These rooms, with their beautiful vaulted ceilings, their digni-fied proportions and their soft light, are ideally suited for use as a classic study library. The spaces around it in the outer ring serve as office spaces and classrooms that are both multifunctional and interchangeable.
the "centre" zone in the attic
In contrast to the other rooms of the monastery, the impressive attic is free of religious meaning and history. With its monumental wooden structure, the attic is a room full of stories and associations, and in our view the ideal place for a general library for children and adults. For additional natural light and better views of the city, we added several dormer windows and skylights.
To preserve the character of the attic as an open, very high space, the main collection is concentrated in a two-level 'bookcase' with gallery and special reading areas ("studioli") in the area of the inner ring. The rest of the attic is furnished with low shelves, tables and benches.
In the new library the impressive timber structure of both the attic and the first floor, with all its origi-nal beams and planks, remains visible. To ensure the safety of the space we reinforced the existing structure from above with an additional steel structure that is largely invisible after completion of the work, concealed in the floor as well as the new roof. It supports the renewed slate roof, relieving load stress in the original timber structure. The space between the existing boards and the new slate roof is filled with insulation material. The attic space thus provides the comfort of a, well-conditioned room while retaining its original character.
a library for the future
In recent years the character and significance of public libraries have been rapidly evolving. We are aware that the role of printed media, books and other sources of information will be different in the future. However, we be-lieve that libraries, as public living rooms and collective working environ-ments, can continue to play a vital role in the public life of our cities.
The building owes its charm to the timeless power of the former monas-tery. Due to its impressive interior the new library has the potential to be-come an important social venue in Mechelen and a lasting attraction. In the years to come the Predikherenkloooster will become, as the mayor put it, "a literary wellness centre".
We think that many of the spatial and functional qualities of these spaces do not necessarily depend on the presence of physical books — the powerful in-terior can easily be adapted to future needs. We made an exception only for the former monastic library on the first floor, where we would like the interi-or lined with books to remain: after two centuries without books, this space is finally set to become the heart of a library once more.
#Belgium , #library , #church , #monastery , #lighting , #interior_design , #wood , #painting
@revitalization
The rooms on the ground floor constitute the ‘near’ zone, including the en-trance hall, the café (and newspaper reading room) and the cyber zone. The courtyard serves as a terrace and a multipurpose 'outdoor room'. With its various entrances, openings and public functions’, the ground floor opens the building to the city.
the church as ‘agora’
The church remains empty and will serve as the 'agora'. Using minimal means we will make the space suitable for a variety of uses, such as markets, exhibitions and performances.
the "deep" zone on the first floor
The premises of the former monastic library are located on the first floor in the inner ring. These rooms, with their beautiful vaulted ceilings, their digni-fied proportions and their soft light, are ideally suited for use as a classic study library. The spaces around it in the outer ring serve as office spaces and classrooms that are both multifunctional and interchangeable.
the "centre" zone in the attic
In contrast to the other rooms of the monastery, the impressive attic is free of religious meaning and history. With its monumental wooden structure, the attic is a room full of stories and associations, and in our view the ideal place for a general library for children and adults. For additional natural light and better views of the city, we added several dormer windows and skylights.
To preserve the character of the attic as an open, very high space, the main collection is concentrated in a two-level 'bookcase' with gallery and special reading areas ("studioli") in the area of the inner ring. The rest of the attic is furnished with low shelves, tables and benches.
In the new library the impressive timber structure of both the attic and the first floor, with all its origi-nal beams and planks, remains visible. To ensure the safety of the space we reinforced the existing structure from above with an additional steel structure that is largely invisible after completion of the work, concealed in the floor as well as the new roof. It supports the renewed slate roof, relieving load stress in the original timber structure. The space between the existing boards and the new slate roof is filled with insulation material. The attic space thus provides the comfort of a, well-conditioned room while retaining its original character.
a library for the future
In recent years the character and significance of public libraries have been rapidly evolving. We are aware that the role of printed media, books and other sources of information will be different in the future. However, we be-lieve that libraries, as public living rooms and collective working environ-ments, can continue to play a vital role in the public life of our cities.
The building owes its charm to the timeless power of the former monas-tery. Due to its impressive interior the new library has the potential to be-come an important social venue in Mechelen and a lasting attraction. In the years to come the Predikherenkloooster will become, as the mayor put it, "a literary wellness centre".
We think that many of the spatial and functional qualities of these spaces do not necessarily depend on the presence of physical books — the powerful in-terior can easily be adapted to future needs. We made an exception only for the former monastic library on the first floor, where we would like the interi-or lined with books to remain: after two centuries without books, this space is finally set to become the heart of a library once more.
#Belgium , #library , #church , #monastery , #lighting , #interior_design , #wood , #painting
@revitalization
NO.159
House Inside a Ruin / ORA
HOUSES
•
JEVÍČKO, CZECH REPUBLIC
• Architects: ORA
• Area: 249 m²
• Year: 2020
• Manufacturers: Grohe, HELUZ, Hisbalit, Laufen, Berker, Gelco, Marrakesh Cement Tiles, TON
• Design Team:Jan Hora, Barbora Hora, Jan Veisser, Tomáš Pospíšil
• Clients:Sýpka Arnoštov
• Landscape:Štěpánka Černá
ORA reconverts a 17th century rural building, maintaining the brick shell but completely transforming its interiors.
Nestled in the countryside of Jevíčko, Czech Republic, is a 17th century brick granary with a characteristic pitched roof. Seen from afar, the struc-ture looks decadent, but as you get closer you begin to notice the details of the renovation carried out by the studio ORA: new and larger openings, marked by metal lintels or a concrete frame, which connects the living room with the garden. Otherwise the outer shell has been preserved in its natural state, because even a restoration would have undermined its romantic character.
Entering the building you immediately notice the contrast with the outside: the interiors have been completely reorganized and are now very spacious, bright, refined and contemporary. The double-height living area is the ful-crum around which the new life of the structure revolves, which has been converted into a reception area with five bedrooms. The wood of the ceiling, the doors and the new partitions help to give shape to a modern but wel-coming space, reinterpreting rural well-being and comfort.
----
Text description provided by the architects. We were approached to reconstruct a fascinating build-ing. We found a house that suffered significant damage, a former homestead rebuilt under the com-munist regime into a granary. The house was looted and reorganised for another purpose. During the first site visit, we analysed its joints, niches, and protrusions, discovering the original forms. Despite its previous inconsiderate rebuilding, the house has not lost any of its grandeur. On the contrary, the way it is situated, the way it rises to the sky, and the way its raw matter resists time, have proven to be of the highest quality.
It was ruin to the bone. All that was left of the original house was a brick envelope with a roof. To-gether with the building owners, we asked ourselves whether the house had a place to return to. Any attempt at a traditional repair would mean losing the original character of the ruin. Relatively soon, therefore, we rejected a speculative reconstruction of the original state, as well as any other imita-tions. We proposed to fix the current state of the romantic ruins and enter the house anew. House to house, house inside a ruin.
