NO.108.
Restoration of Castello dei Doria a Dolceacqua / LD+SR architetti
RESTORATION, DOLCEACQUA, ITALY
• Architects: LD+SR architetti
• Year:2015
• Lead Architects: Luca Dolmetta, Silvia Rizzo architetti
• Project Team: Arch. Danilo Cupioli, Arch. Paola Pilotto, Arch. Amir Reza Arya
• Structural Engineering : Ing. Mauro Cevoli
• Installations : Ing. Alberto Frisoni
• Designers: Arch. William Meli, Arch. Bernardet Urbanovics
• Cse : Ing. Claudio Perrino
Text description provided by the architects. After widespread interventions of restoration undertaken since the early 90 's, 2012-2015 covered the restoration and consolidation of certain portions of the main external walls of the Castle (sailing North, Savoy bastion minor), the recovery of the main open spaces that surround it in diffuse form the complex, the establishment of a system of trails that leads the visitor to discover different points of perception of landscapes that surround the monument. The "value" of the Castle is the close relationship between Castle and place where it fits. A relationship was so charming by bringing Claude Monet repeatedly to visit Dolceacqua and capture bridge and Castle in a famous painting by 1884 housed in the Musée Marmottan Monet in Paris.
The Castle situated in a dominant position overlooking the village below is in extreme point advantage to control the Valley of the river of the Nervia Valley. The project seeks to enhance the strategic position, making travel to the visitor the different stages of completion of the building discover some enclosed spaces created in the few portions of the building survived the various bombings and ensuing fires over time, but especially a guided path towards the various land control points.
The restoration and strengthening of masonry degraded extensively featured in significant form the surgery completed in 2015. Any need for structural reinforcement or static improvement though it was turned into an architectural project, also of iron parts that, depending on the requirement, have become paths, passages, elements of reconstruction of portions of walls partly missing or being complete detachment. Items always perceived as new parts, reversible and always side by side with existing fit evident
#Italy, #castle , #landscape, #metal , #stair , #museum , #landmark , #installation
@revitalization
Restoration of Castello dei Doria a Dolceacqua / LD+SR architetti
RESTORATION, DOLCEACQUA, ITALY
• Architects: LD+SR architetti
• Year:2015
• Lead Architects: Luca Dolmetta, Silvia Rizzo architetti
• Project Team: Arch. Danilo Cupioli, Arch. Paola Pilotto, Arch. Amir Reza Arya
• Structural Engineering : Ing. Mauro Cevoli
• Installations : Ing. Alberto Frisoni
• Designers: Arch. William Meli, Arch. Bernardet Urbanovics
• Cse : Ing. Claudio Perrino
Text description provided by the architects. After widespread interventions of restoration undertaken since the early 90 's, 2012-2015 covered the restoration and consolidation of certain portions of the main external walls of the Castle (sailing North, Savoy bastion minor), the recovery of the main open spaces that surround it in diffuse form the complex, the establishment of a system of trails that leads the visitor to discover different points of perception of landscapes that surround the monument. The "value" of the Castle is the close relationship between Castle and place where it fits. A relationship was so charming by bringing Claude Monet repeatedly to visit Dolceacqua and capture bridge and Castle in a famous painting by 1884 housed in the Musée Marmottan Monet in Paris.
The Castle situated in a dominant position overlooking the village below is in extreme point advantage to control the Valley of the river of the Nervia Valley. The project seeks to enhance the strategic position, making travel to the visitor the different stages of completion of the building discover some enclosed spaces created in the few portions of the building survived the various bombings and ensuing fires over time, but especially a guided path towards the various land control points.
The restoration and strengthening of masonry degraded extensively featured in significant form the surgery completed in 2015. Any need for structural reinforcement or static improvement though it was turned into an architectural project, also of iron parts that, depending on the requirement, have become paths, passages, elements of reconstruction of portions of walls partly missing or being complete detachment. Items always perceived as new parts, reversible and always side by side with existing fit evident
#Italy, #castle , #landscape, #metal , #stair , #museum , #landmark , #installation
@revitalization
NO.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
They were for later: the monumental lighting and for the night visit; the intervention in the upper viewpoint and its access from the stands; and the treatment of the portico, since archaeological investigations are allowing for more complex interpretations than previously available.
The current works Given the time constraints for the execution of the works, at this moment they will be carried out: the intervention in the stands, a first phase of execution of infrastructure and restoration of the stage and orchestra, as well as the adaptation of accesses and interior tours.
The archaeological ruins of the Itálica theater that we can see today, and what we can know about them, are the result of a long process of excavations and interventions, which are already part of its history. It is, therefore, our starting point.
Returning the initial use to the Teatro de Itálica means recovering an activity that has been preserved over time, and which today is still alive and functionally linked to the architecture with which it was born and evolved.
The “stage box”, now ephemeral and removable, will have the triple function of sheltering the tight reconstruction of the stage front, serving as a screen that isolates the scope of performances from outside noise and equipping it with the necessary infrastructures to develop a certain type of show.
