NO.100.
Ptuj Performance Center / ENOTA
MONASTERY, PTUJ, SLOVENIA
• Architects: ENOTA
• project Renovation of former Dominican Monastery to Performance Center
• type commercial
• year 2010
• status completed 2015
• size 3.527 m2
• budget 4.400.000 EUR
• client Ptuj Municipality
• location Ptuj, Slovenija
• coordinate 46°27'38"N 15°6'56"E
• project team Dean Lah, Milan Tomac, Polona Ruparčič, Andrej Oblak, Maruša Zupančič, Alja Černe, Tjaž Bauer, Petra Ostanek, Nuša Završnik Šilec, Nebojša Vertovšek
• collaborators Elea iC (structural engineering), Nom biro (mechanical services), Elsing (electrical planning)
• AWARDS
• East Centric Arhitext Awards, Regeneration, finalist Bucharest, Romania, 2016
• European Union Prize for Contemporary Architecture Mies van der Rohe Award, nomination Barcelona, Spain, 2015
• Piranesi Award, nomination Piran, Slovenia, 2014
• Golden Pencil Ljubljana, Slovenia, 2014
• Interior of the Year Ljubljana, Slovenia, 2014
• LEAF Awards, Refurbishment of the Year, shortlisted Dusseldorf, Germany, 2014
• Plečnik Medal Ljubljana, Slovenia, 2014
• Architizer A+ Awards, Architecture + Preservation, jury winner New York, USA, 2014
• Architizer A+ Awards, Architecture + Preservation, popular choice winner New York, USA, 2014
• Architizer A+ Awards, Theatres & Performing Arts Centers, finalist New York, USA, 2014
• AIT Award, Public Building Education, special mention Frankfurt, Germany, 2014
Ptuj Performance Center has been designed by ENOTA, transforming an 800-year-old Dominican monastery in Ptuj, Slovenia into a congress and cultural centre. The conservation and restoration work was taken in steps by the designers due to the extensive painted surfaces which were only partially uncovered and restored.
The new intervention is limited to the surfaces where no new archaeological finds were expected: the floor. Installing heating, ventilation, lighting and sound in the floor allowed the designers to contain the technology needed within the floor space while the walls remained intact. These walls will be restored once the building is already in use due to the demanding time needed to fully and accurately reinstate the surfaces.
Connecting spaces from a variety of historical periods was a challenge for ENOTA and so chose to connect the individual spaces with black concrete paving which is neutral enough as to not detract from the beauty of the restoration, yet contrasting enough to focus the eye on the parts of the building awaiting completion.
After the construction of added floors had been torn down, archaeological work revealed rich findings in the central section of the former Gothic church. The sepulchres, reredos, and the remains of the steps and flooring made from Roman gravestones will be presented "in situ". Above this section, the new floor is consequently raised in space, forming tiered stands for the visitors at the same time, and acting as a spatial partition between the reconstructed Baroque church and the remains of the Gothic building.
The path along the staircase towards the visitors' seats is thus a sequence of different spatial experiences:the first landing offers a view of the floor plan of the Gothic building; on the second landing, one can take a close look at the newly discovered details of the Mediaeval architecture; while at the end, towards the top, the view of the entire splendour of the Baroque nave gradually opens.
The contrast between the new floor and the historical substance of the erstwhile monastery is deliberately greatest in the black-on-white appearance of the main hall, referencing the famous black and white habit of the Dominican Order where the white is symbolic of innocence and black of modesty.