#CZECH_REPUBLIC , #house , #lighting , #interior_design , #wood
@revitalization
House Inside a Ruin / ORA
HOUSES
•
JEVÍČKO, CZECH REPUBLIC
• Architects: ORA
• Area: 249 m²
• Year: 2020
• Manufacturers: Grohe, HELUZ, Hisbalit, Laufen, Berker, Gelco, Marrakesh Cement Tiles, TON
• Design Team:Jan Hora, Barbora Hora, Jan Veisser, Tomáš Pospíšil
• Clients:Sýpka Arnoštov
• Landscape:Štěpánka Černá
ORA reconverts a 17th century rural building, maintaining the brick shell but completely transforming its interiors.
Nestled in the countryside of Jevíčko, Czech Republic, is a 17th century brick granary with a characteristic pitched roof. Seen from afar, the struc-ture looks decadent, but as you get closer you begin to notice the details of the renovation carried out by the studio ORA: new and larger openings, marked by metal lintels or a concrete frame, which connects the living room with the garden. Otherwise the outer shell has been preserved in its natural state, because even a restoration would have undermined its romantic character.
Entering the building you immediately notice the contrast with the outside: the interiors have been completely reorganized and are now very spacious, bright, refined and contemporary. The double-height living area is the ful-crum around which the new life of the structure revolves, which has been converted into a reception area with five bedrooms. The wood of the ceiling, the doors and the new partitions help to give shape to a modern but wel-coming space, reinterpreting rural well-being and comfort.
----
Text description provided by the architects. We were approached to reconstruct a fascinating build-ing. We found a house that suffered significant damage, a former homestead rebuilt under the com-munist regime into a granary. The house was looted and reorganised for another purpose. During the first site visit, we analysed its joints, niches, and protrusions, discovering the original forms. Despite its previous inconsiderate rebuilding, the house has not lost any of its grandeur. On the contrary, the way it is situated, the way it rises to the sky, and the way its raw matter resists time, have proven to be of the highest quality.
It was ruin to the bone. All that was left of the original house was a brick envelope with a roof. To-gether with the building owners, we asked ourselves whether the house had a place to return to. Any attempt at a traditional repair would mean losing the original character of the ruin. Relatively soon, therefore, we rejected a speculative reconstruction of the original state, as well as any other imita-tions. We proposed to fix the current state of the romantic ruins and enter the house anew. House to house, house inside a ruin.
#CZECH_REPUBLIC , #house , #lighting , #interior_design , #wood
@revitalization
-------
A special challenge with the task has been that ancient monuments have been found on the building site that give a story about Denmark's history through a thousand years. Most visible is a protected brick ruin of the canons' monastery from the 12th century, which is integrated into an exhibition space to convey the site's many cultural-historical layers.
The building consists of a single, elongated volume with a saddle roof that stands on pillars above the protected archaeological finds. The length of the building is along the square with a scale and roof slope that follows the neighboring buildings on the square. The archetypal building form has a sculptural skew to the south, to create more light and air towards the neighboring buildings in the courtyard.
To the south is an intimate courtyard, bounded by a wall that frames the street spaces along Sønderportsgade and Rykind.
The upper part of the building is clad with specially developed brick shells in reddish-brown hues, related to the town and the area's typical, brick houses, but by virtue of the larger format of the shells in a contemporary interpretation. The lower part has glass facades, which protect the ruin and at the same time expose the unique finds.
#Denmark, #cathedrale, #square, #fire , #ruin , #public_space , #office , #lighting
@revitalization
A special challenge with the task has been that ancient monuments have been found on the building site that give a story about Denmark's history through a thousand years. Most visible is a protected brick ruin of the canons' monastery from the 12th century, which is integrated into an exhibition space to convey the site's many cultural-historical layers.
The building consists of a single, elongated volume with a saddle roof that stands on pillars above the protected archaeological finds. The length of the building is along the square with a scale and roof slope that follows the neighboring buildings on the square. The archetypal building form has a sculptural skew to the south, to create more light and air towards the neighboring buildings in the courtyard.
To the south is an intimate courtyard, bounded by a wall that frames the street spaces along Sønderportsgade and Rykind.
The upper part of the building is clad with specially developed brick shells in reddish-brown hues, related to the town and the area's typical, brick houses, but by virtue of the larger format of the shells in a contemporary interpretation. The lower part has glass facades, which protect the ruin and at the same time expose the unique finds.
#Denmark, #cathedrale, #square, #fire , #ruin , #public_space , #office , #lighting
@revitalization
NO.162
RENOVATION OF NOTRE DAME SQUARE/ LETELLIER ARCHITECTES
Villefranche-de-Rougergue, France
• Architects: LETELLIER ARCHITECTES
• Area: 1 500 m² SP
• Type: square renovation
Client: CONSEIL GÉNÉRAL DE L’AVEYRON
Cost: 924 000 € HT
Fontainiste : FC URBAN DESIGNER
Paysagiste : FRANÇOISE PERSOUYRE
Ratio : 1 562 €/m2
•
--Classified as a historical monument as a whole and surrounded by arcades surmounted by flamboyant Gothic or Renaissance style residences, it has hosted every Thursday morning for almost 8 centuries one of the most picturesque markets in the Southwest.
Activities of the central fountain: its water jets tell the time; and unique in France, they dance to the rhythm of the 48 carillon bells, one of the most remarkable in the region.--
From April 2 to November 31, 2013, Eurovia Rodez carried out the renovation of Place Notre-Dame in Villefranche-de-Rouergue (12), a site classified "Bâtiment de France".
This site presented technical and town planning constraints that the agency was able to face.
The particularities of this project:
• Earthworks of the existing
• Layout of the square in paving stones according to the techniques used in the Middle Ages
• Pavement structure in gravel cement
• Stormwater systems and slotted gutters in Corten steel
• Laying of 10x25x20 limestone paving stones; recovery from old streets of the city according to cal-pinage architect
• Maximum required joint 1 cm treated by mineralization (55,000 pavers cleaned and re-calibrated before laying)
• Installation of visible bronze joint following a particular pattern
• Installation of Roman bronze numeral for luminous clock
• Jet fountain (except lot)
Were also carried out in the same spirit of limestone paving, 3 lanes located under the peripheral arcades in 2010, 2011 and 2012. Thus, the whole of the place and the arcades are renovated in paving. The collegiate church is then highlighted.
#France, #church, #square, #public_space , #lighting , #fountain ,#water
@revitalization
RENOVATION OF NOTRE DAME SQUARE/ LETELLIER ARCHITECTES
Villefranche-de-Rougergue, France
• Architects: LETELLIER ARCHITECTES
• Area: 1 500 m² SP
• Type: square renovation
Client: CONSEIL GÉNÉRAL DE L’AVEYRON
Cost: 924 000 € HT
Fontainiste : FC URBAN DESIGNER
Paysagiste : FRANÇOISE PERSOUYRE
Ratio : 1 562 €/m2
•
--Classified as a historical monument as a whole and surrounded by arcades surmounted by flamboyant Gothic or Renaissance style residences, it has hosted every Thursday morning for almost 8 centuries one of the most picturesque markets in the Southwest.