Furthermore, this intervention now is understood as the mere start of a process, time-consuming, but correctly planned, which will conclude with the stated objectives of recovering the monument, including anastilosis or reconstruction of the front of the stage, allowing musealization. of a large number of original pieces preserved
#Spain , #theater , #museum , #excavation , #archeology, #Anastylosis , #adaptation
@revitalization
The current works Given the time constraints for the execution of the works, at this moment they will be carried out: the intervention in the stands, a first phase of execution of infrastructure and restoration of the stage and orchestra, as well as the adaptation of accesses and interior tours.
The archaeological ruins of the Itálica theater that we can see today, and what we can know about them, are the result of a long process of excavations and interventions, which are already part of its history. It is, therefore, our starting point.
Returning the initial use to the Teatro de Itálica means recovering an activity that has been preserved over time, and which today is still alive and functionally linked to the architecture with which it was born and evolved.
The “stage box”, now ephemeral and removable, will have the triple function of sheltering the tight reconstruction of the stage front, serving as a screen that isolates the scope of performances from outside noise and equipping it with the necessary infrastructures to develop a certain type of show.
Furthermore, this intervention now is understood as the mere start of a process, time-consuming, but correctly planned, which will conclude with the stated objectives of recovering the monument, including anastilosis or reconstruction of the front of the stage, allowing musealization. of a large number of original pieces preserved
#Spain , #theater , #museum , #excavation , #archeology, #Anastylosis , #adaptation
@revitalization
NO.118
The renovated Victoria & Albert Museum / AL_A
• MUSEUM, LONDON, UNITED KINGDOM
• Architects: AL_A
• Area: 6360.0 m²
• Year: 2017
Engineers (Smep) : Arup
Quantity Surveyor : Aecom
Lighting Designer: DHA Designs
Historic Building Adviser : Giles Quarme & Associates
Planning Consultant : DP9
Project Manager: Lendlease
Main Contractor: Wates
Specialist Aws Contractor: PAYE
Specialist Subcontractors: Koninklijke Tichelaar Makkum – porcelain tiles; Octatube – oculus; Midland Alloy – Aston Webb Screen gates; Astins – gallery ceiling; EE Stairs – gallery staircase; Cornish Concrete – stepped terrace; Mazorati Ronchetti – café bar
Principal: Amanda Levete
Project Director: Alice Dietsch
Project Architect: Matt Wilkinson
Team: Ho-Yin Ng, Maximiliano Arrocet, Alex Bulygin, Blandine Plenard, Chiara Zaccagnini, Fernando Ruiz Barberan, Filippo Previtali, Giulio Pellizzon, Matthew Riley, Michael Levy, Michael Wetmore, Patrick Drewello, Peter Angrave, Peter King, Raffael Petrovic, Robert Rice, Rumen Stefanov, Song Jie Lim, Stefano Bertotti, Stephen Citrone, Win Assakul
Client: Victoria & Albert
The Victoria and Albert Museum in London is the world's largest museum of applied and decorative arts and design, as well as sculpture, housing a permanent collection of over 2.27 million objects. It was founded in 1852 and named after Queen Victoria and Prince Albert.
Text description provided by the architects. The V&A Exhibition Road Quarter took six years to realise and transforms the V&A’s former boilerhouse yard on London’s great cultural artery, Exhibition Road. This new entrance connects the Museum with its neighbours, reinforcing the Albertopolis vision of intellectual ambition and innovation and creates a sequence of major new spaces.
The Sackler Courtyard is the world’s first all-porcelain public courtyard, and comprises over 11,000 handmade porcelain tiles, inspired by the rich tradition of ceramics at the V&A. This new public space for London also houses a café with furniture designed for the space by AL_A and manufactured by Moroso. The Sackler Courtyard reveals architecturally significant façades and details that have never previously been seen by the public. These include sgraffito decoration on the side of the Henry Cole Wing – a decorative Renaissance technique using multiple layers of coloured plaster created by the first art students at the Museum, in the late 19th century. The stonework of the Aston Webb Screen retains the damage that World War II inflicted on the Museum, which is reflected in 11 sets of new metal gates, designed by AL_A. The gates have been manufactured with a pattern of perforations tracing the imprint of the shrapnel damage on the stonework as well as the Royal Crest in the central gate
The Blavatnik Hall is a new space that will transform how visitors experience and discover the Museum and collections. Connecting the newly displayed Robert H. N. Ho Family Foundation Galleries of Buddhist Art and the Dorothy and Michael Hintze Sculpture Galleries, The Blavatnik Hall gives views through to The John Madejski Garden, leads to a new shop, and connects to the historic Ceramic Staircase as well as the Sackler Centre for arts education, which reopens featuring the new John Lyon’s Charity Community Gallery.
The versatile, 1,100m sq column-free Sainsbury Gallery is one of the largest temporary exhibition galleries in the UK. This flexible exhibition space sits above a floor dedicated to art handling, conservation and preparation space. The new spaces reach as far as 18 metres below ground, directly beneath the Western Range of the V&A’s Grade I listed buildings: a daring engineering and construction challenge that is made visible to the public by steel columns and a beam painted in vivid international orange that are literally holding the weight of history and the Museum’s priceless collections above.