#Slovenia , #monastery , #metal , #accessibility , #performance_centre , #stair , #archeology , #interior_design , #lighting , #public_space , #cultural_center
@revitalization
Ptuj Performance Center / ENOTA
MONASTERY, PTUJ, SLOVENIA
• Architects: ENOTA
• project Renovation of former Dominican Monastery to Performance Center
• type commercial
• year 2010
• status completed 2015
• size 3.527 m2
• budget 4.400.000 EUR
• client Ptuj Municipality
• location Ptuj, Slovenija
• coordinate 46°27'38"N 15°6'56"E
• project team Dean Lah, Milan Tomac, Polona Ruparčič, Andrej Oblak, Maruša Zupančič, Alja Černe, Tjaž Bauer, Petra Ostanek, Nuša Završnik Šilec, Nebojša Vertovšek
• collaborators Elea iC (structural engineering), Nom biro (mechanical services), Elsing (electrical planning)
• AWARDS
• East Centric Arhitext Awards, Regeneration, finalist Bucharest, Romania, 2016
• European Union Prize for Contemporary Architecture Mies van der Rohe Award, nomination Barcelona, Spain, 2015
• Piranesi Award, nomination Piran, Slovenia, 2014
• Golden Pencil Ljubljana, Slovenia, 2014
• Interior of the Year Ljubljana, Slovenia, 2014
• LEAF Awards, Refurbishment of the Year, shortlisted Dusseldorf, Germany, 2014
• Plečnik Medal Ljubljana, Slovenia, 2014
• Architizer A+ Awards, Architecture + Preservation, jury winner New York, USA, 2014
• Architizer A+ Awards, Architecture + Preservation, popular choice winner New York, USA, 2014
• Architizer A+ Awards, Theatres & Performing Arts Centers, finalist New York, USA, 2014
• AIT Award, Public Building Education, special mention Frankfurt, Germany, 2014
Ptuj Performance Center has been designed by ENOTA, transforming an 800-year-old Dominican monastery in Ptuj, Slovenia into a congress and cultural centre. The conservation and restoration work was taken in steps by the designers due to the extensive painted surfaces which were only partially uncovered and restored.
The new intervention is limited to the surfaces where no new archaeological finds were expected: the floor. Installing heating, ventilation, lighting and sound in the floor allowed the designers to contain the technology needed within the floor space while the walls remained intact. These walls will be restored once the building is already in use due to the demanding time needed to fully and accurately reinstate the surfaces.
Connecting spaces from a variety of historical periods was a challenge for ENOTA and so chose to connect the individual spaces with black concrete paving which is neutral enough as to not detract from the beauty of the restoration, yet contrasting enough to focus the eye on the parts of the building awaiting completion.
After the construction of added floors had been torn down, archaeological work revealed rich findings in the central section of the former Gothic church. The sepulchres, reredos, and the remains of the steps and flooring made from Roman gravestones will be presented "in situ". Above this section, the new floor is consequently raised in space, forming tiered stands for the visitors at the same time, and acting as a spatial partition between the reconstructed Baroque church and the remains of the Gothic building.
The path along the staircase towards the visitors' seats is thus a sequence of different spatial experiences:the first landing offers a view of the floor plan of the Gothic building; on the second landing, one can take a close look at the newly discovered details of the Mediaeval architecture; while at the end, towards the top, the view of the entire splendour of the Baroque nave gradually opens.
The contrast between the new floor and the historical substance of the erstwhile monastery is deliberately greatest in the black-on-white appearance of the main hall, referencing the famous black and white habit of the Dominican Order where the white is symbolic of innocence and black of modesty.
#Slovenia , #monastery , #metal , #accessibility , #performance_centre , #stair , #archeology , #interior_design , #lighting , #public_space , #cultural_center
@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
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
NO.113
Contemporary Art Space in the Former Convent of Madre de Dios / Sol89
SEVILLA, SPAIN
• Architects: Sol89
• Area:830.0 m²
• Year:2014
• Installations: Alejandro Cabanas
• Architecture Students: Andrés Pino, George Smudge
• Building Company: Cotracom
• Promoter: Centro de Iniciativas Culturales de la Universidad de Sevilla
The intervention interprets the building where is inserted, an old convent, as a context in constant transformation over time. The project arises from a reflection on the creative process in contemporary art, its unpredictable condition and the current dissolution of limits between the space of production and exhibition.
We can recognize that much of contemporary art expression understands the architectural space as a matter of work (we remember Shibboleth by Doris Salcedo breaking the floor of the Tate Modern in London in 2007, High Plane V by Katterin Sigurdardottir occupying the false ceiling of the PS1 in New York or Esto no es un graffiti where artists demolished some facings of walls in the same place of our project).
We think the contemporary exhibition space shouldn’t be projected like a static room in time but like a neverending space in ellipsis, waiting for each exhibition come for completing it. The intervention is projected like a variable and reversible space. The walls and ceiling will be covered by slats of wood, the separation between them will allow seeing the original brick walls, showing the textures of the bricks and the wounds caused by centuries that we have discovered in this first phase, that narrate time builds too as in Yourcenar’s quote.