Activities of the central fountain: its water jets tell the time; and unique in France, they dance to the rhythm of the 48 carillon bells, one of the most remarkable in the region.--
From April 2 to November 31, 2013, Eurovia Rodez carried out the renovation of Place Notre-Dame in Villefranche-de-Rouergue (12), a site classified "Bâtiment de France".
This site presented technical and town planning constraints that the agency was able to face.
The particularities of this project:
• Earthworks of the existing
• Layout of the square in paving stones according to the techniques used in the Middle Ages
• Pavement structure in gravel cement
• Stormwater systems and slotted gutters in Corten steel
• Laying of 10x25x20 limestone paving stones; recovery from old streets of the city according to cal-pinage architect
• Maximum required joint 1 cm treated by mineralization (55,000 pavers cleaned and re-calibrated before laying)
• Installation of visible bronze joint following a particular pattern
• Installation of Roman bronze numeral for luminous clock
• Jet fountain (except lot)
Were also carried out in the same spirit of limestone paving, 3 lanes located under the peripheral arcades in 2010, 2011 and 2012. Thus, the whole of the place and the arcades are renovated in paving. The collegiate church is then highlighted.
#France, #church, #square, #public_space , #lighting , #fountain ,#water
@revitalization
For the consolidation of the walls and the formalization of the stairs, lime concrete is used in masse to achieve the chromatic and material similarity with the existing one, and reinforced with fibers, to achieve the structural stability required for use. public of the building.
#Spain, #castle, #structure, #tower, #archeology, #ruin , #stair , #lighting
@revitalization
#Spain, #castle, #structure, #tower, #archeology, #ruin , #stair , #lighting
@revitalization
NO.168
República Rosa Boutique Hotel / nicolas&Nicolas
HOTELS
•
QUITO, ECUADOR
• Program: Boutique Hotel
• Architects: nicolas&nicolas
• Collaborators: Juan Pablo Ribadeneira
• Area: 700 m²
• Year: 2020
• Manufacturers: AutoDesk, Adobe, Almacenes Marriott, Briggs, McNeel, Pamesa
• Lead Architects:Nicolás Vivas, Nicolás López Ayoub
• Clients:Casa Anabela Hotel Boutique
Republica Rosa is a hotel in the historic center of Quito, a project that consisted in the materialization of a client's dream, which was the rehabilitation of a property that is part of the Cultural Heritage of Humanity by UNESCO and turn it into an important piece for the city and the hotel sec-tor. Its distinctive pink facade is a republican elevation fac-ing the central courtyard. The idea of giving the hotel an identity caused this facade to be carefully renovated so that the details of curves, reliefs, moldings, edges with its windows and doors are the pink monochrome internal set-ting that reflects joy and creativity.
------
Republica Rosa is a Boutique Hotel located in the colonial center of the city of Quito. Designed on a republican style patio house, there is record that this building dates from 1890 when a Spanish citizen bought the property from the Ecuadorian state. Since then, this house has undergone a process of adaptation and transformation of various uses, ex-tensions, and modifications throughout its history.
The client's requirement was to create an 11-room hotel that rescues some of the elements of the republican architecture of Quito but somehow make it “different” from the other boutique hotels with its own identity. This is how the design, on the one hand, restored some original elements of the house (adobe walls, tile roofs and wooden floors), added other new pieces (Coatings and flooring) and reinterpreted others, such as its distinctive and unusual internal façade that overlooks the central courtyard.
Throughout its history and transformations, the walls of the house had several layers of paint, dirt and stucco. When the restoration work of the internal façade began, which is undoubtedly the main element of the project, all the colors that were part of its interior design came to light. Among them a salmon tone, the same one that was selected as the main color of the new identity.
Around the internal façade is the central courtyard typical of this period, which was re-stored and designed to be the main space that houses all the social activities of the hotel. The new mosaic installed on the floor gives a modern and fresh touch the de interior. The walls surrounding the courtyard were covered with plasterboard to accommodate all the new installations without affecting the bearing adobe walls which were also restored to create exposed details of the original material of the house. The rest of the walls and ceil-ings were painted dark gray to create an opaque environment that contrasts the internal salmon-colored facade.
On the other hand, the rooms had to respond to the current need of a hotel to be flexible and able to transform its rooms according to demand. The confined spaces of this exist-ing architecture forced the creation of a flexible custom-designed furniture manufactured by local artisans, which transforms a single room into a double in a few minutes. The original wooden floors and adobe walls were restored but also a new lighting design was implemented that creates a cozy atmosphere.
Material used.
1. Flooring: Ceramic tiles, Pamesa
2. Doors: Handcrafted locally, local artisans
3. Windows: Handcrafted locally, local artisans
4. Interior lighting: Downlights, Flos
5. Interior furniture: Handcrafted locally, local artisans
#Ecuador, #hotel, #flexible, #stair, #lighting, #UNESCO, #extention, #interior_design
@revitalization
República Rosa Boutique Hotel / nicolas&Nicolas
HOTELS
•
QUITO, ECUADOR
• Program: Boutique Hotel
• Architects: nicolas&nicolas
• Collaborators: Juan Pablo Ribadeneira
• Area: 700 m²
• Year: 2020
• Manufacturers: AutoDesk, Adobe, Almacenes Marriott, Briggs, McNeel, Pamesa
• Lead Architects:Nicolás Vivas, Nicolás López Ayoub
• Clients:Casa Anabela Hotel Boutique
Republica Rosa is a hotel in the historic center of Quito, a project that consisted in the materialization of a client's dream, which was the rehabilitation of a property that is part of the Cultural Heritage of Humanity by UNESCO and turn it into an important piece for the city and the hotel sec-tor. Its distinctive pink facade is a republican elevation fac-ing the central courtyard. The idea of giving the hotel an identity caused this facade to be carefully renovated so that the details of curves, reliefs, moldings, edges with its windows and doors are the pink monochrome internal set-ting that reflects joy and creativity.
------
Republica Rosa is a Boutique Hotel located in the colonial center of the city of Quito. Designed on a republican style patio house, there is record that this building dates from 1890 when a Spanish citizen bought the property from the Ecuadorian state. Since then, this house has undergone a process of adaptation and transformation of various uses, ex-tensions, and modifications throughout its history.
The client's requirement was to create an 11-room hotel that rescues some of the elements of the republican architecture of Quito but somehow make it “different” from the other boutique hotels with its own identity. This is how the design, on the one hand, restored some original elements of the house (adobe walls, tile roofs and wooden floors), added other new pieces (Coatings and flooring) and reinterpreted others, such as its distinctive and unusual internal façade that overlooks the central courtyard.
Throughout its history and transformations, the walls of the house had several layers of paint, dirt and stucco. When the restoration work of the internal façade began, which is undoubtedly the main element of the project, all the colors that were part of its interior design came to light. Among them a salmon tone, the same one that was selected as the main color of the new identity.
Around the internal façade is the central courtyard typical of this period, which was re-stored and designed to be the main space that houses all the social activities of the hotel. The new mosaic installed on the floor gives a modern and fresh touch the de interior. The walls surrounding the courtyard were covered with plasterboard to accommodate all the new installations without affecting the bearing adobe walls which were also restored to create exposed details of the original material of the house. The rest of the walls and ceil-ings were painted dark gray to create an opaque environment that contrasts the internal salmon-colored facade.
On the other hand, the rooms had to respond to the current need of a hotel to be flexible and able to transform its rooms according to demand. The confined spaces of this exist-ing architecture forced the creation of a flexible custom-designed furniture manufactured by local artisans, which transforms a single room into a double in a few minutes. The original wooden floors and adobe walls were restored but also a new lighting design was implemented that creates a cozy atmosphere.
Material used.
1. Flooring: Ceramic tiles, Pamesa
2. Doors: Handcrafted locally, local artisans
3. Windows: Handcrafted locally, local artisans
4. Interior lighting: Downlights, Flos
5. Interior furniture: Handcrafted locally, local artisans
#Ecuador, #hotel, #flexible, #stair, #lighting, #UNESCO, #extention, #interior_design
@revitalization
NO.169
Rehabilitation of Roman Tabernae in the Trajan’s Market / Labics
INSTALLATIONS & STRUCTURES, HISTORIC PRESERVATION
•
ROMA, ITALY
Client: Municipality of Rome
Location: Imperial Forum, Rome
Program: New footpath for Trajan’s Forum & Renovation of the Roman Tabernae, Rome
Dates: 1999 - 2004
Gross floor area: 300 sqm (footpath) + 600 sqm (Tabernae)
Cost: 700,000 euro
Design: Nemesi Studio (Maria Claudia Clemente, Michele Molé)
Labics (Maria Claudia Clemente, Francesco Isidori, Marco Sardella)
Architectural team: Daniele Durante, Federico Pitzalis
Consultants: Structural engineering: Studio Ingegneri Associati - Adelio Rossi, Eng.
Services: Riccardo Fibbi arch., Carolina de Camillis arch.
Trajan’s Market is the name given in the early 20th century CE to a complex of buildings in the imperial fora of Rome constructed in 107-110 CE during the reign of Trajan. The complex included a covered market, small shop fronts and a residential apartment block.
Built between the years 100 and 110 A.D, Trajan's Market is believed to be the first covered shopping mall in history.
The projects at Mercati di Traiano is composed of two different projects: the restoration and transformation of an ancient monument in a museal space, and the realization of a pedestrian walkway through Rome’s Imperial Forum.
The restoration and preservation work involved cleaning the ancient walls and stone facades and reintegrating the floors in all tabernae. New bronze floor plates were designed with a geometrical pattern taken from the site creating a background for sevelar smaller interventions, the most significant of which was the reintegration of a portal inside the first taberna and the construction of new public restrooms, both constructed in corteen steel.
The walkway at Campo Carleo re-create an original urban route through the Forum and offers improved disabled access to the site. It links the Forum to the Rione Monti or Suburra – the ancient Roman slums. The monumental wall on which the footpath is hung up is of unique archaeological importance, and the walkway has therefore been differentiated materially, structurally and formally and conceived as an independent and contemporary element. The walkway follows the ancient wall but is detached from it. In contrast to the mass of the ruins, the lightweight walkway is designed as a folded strip which hugs the wall, establishing an intimate and subtle relationship with the monument. Made from corten steel, the footpath blends with the chromatic atmosphere of the background Roman wall, while the discreet stainless steel railing cables ensure the primacy of perspective views across the site.
#Italy, #museum, #lighting, #ruin, #extention, #corten , #bazar , #market , #archeology
@revitalization
Rehabilitation of Roman Tabernae in the Trajan’s Market / Labics
INSTALLATIONS & STRUCTURES, HISTORIC PRESERVATION
•
ROMA, ITALY
Client: Municipality of Rome
Location: Imperial Forum, Rome
Program: New footpath for Trajan’s Forum & Renovation of the Roman Tabernae, Rome
Dates: 1999 - 2004
Gross floor area: 300 sqm (footpath) + 600 sqm (Tabernae)
Cost: 700,000 euro
Design: Nemesi Studio (Maria Claudia Clemente, Michele Molé)
Labics (Maria Claudia Clemente, Francesco Isidori, Marco Sardella)
Architectural team: Daniele Durante, Federico Pitzalis
Consultants: Structural engineering: Studio Ingegneri Associati - Adelio Rossi, Eng.
Services: Riccardo Fibbi arch., Carolina de Camillis arch.
Trajan’s Market is the name given in the early 20th century CE to a complex of buildings in the imperial fora of Rome constructed in 107-110 CE during the reign of Trajan. The complex included a covered market, small shop fronts and a residential apartment block.
Built between the years 100 and 110 A.D, Trajan's Market is believed to be the first covered shopping mall in history.
The projects at Mercati di Traiano is composed of two different projects: the restoration and transformation of an ancient monument in a museal space, and the realization of a pedestrian walkway through Rome’s Imperial Forum.
The restoration and preservation work involved cleaning the ancient walls and stone facades and reintegrating the floors in all tabernae. New bronze floor plates were designed with a geometrical pattern taken from the site creating a background for sevelar smaller interventions, the most significant of which was the reintegration of a portal inside the first taberna and the construction of new public restrooms, both constructed in corteen steel.
The walkway at Campo Carleo re-create an original urban route through the Forum and offers improved disabled access to the site. It links the Forum to the Rione Monti or Suburra – the ancient Roman slums. The monumental wall on which the footpath is hung up is of unique archaeological importance, and the walkway has therefore been differentiated materially, structurally and formally and conceived as an independent and contemporary element. The walkway follows the ancient wall but is detached from it. In contrast to the mass of the ruins, the lightweight walkway is designed as a folded strip which hugs the wall, establishing an intimate and subtle relationship with the monument. Made from corten steel, the footpath blends with the chromatic atmosphere of the background Roman wall, while the discreet stainless steel railing cables ensure the primacy of perspective views across the site.
#Italy, #museum, #lighting, #ruin, #extention, #corten , #bazar , #market , #archeology
@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
Right now, the six-inch screen we're holding in our hands has completely reshaped the way we perceive the world, taking us away from concentration and contemplation with its abbreviated images, fragmented messages, and real-time communications. In this era of the bowed generation, a huge screen hanging overhead may temporarily cure contem-porary people's distraction or cervical spondylosis, recovering the tranquility and curiosi-ty of the ancients when they looking up at the starry night.