At the same time, this wooden structure overlapped to the ancient walls will allow the access to all installations in any point of space. Our intervention will act as an initial installation in the space rather than an architectural construction. A temporary display related to the existing volume that enables the development of future exhibitions and could be disassembled like one of these, revealing what is truly valuable in this old building in a patrimonial sense is the matter, space and light rather than styles or decorations.
#Spain , #convent , #gallery , #glass , #metal , #lighting
@revitalization
Contemporary Art Space in the Former Convent of Madre de Dios / Sol89
SEVILLA, SPAIN
• Architects: Sol89
• Area:830.0 m²
• Year:2014
• Installations: Alejandro Cabanas
• Architecture Students: Andrés Pino, George Smudge
• Building Company: Cotracom
• Promoter: Centro de Iniciativas Culturales de la Universidad de Sevilla
The intervention interprets the building where is inserted, an old convent, as a context in constant transformation over time. The project arises from a reflection on the creative process in contemporary art, its unpredictable condition and the current dissolution of limits between the space of production and exhibition.
We can recognize that much of contemporary art expression understands the architectural space as a matter of work (we remember Shibboleth by Doris Salcedo breaking the floor of the Tate Modern in London in 2007, High Plane V by Katterin Sigurdardottir occupying the false ceiling of the PS1 in New York or Esto no es un graffiti where artists demolished some facings of walls in the same place of our project).
We think the contemporary exhibition space shouldn’t be projected like a static room in time but like a neverending space in ellipsis, waiting for each exhibition come for completing it. The intervention is projected like a variable and reversible space. The walls and ceiling will be covered by slats of wood, the separation between them will allow seeing the original brick walls, showing the textures of the bricks and the wounds caused by centuries that we have discovered in this first phase, that narrate time builds too as in Yourcenar’s quote.
At the same time, this wooden structure overlapped to the ancient walls will allow the access to all installations in any point of space. Our intervention will act as an initial installation in the space rather than an architectural construction. A temporary display related to the existing volume that enables the development of future exhibitions and could be disassembled like one of these, revealing what is truly valuable in this old building in a patrimonial sense is the matter, space and light rather than styles or decorations.
#Spain , #convent , #gallery , #glass , #metal , #lighting
@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
NO.121
Burgos Railway Station Refurbishment / Contell-Martínez Arquitectos
•
TRAIN STATION, RENOVATION
•
BURGOS, SPAIN
• Architects: Contell-Martínez Arquitectos
• Area: 2347.0 m²
• Year: 2016
• Manufacturers: Heradesign, Viroc, Mazarrón tejas
• Quantity Surveyors: Vicente Sevila, José Ignacio Maté
• Strcture: Francisco Javier Cases
• Sv Engineering: Leing S.L.
• Old Railway Station: 2.347,46 m2
• Pergola: 226,94 m2
• Urbanization: 4.853,00 m2
• WORK SELECTED AT THE XIV SPANISH BIENNIAL OF ARCHITECTURE AND URBAN PLANNING (BEAU)
• WORK SELECTED IN THE VI 2016-2017 EDITION OF THE ARQUIA PROXIMA PROGRAM
• WORK SELECTED IN THE III TIS HISPALYT ARCHITECTURE AWARD 2015-2017 - REHABILITATION CATEGORY
Text description provided by the architects. The project aims to rehabilitate the Old Railway Station to accommodate a recreational and leisure program intended primarily for children and youth. The intervention extends, on one side, over the Station Square (former Travelers Courtyard) as a pedestrian and relationship space and, on the other side, a boulevard that is today where the railways used to be.
In order to contextualize and integrate the building, a new pergola is built adapting its shape to this new boulevard. It serves not only as a transition between the scale of the building and the green area but also it remains to the great iron and glass marquee that protected the railways and the platforms. This pergola serves now as support for the cafe as well as it dilutes the boundaries of the building in relation with the west side wooded area.