#China, #factory, #lighting, #stair, #office, #interior_design
@revitalization
#China, #factory, #lighting, #stair, #office, #interior_design
@revitalization
NO.173
Ca'n Terra House / ENSAMBLE STUDIO
• Country: Spain
• Area: 1000 m²
• Year: 2020
• Architects: ENSAMBLE STUDIO
• Manufacturers: AutoDesk, DANCOVER, Faro, PENTACERO HIERROS, PIEDRA MARES
• Lead Architects: Antón García-Abril, Debora Mesa Molina
• Design Team: Javier Cuesta, Borja Soriano, Alvaro Catalan, Massimo Loia, Marco Antrodic-chia, Sebastián Zapata, Arianna Sebastiani, Ekam Sahni, Yu-Ting Li, Joel Kim, Gonzalo Pe-ña, Barbara Doroszuk, Yvonne Asiimwe, Mónica Acosta
• Developer:Ensamble Studio
• Engineer: Urculo engineering (m/e/p)
• Waterproof Reinforced Plastic: Dancover
• Lighting: efectoLED
• Photovoltaic System: AutoSolar
Literally meaning ‘house of the earth’ in Catalan, Ca’n Terra embodies a place that, like the earth from where it is built, continually shapes and transforms in form and function.
Originally a quarry that was used as an ammunitions dump during the Spanish Civil War, the Menorca structure was reimagined by architects Antón García-Abril and Débora Mesa of Ensamble Studio as an ode to the Earth’s continually transforming space, and our role in it.
The relationship between people and the environment is evident in the balance between the natural and the livable. While retaining most of the original cavernous aesthetic, plumbing and solar-powered struc-tures are discreetly hidden among the rock walls, and skylights are strategically carved into the ceiling to allow proper natural illumination. Aside from the hammock and the metal frame, the home looks like a space that begs to be formed and molded — very much the architects’ intent.
“Our goal is to touch the space very gently, to add the necessary elements to make it inhabitable and therefore preserve it and give it new meaning and new life,” Mesa says. “It’s a project that found us. It’s something we came across; we found meaning in it, and once we saw it, it was probably the architect in us who just couldn’t ignore it.”
#Spain, #cavern, #house, #minimalism, #interior_design, #glass, #lighting
@revitalization
Ca'n Terra House / ENSAMBLE STUDIO
• Country: Spain
• Area: 1000 m²
• Year: 2020
• Architects: ENSAMBLE STUDIO
• Manufacturers: AutoDesk, DANCOVER, Faro, PENTACERO HIERROS, PIEDRA MARES
• Lead Architects: Antón García-Abril, Debora Mesa Molina
• Design Team: Javier Cuesta, Borja Soriano, Alvaro Catalan, Massimo Loia, Marco Antrodic-chia, Sebastián Zapata, Arianna Sebastiani, Ekam Sahni, Yu-Ting Li, Joel Kim, Gonzalo Pe-ña, Barbara Doroszuk, Yvonne Asiimwe, Mónica Acosta
• Developer:Ensamble Studio
• Engineer: Urculo engineering (m/e/p)
• Waterproof Reinforced Plastic: Dancover
• Lighting: efectoLED
• Photovoltaic System: AutoSolar
Literally meaning ‘house of the earth’ in Catalan, Ca’n Terra embodies a place that, like the earth from where it is built, continually shapes and transforms in form and function.
Originally a quarry that was used as an ammunitions dump during the Spanish Civil War, the Menorca structure was reimagined by architects Antón García-Abril and Débora Mesa of Ensamble Studio as an ode to the Earth’s continually transforming space, and our role in it.
The relationship between people and the environment is evident in the balance between the natural and the livable. While retaining most of the original cavernous aesthetic, plumbing and solar-powered struc-tures are discreetly hidden among the rock walls, and skylights are strategically carved into the ceiling to allow proper natural illumination. Aside from the hammock and the metal frame, the home looks like a space that begs to be formed and molded — very much the architects’ intent.
“Our goal is to touch the space very gently, to add the necessary elements to make it inhabitable and therefore preserve it and give it new meaning and new life,” Mesa says. “It’s a project that found us. It’s something we came across; we found meaning in it, and once we saw it, it was probably the architect in us who just couldn’t ignore it.”
#Spain, #cavern, #house, #minimalism, #interior_design, #glass, #lighting
@revitalization
NO.174
صرافی صدیقی / استودیو مورفَکت Morphact
نام پروژه:صرافی صدیقی
آدرس: شیراز- خیابان زند – ابتدای خیابان سعدی
نام شرکت مشاور و یا دفتر معماری: مورفَکت (Morphact)
معمارمسئول: محمد فرجام
تاریخ شروع و اتمام طراحی: اسفند ۱۳۹۶-اردیبهشت۱۳۹۷
تاریخ شروع و اتمام اجرا: اردیبهشت ۱۳۹۷-بهمن ۱۳۹۸
مساحت طبقه همکف: ۳۲ متر مربع – ۱۳ متر مربع بالکن
مساحت کل ساخته شده:۴۵ متر مربع
نوع ساختمان: تجاری
شرکت سازنده/ اجرا : مورفَکت (Morphact)
مدیر اجرایی پروژه: محمد فرجام
طراح سه بعدی: محمد فرجام
گرافیست: سعید قاسمی – کیانا بابایی
متریال های اصلی: آجر – چوب
کارفرما:طیب صدیقی
این بنا در دورهی اول پهلوی و با استفاده از معماری اصیل ایرانی و الگوهای رایج در سال ۱۳۱۰ ساخته شده است که در سال ۱۳۸۲ در فهرست آثار ملی ایران به ثبت رسیده است. در طراحی این پروژه در مرحله نخست، قدمت بنا و تاریخی بودن آن مورد اهمیت قرار گرفت و به این گونه با نگه داشتن اصالت بنا مرمت در اولویت قرار گرفت.
در مرحله بعد طراحی نسبت به نیازهای موجود در فضا و دسترسیها نسبت به کاربری فضا که فوقالعاده امنیتی میبود در نظر گرفته شد. دیوارههای فلزی و بتنی در پوسته بنا برای ایجاد امنیت فضا بدون هیچ آسیبی به بنا به وجود آمد.
روند طراحی:
حل دسترسی ها و دیاگرام فضایی و مشخص کردن ابعاد و اندازه نسبت به کاربری هر فضا به اینگونه شکل گرفت.
1. تعریف ورودی
2. فضای انتظار
3. فضای پیشخوان
4. دسترسی به طبقات
5. اتاق کنترل و خزانه
6. مدیریت
اضافه کردن فضاهایی به صورت الحاقی با استفاده از معماری وضع موجود؛ در نیم طبقه بالا نسبت به معماری آن بنا و در نظر گرفتن متریالهای موجود فضای سرویس بهداشتی ایجاد گردید.
طراحی و ایده پردازی با استفاده از قوسها و چیدمان آجرها به صورتی که بتوانیم فضا را دوباره احیا کنیم شروع شد. شکل گرفتن فرم و حجم هر فضا نسبت به کاربری و ایده پردازی اولیه در طراحی پروژه صورت گرفت. ایدهپردازی به این گونه شکل گرفت که چیدمان آجر از یک پارامتر پیروی میکند و در طراحی پیشخوان از این پارامتر استفاده شد. فرم این پیشخوان در قالب یک حجم پارامتریک طراحی شد.
#Iran, #exchange, #shop, #interior_design, #lighting, #صرافی #شیراز
@revitalization
صرافی صدیقی / استودیو مورفَکت Morphact
نام پروژه:صرافی صدیقی
آدرس: شیراز- خیابان زند – ابتدای خیابان سعدی
نام شرکت مشاور و یا دفتر معماری: مورفَکت (Morphact)
معمارمسئول: محمد فرجام
تاریخ شروع و اتمام طراحی: اسفند ۱۳۹۶-اردیبهشت۱۳۹۷
تاریخ شروع و اتمام اجرا: اردیبهشت ۱۳۹۷-بهمن ۱۳۹۸
مساحت طبقه همکف: ۳۲ متر مربع – ۱۳ متر مربع بالکن
مساحت کل ساخته شده:۴۵ متر مربع
نوع ساختمان: تجاری
شرکت سازنده/ اجرا : مورفَکت (Morphact)
مدیر اجرایی پروژه: محمد فرجام
طراح سه بعدی: محمد فرجام
گرافیست: سعید قاسمی – کیانا بابایی
متریال های اصلی: آجر – چوب
کارفرما:طیب صدیقی
این بنا در دورهی اول پهلوی و با استفاده از معماری اصیل ایرانی و الگوهای رایج در سال ۱۳۱۰ ساخته شده است که در سال ۱۳۸۲ در فهرست آثار ملی ایران به ثبت رسیده است. در طراحی این پروژه در مرحله نخست، قدمت بنا و تاریخی بودن آن مورد اهمیت قرار گرفت و به این گونه با نگه داشتن اصالت بنا مرمت در اولویت قرار گرفت.
در مرحله بعد طراحی نسبت به نیازهای موجود در فضا و دسترسیها نسبت به کاربری فضا که فوقالعاده امنیتی میبود در نظر گرفته شد. دیوارههای فلزی و بتنی در پوسته بنا برای ایجاد امنیت فضا بدون هیچ آسیبی به بنا به وجود آمد.
روند طراحی:
حل دسترسی ها و دیاگرام فضایی و مشخص کردن ابعاد و اندازه نسبت به کاربری هر فضا به اینگونه شکل گرفت.
1. تعریف ورودی
2. فضای انتظار
3. فضای پیشخوان
4. دسترسی به طبقات
5. اتاق کنترل و خزانه
6. مدیریت
اضافه کردن فضاهایی به صورت الحاقی با استفاده از معماری وضع موجود؛ در نیم طبقه بالا نسبت به معماری آن بنا و در نظر گرفتن متریالهای موجود فضای سرویس بهداشتی ایجاد گردید.
طراحی و ایده پردازی با استفاده از قوسها و چیدمان آجرها به صورتی که بتوانیم فضا را دوباره احیا کنیم شروع شد. شکل گرفتن فرم و حجم هر فضا نسبت به کاربری و ایده پردازی اولیه در طراحی پروژه صورت گرفت. ایدهپردازی به این گونه شکل گرفت که چیدمان آجر از یک پارامتر پیروی میکند و در طراحی پیشخوان از این پارامتر استفاده شد. فرم این پیشخوان در قالب یک حجم پارامتریک طراحی شد.
#Iran, #exchange, #shop, #interior_design, #lighting, #صرافی #شیراز
@revitalization
NO.175
New Gallery and Casemates / Bevk Perović arhitekti
NEUE GALERIE UND KASEMATTEN
WIENER NEUSTADT, AUSTRIA
• Architects: Bevk Perović arhitekti
• Area: 2900 m²
• Year: 2019
• Design Team: Matija Bevk, Vasa J. Perović, Johannes Paar, Christophe Riss, Mitja Usenik, Blaz Goričan Irene Salord Vila, Maša Kovač Šmajdek, Juan Miguel Hererro, Vid Tancer, Andrej Ukmar
• Engineering : Fröhlich & Locher und Partner
• Client: City of Wiener Neustadt
• typology: museum, gallery, cultural, education
• competition: held in 2016
competition entry, 1st prize
The fortification , which is unique in terms of architectural history, dates back to the 12th century and was extensively renovated in 2019. What once served as protection against attackers has been shining in the most modern event dress since the state exhibition in 2019.
Highly praised in the international trade media, the winning project by the architec-tural office Bevk Perovic from Ljubljana shows how to skillfully transform old sub-stance with modern elements into a contemporary design.
The completely newly adapted event location offers space for up to 900 people on over 4000 m2 of event space in three event areas.
The historical casemates consist of three parallel, interconnected, vaulted halls, which were restored as part of the revitalization. These rooms offer the perfect setting for concerts, conferences, lectures and seminars.
The new bastion scores with clear lines, daylight and direct access to the out-side. With a catering kitchen and corresponding delivery driveways as well as goods lifts, storage and ancillary rooms, the casemates meet all the infrastructural requirements for professional events of all kinds.
These two areas are connected by the Strada Coperta, an extensive system of corridors that offers the perfect setting for receptions, small concerts and exhibi-tions.
The immediate vicinity of the “Hilton Garden Inn” hotel means that the conference guests can reach the casemates on foot as well as 4-star accommoda-tion. Seminar rooms in the hotel complete the offer around the casemates.
The Kasematten Wiener Neustadt are located in the middle of the city park, just a few minutes' walk from the train station. All of the city's sights, such as the There-sian Military Academy or the St. Peter an der Sperr Museum, can be reached within a 5-10 minute walk and thus offer a wonderful opportunity for supporting programs at events in the casemates.
#Austria, #fortification, #gallery, #cultural_center, #interior_design, #lighting, #prize
@revitalization
New Gallery and Casemates / Bevk Perović arhitekti
NEUE GALERIE UND KASEMATTEN
WIENER NEUSTADT, AUSTRIA
• Architects: Bevk Perović arhitekti
• Area: 2900 m²
• Year: 2019
• Design Team: Matija Bevk, Vasa J. Perović, Johannes Paar, Christophe Riss, Mitja Usenik, Blaz Goričan Irene Salord Vila, Maša Kovač Šmajdek, Juan Miguel Hererro, Vid Tancer, Andrej Ukmar
• Engineering : Fröhlich & Locher und Partner
• Client: City of Wiener Neustadt
• typology: museum, gallery, cultural, education
• competition: held in 2016
competition entry, 1st prize
The fortification , which is unique in terms of architectural history, dates back to the 12th century and was extensively renovated in 2019. What once served as protection against attackers has been shining in the most modern event dress since the state exhibition in 2019.
Highly praised in the international trade media, the winning project by the architec-tural office Bevk Perovic from Ljubljana shows how to skillfully transform old sub-stance with modern elements into a contemporary design.
The completely newly adapted event location offers space for up to 900 people on over 4000 m2 of event space in three event areas.