The intervention proposed in the Travelers Building seeks to recover its essence, adapting the construction to the new intended use. This is achieved by reinterpreting in depth the spatial whole conception, as well as the physical and visual relationship between the parts that characterize it as an architectural piece.
The building is structured along a linear axis and is divided into the different areas requested in the program: In the east wing, the children's area; in the west one the restaurant and cafe area; in the access space, at the old mezzanine level, the administration and on the first floor, the youth area. Finally, the three towers are joined through walkways with stairways at the ends.
The core of vertical communications and services is strategically built in the central body, this allows the individual use of the different building areas without the need to duplicate communication elements or toilets, while allowing facilities concentration.
In the access to the building from the Travelers Courtyard, the original space is recovered thanks to two canopies that penetrate in the building, which also serves as windbreaks. These define the access point and the original geometry by reinterpreting that element.
Inside, loading walls are cut down on the ground floor to achieve a fluid space and to get visual continuity between the different bodies. At the same time, the mezzanine slab, which was executed with little fortune in the middle of the twentieth century fragmenting the original height of the ground floor space, is completely eliminated. This level is only partially recovered at the access, after crossing a threshold with the original height of the Train Station, which achieves a compression of the space prior to accessing to the lateral bodies.
#Spain , #train_station, #children , #metal , #lighting , #interior_design
@revitalization
Burgos Railway Station Refurbishment / Contell-Martínez Arquitectos
•
TRAIN STATION, RENOVATION
•
BURGOS, SPAIN
• Architects: Contell-Martínez Arquitectos
• Area: 2347.0 m²
• Year: 2016
• Manufacturers: Heradesign, Viroc, Mazarrón tejas
• Quantity Surveyors: Vicente Sevila, José Ignacio Maté
• Strcture: Francisco Javier Cases
• Sv Engineering: Leing S.L.
• Old Railway Station: 2.347,46 m2
• Pergola: 226,94 m2
• Urbanization: 4.853,00 m2
• WORK SELECTED AT THE XIV SPANISH BIENNIAL OF ARCHITECTURE AND URBAN PLANNING (BEAU)
• WORK SELECTED IN THE VI 2016-2017 EDITION OF THE ARQUIA PROXIMA PROGRAM
• WORK SELECTED IN THE III TIS HISPALYT ARCHITECTURE AWARD 2015-2017 - REHABILITATION CATEGORY
Text description provided by the architects. The project aims to rehabilitate the Old Railway Station to accommodate a recreational and leisure program intended primarily for children and youth. The intervention extends, on one side, over the Station Square (former Travelers Courtyard) as a pedestrian and relationship space and, on the other side, a boulevard that is today where the railways used to be.
In order to contextualize and integrate the building, a new pergola is built adapting its shape to this new boulevard. It serves not only as a transition between the scale of the building and the green area but also it remains to the great iron and glass marquee that protected the railways and the platforms. This pergola serves now as support for the cafe as well as it dilutes the boundaries of the building in relation with the west side wooded area.
The intervention proposed in the Travelers Building seeks to recover its essence, adapting the construction to the new intended use. This is achieved by reinterpreting in depth the spatial whole conception, as well as the physical and visual relationship between the parts that characterize it as an architectural piece.
The building is structured along a linear axis and is divided into the different areas requested in the program: In the east wing, the children's area; in the west one the restaurant and cafe area; in the access space, at the old mezzanine level, the administration and on the first floor, the youth area. Finally, the three towers are joined through walkways with stairways at the ends.
The core of vertical communications and services is strategically built in the central body, this allows the individual use of the different building areas without the need to duplicate communication elements or toilets, while allowing facilities concentration.
In the access to the building from the Travelers Courtyard, the original space is recovered thanks to two canopies that penetrate in the building, which also serves as windbreaks. These define the access point and the original geometry by reinterpreting that element.
Inside, loading walls are cut down on the ground floor to achieve a fluid space and to get visual continuity between the different bodies. At the same time, the mezzanine slab, which was executed with little fortune in the middle of the twentieth century fragmenting the original height of the ground floor space, is completely eliminated. This level is only partially recovered at the access, after crossing a threshold with the original height of the Train Station, which achieves a compression of the space prior to accessing to the lateral bodies.
#Spain , #train_station, #children , #metal , #lighting , #interior_design
@revitalization