The historical casemates consist of three parallel, interconnected, vaulted halls, which were restored as part of the revitalization. These rooms offer the perfect setting for concerts, conferences, lectures and seminars.
The new bastion scores with clear lines, daylight and direct access to the out-side. With a catering kitchen and corresponding delivery driveways as well as goods lifts, storage and ancillary rooms, the casemates meet all the infrastructural requirements for professional events of all kinds.
These two areas are connected by the Strada Coperta, an extensive system of corridors that offers the perfect setting for receptions, small concerts and exhibi-tions.
The immediate vicinity of the “Hilton Garden Inn” hotel means that the conference guests can reach the casemates on foot as well as 4-star accommoda-tion. Seminar rooms in the hotel complete the offer around the casemates.
The Kasematten Wiener Neustadt are located in the middle of the city park, just a few minutes' walk from the train station. All of the city's sights, such as the There-sian Military Academy or the St. Peter an der Sperr Museum, can be reached within a 5-10 minute walk and thus offer a wonderful opportunity for supporting programs at events in the casemates.
#Austria, #fortification, #gallery, #cultural_center, #interior_design, #lighting, #prize
@revitalization
NO.176
Battersea Arts Centre / Haworth Tompkins
VISUAL ARTS CENTER, ADAPTIVE REUSE
•
LONDON, UNITED KINGDOM
• Architects: Haworth Tompkins
• Area: 3800 m²
• Year: 2018
• Manufacturers: Domus Tiles, Hakwood, Triple E, Yannedis, Modular Clay Products
• Lead Architects: Steve Tompkins, Martin Lydon, Imogen Long
• Contractor: 8Build, Gilbert-Ash
• Acoustic Engineer: Gillieron Scott Acoustic Design, SoundSpace Design
• Structural Engineers: Price & Myers, Heyne Tillett Steel
• Services Engineers: Skelly & Couch, XCO2
• Theatre Consultant:Charcoalblue, Theatreplan
• Quantity Surveyor:Bristow Johnson
• Signage:Jake Tilson
• Light Fittings:Haworth Tompkins, Rob McIntyre
the rebirth of a town hall for community and theatre use
Battersea Town Hall is a handsome, beautifully made civic building in south west London, designed by E. W. Mountford in 1893 and Grade II* listed both for its architectural significance and for its important po-litical role in the birth of the suffragette and labour movements in the early twentieth century. Since 1974 it has been home to the arts centre that is regarded as one of the most important incubators of new perfor-mance work in the UK.
Haworth Tompkins have been working alongside the Battersea Arts Centre team, the local community and theatre artists for over a decade on a series of ongoing, experimental, phased projects that are gradually transforming the entire building into a powerhouse of creative commu-nal activity and an explicit record of the buildings vivid history.
Drawing on the existing richness of the building and patterns of use by artists, a number of improvised, non-invasive alterations were made alongside specific productions - such as Punchdrunk’s Masque of the Red Death - to test strategies for change and to evolve a playful but rig-orous architectural language.
Following a period of experimentation, a brief for more permanent work was developed. These projects include the creation of a new pub-lic outdoor courtyard performance space by selectively stripping back and patching in a disused light well, and the conversion of unused attics and rooftops for the organisation’s offices and garden.
Cumulatively, these interventions have resulted in the reconfiguration of the entire interior to allow the possibility of multiple, interconnected performance, heritage and community uses, equipping the organisation for the next phase of its life.
In the context of this narrative approach, the rebuilding of the build-ing’s Grand Hall after the shocking fire that partially destroyed it in 2015 was able to be assimilated into the project as another, albeit highly significant, moment of evolution and change.
Haworth Tompkins took the former decorative plaster vault as a starting point for a new, timber grid ceiling, allowing far greater theatrical pos-sibility and a much clearer acoustic. The surface of the walls of the hall and its surrounding corridors have been preserved in their extraordi-nary, almost Pompeiian post-fire richness and complexity.
A creative relationship of this duration allows both ‘client’ and ‘archi-tect’ to evaluate the ways in which the collaboration has informed their respective wider practices. As the project has unfolded over the last 12 years, so BACs mission has evolved from a purely theatrical undertak-ing to become a far more wide ranging social project with access and inclusivity at its core.
Equally, as architects our theatre work has increasingly been directed towards establishing a ‘cultural commons’ in which buildings for thea-tre can be seen less as individual entities, competing for a market share of an established theatre audience, and more as a diverse, conglomerate civic space that is available - and meaningful - to the whole community.
.
#UK, #hall, #gallery, #cultural_center, #interior_design, #lighting, #fire
@revitalization
Battersea Arts Centre / Haworth Tompkins
VISUAL ARTS CENTER, ADAPTIVE REUSE
•
LONDON, UNITED KINGDOM
• Architects: Haworth Tompkins
• Area: 3800 m²
• Year: 2018
• Manufacturers: Domus Tiles, Hakwood, Triple E, Yannedis, Modular Clay Products
• Lead Architects: Steve Tompkins, Martin Lydon, Imogen Long
• Contractor: 8Build, Gilbert-Ash
• Acoustic Engineer: Gillieron Scott Acoustic Design, SoundSpace Design
• Structural Engineers: Price & Myers, Heyne Tillett Steel
• Services Engineers: Skelly & Couch, XCO2
• Theatre Consultant:Charcoalblue, Theatreplan
• Quantity Surveyor:Bristow Johnson
• Signage:Jake Tilson
• Light Fittings:Haworth Tompkins, Rob McIntyre
the rebirth of a town hall for community and theatre use
Battersea Town Hall is a handsome, beautifully made civic building in south west London, designed by E. W. Mountford in 1893 and Grade II* listed both for its architectural significance and for its important po-litical role in the birth of the suffragette and labour movements in the early twentieth century. Since 1974 it has been home to the arts centre that is regarded as one of the most important incubators of new perfor-mance work in the UK.
Haworth Tompkins have been working alongside the Battersea Arts Centre team, the local community and theatre artists for over a decade on a series of ongoing, experimental, phased projects that are gradually transforming the entire building into a powerhouse of creative commu-nal activity and an explicit record of the buildings vivid history.
Drawing on the existing richness of the building and patterns of use by artists, a number of improvised, non-invasive alterations were made alongside specific productions - such as Punchdrunk’s Masque of the Red Death - to test strategies for change and to evolve a playful but rig-orous architectural language.
Following a period of experimentation, a brief for more permanent work was developed. These projects include the creation of a new pub-lic outdoor courtyard performance space by selectively stripping back and patching in a disused light well, and the conversion of unused attics and rooftops for the organisation’s offices and garden.
Cumulatively, these interventions have resulted in the reconfiguration of the entire interior to allow the possibility of multiple, interconnected performance, heritage and community uses, equipping the organisation for the next phase of its life.
In the context of this narrative approach, the rebuilding of the build-ing’s Grand Hall after the shocking fire that partially destroyed it in 2015 was able to be assimilated into the project as another, albeit highly significant, moment of evolution and change.
Haworth Tompkins took the former decorative plaster vault as a starting point for a new, timber grid ceiling, allowing far greater theatrical pos-sibility and a much clearer acoustic. The surface of the walls of the hall and its surrounding corridors have been preserved in their extraordi-nary, almost Pompeiian post-fire richness and complexity.
A creative relationship of this duration allows both ‘client’ and ‘archi-tect’ to evaluate the ways in which the collaboration has informed their respective wider practices. As the project has unfolded over the last 12 years, so BACs mission has evolved from a purely theatrical undertak-ing to become a far more wide ranging social project with access and inclusivity at its core.
Equally, as architects our theatre work has increasingly been directed towards establishing a ‘cultural commons’ in which buildings for thea-tre can be seen less as individual entities, competing for a market share of an established theatre audience, and more as a diverse, conglomerate civic space that is available - and meaningful - to the whole community.
.
#UK, #hall, #gallery, #cultural_center, #interior_design, #lighting, #fire
@revitalization
HIGHLIGHTS
• Electrical conduits were hidden in channels carved out of the existing plaster walls to vis-ually preserve the historic character of the building.
• Careful planning and coordination of the mechanical and electrical spaces minimized vis-ual impact to the occupied spaces.
• Exhibit thermal sensors were integrated with the central campus BAS to enable monitoring and automated alerts.
SERVICES
This adaptive reuse and renovation project turned a classroom into a flexible meeting room and gallery space. 2RW’s services included MEP design for:
• An energy-efficient HVAC system that ties in to campus utilities and features variable air volume (VAV) controls and demand control ventilation (DCV) strategies
• Micro-environment controls with humidity and temperature sensors within the sealed ex-hibit panels
• Museum-quality exhibit lighting
• Lighting controls integrated into the building automation system
• Audio visual, telecommunications, and security system conduits
RESULTS
The new HVAC systems and lighting meet 21st-century museum standards without compromis-ing the historic fabric of the building.
#USA, #hall, #interior_design, #lighting, #HVAC
@revitalization
• Electrical conduits were hidden in channels carved out of the existing plaster walls to vis-ually preserve the historic character of the building.
• Careful planning and coordination of the mechanical and electrical spaces minimized vis-ual impact to the occupied spaces.
• Exhibit thermal sensors were integrated with the central campus BAS to enable monitoring and automated alerts.
SERVICES
This adaptive reuse and renovation project turned a classroom into a flexible meeting room and gallery space. 2RW’s services included MEP design for:
• An energy-efficient HVAC system that ties in to campus utilities and features variable air volume (VAV) controls and demand control ventilation (DCV) strategies
• Micro-environment controls with humidity and temperature sensors within the sealed ex-hibit panels
• Museum-quality exhibit lighting
• Lighting controls integrated into the building automation system
• Audio visual, telecommunications, and security system conduits
RESULTS
The new HVAC systems and lighting meet 21st-century museum standards without compromis-ing the historic fabric of the building.
#USA, #hall, #interior_design, #lighting, #HVAC
@revitalization
Concrete paths. On the ground floor, we designed a network of marching areas and pavements from precise smooth pre-cast concrete boards laid down into individual areas. Pre-cast concrete is defined by rigorously straight Corten steel profiles that create a distance from uneven and ir-regular walls. The area between the precise profile and irregular walls is dumped by gravel that highlights both and conciliates irregularity with the uncompromising straight forefront.
Past and present. Our concept is based on respect towards the historical building and it pursues a major effort to preserve the castle’s authentic character. The palace gained an attractive sight-seeing route that allows the visitors to learn about the building history and enjoy the picturesque views from the footbridges on the upper levels of the castle what once used to be a roof. Contem-porary architecture does not compete with the historical building, rather it creates a cohesive unit in which all the elements, old and new go hand in hand.
#Czech, #castle, #interior_design, #lighting, #corten, #glass, #museum, #stair
@revitalization
Past and present. Our concept is based on respect towards the historical building and it pursues a major effort to preserve the castle’s authentic character. The palace gained an attractive sight-seeing route that allows the visitors to learn about the building history and enjoy the picturesque views from the footbridges on the upper levels of the castle what once used to be a roof. Contem-porary architecture does not compete with the historical building, rather it creates a cohesive unit in which all the elements, old and new go hand in hand.
#Czech, #castle, #interior_design, #lighting, #corten, #glass, #museum, #stair
@revitalization
NO.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
NO.180
Azin Historical House / Ravagh Atelier
RENOVATION
•
KASHAN, IRAN
• Architects: Ravagh Atelier
• Area: 300 m²
• Year: 2016
• Manufacturers: Farzaneh Art Studio
• Lead Architect: Padideh Azin
• Construction And Restoration: Mohsen Shahi
• Architects: Ravagh Atelier
A conservation and renovation project to breathe a new soul to a place of authenticity and grace: Kashan project was aimed to create a holiday home and place for the gathering of the loved ones. Kashan a historic town 240km south of Tehran provided a unique setting for this inspiring job. The town suffered a massive earthquake in 1778 during the Safavid reign after which point many of the original buildings were leveled. The site of this project however saw various uses since then, primarily as a textile factory with Qajari influ-ences. The renovation project aimed to bring back the glorious aesthetic of the original building while creat-ing a modern, minimal space for contemporary use as a residential single-family house.
In contrast to traditional houses in Kashan, this building provided the opportunity to sport a very spacious living area, this was utilized by eliminating the interfering featuring and then creating a rather seamless ar-ea to be used as a living room, incorporating a modern kitchen and open, airy sitting and dining areas. A master bedroom and guest rooms were also created using other spacious areas of the original factory.
#Iran, #house, #interior_design, #Kashan, #lighting
@revitalization
Azin Historical House / Ravagh Atelier
RENOVATION
•
KASHAN, IRAN
• Architects: Ravagh Atelier
• Area: 300 m²
• Year: 2016
• Manufacturers: Farzaneh Art Studio
• Lead Architect: Padideh Azin
• Construction And Restoration: Mohsen Shahi
• Architects: Ravagh Atelier
A conservation and renovation project to breathe a new soul to a place of authenticity and grace: Kashan project was aimed to create a holiday home and place for the gathering of the loved ones. Kashan a historic town 240km south of Tehran provided a unique setting for this inspiring job. The town suffered a massive earthquake in 1778 during the Safavid reign after which point many of the original buildings were leveled. The site of this project however saw various uses since then, primarily as a textile factory with Qajari influ-ences. The renovation project aimed to bring back the glorious aesthetic of the original building while creat-ing a modern, minimal space for contemporary use as a residential single-family house.
In contrast to traditional houses in Kashan, this building provided the opportunity to sport a very spacious living area, this was utilized by eliminating the interfering featuring and then creating a rather seamless ar-ea to be used as a living room, incorporating a modern kitchen and open, airy sitting and dining areas. A master bedroom and guest rooms were also created using other spacious areas of the original factory.
#Iran, #house, #interior_design, #Kashan, #lighting
@revitalization