#UK , #museum , #entrance , #gallery , #landscape , #interior_design , #exhibition , #lighting , #stair
@revitalization
The renovated Victoria & Albert Museum / AL_A
• MUSEUM, LONDON, UNITED KINGDOM
• Architects: AL_A
• Area: 6360.0 m²
• Year: 2017
Engineers (Smep) : Arup
Quantity Surveyor : Aecom
Lighting Designer: DHA Designs
Historic Building Adviser : Giles Quarme & Associates
Planning Consultant : DP9
Project Manager: Lendlease
Main Contractor: Wates
Specialist Aws Contractor: PAYE
Specialist Subcontractors: Koninklijke Tichelaar Makkum – porcelain tiles; Octatube – oculus; Midland Alloy – Aston Webb Screen gates; Astins – gallery ceiling; EE Stairs – gallery staircase; Cornish Concrete – stepped terrace; Mazorati Ronchetti – café bar
Principal: Amanda Levete
Project Director: Alice Dietsch
Project Architect: Matt Wilkinson
Team: Ho-Yin Ng, Maximiliano Arrocet, Alex Bulygin, Blandine Plenard, Chiara Zaccagnini, Fernando Ruiz Barberan, Filippo Previtali, Giulio Pellizzon, Matthew Riley, Michael Levy, Michael Wetmore, Patrick Drewello, Peter Angrave, Peter King, Raffael Petrovic, Robert Rice, Rumen Stefanov, Song Jie Lim, Stefano Bertotti, Stephen Citrone, Win Assakul
Client: Victoria & Albert
The Victoria and Albert Museum in London is the world's largest museum of applied and decorative arts and design, as well as sculpture, housing a permanent collection of over 2.27 million objects. It was founded in 1852 and named after Queen Victoria and Prince Albert.
Text description provided by the architects. The V&A Exhibition Road Quarter took six years to realise and transforms the V&A’s former boilerhouse yard on London’s great cultural artery, Exhibition Road. This new entrance connects the Museum with its neighbours, reinforcing the Albertopolis vision of intellectual ambition and innovation and creates a sequence of major new spaces.
The Sackler Courtyard is the world’s first all-porcelain public courtyard, and comprises over 11,000 handmade porcelain tiles, inspired by the rich tradition of ceramics at the V&A. This new public space for London also houses a café with furniture designed for the space by AL_A and manufactured by Moroso. The Sackler Courtyard reveals architecturally significant façades and details that have never previously been seen by the public. These include sgraffito decoration on the side of the Henry Cole Wing – a decorative Renaissance technique using multiple layers of coloured plaster created by the first art students at the Museum, in the late 19th century. The stonework of the Aston Webb Screen retains the damage that World War II inflicted on the Museum, which is reflected in 11 sets of new metal gates, designed by AL_A. The gates have been manufactured with a pattern of perforations tracing the imprint of the shrapnel damage on the stonework as well as the Royal Crest in the central gate
The Blavatnik Hall is a new space that will transform how visitors experience and discover the Museum and collections. Connecting the newly displayed Robert H. N. Ho Family Foundation Galleries of Buddhist Art and the Dorothy and Michael Hintze Sculpture Galleries, The Blavatnik Hall gives views through to The John Madejski Garden, leads to a new shop, and connects to the historic Ceramic Staircase as well as the Sackler Centre for arts education, which reopens featuring the new John Lyon’s Charity Community Gallery.
The versatile, 1,100m sq column-free Sainsbury Gallery is one of the largest temporary exhibition galleries in the UK. This flexible exhibition space sits above a floor dedicated to art handling, conservation and preparation space. The new spaces reach as far as 18 metres below ground, directly beneath the Western Range of the V&A’s Grade I listed buildings: a daring engineering and construction challenge that is made visible to the public by steel columns and a beam painted in vivid international orange that are literally holding the weight of history and the Museum’s priceless collections above.
#UK , #museum , #entrance , #gallery , #landscape , #interior_design , #exhibition , #lighting , #stair
@revitalization
NO.119
Sala delle Capriate at Palazzo della Ragione / CN10 architetti
MUSEUMS & EXHIBIT, RENOVATION
•
BERGAMO, ITALY
Architects: CN10 architetti
Area: 500.0 m²
Year: 2017
Manufacturers: 3M, Wiva group
General Contractor: KREA allestimenti
Text description provided by the architects. The project provides for a new set-up of the "Sala delle Capriate" in the “Palazzo della Ragione” of Upper Bergamo. The building dates back to the XII century and represents the physical and functional center of the historic city. It is the core of a system of open public spaces and it directly relates to them on different sides. Once the building stopped to host the municipality, the upper room changed a series of different functions. Today its walls are covered with a significant review of art pieces collected over time from different buildings of the city.
The result is a minimal intervention made of a suspended system of hexagons, intended as gazes over the city: like the circles drawn on the embroidery of the colored windows, the suspended structure puts on display the excellence of the territory. This is exactly as it occurs in the cellars of the beehive, where the repetition of the hexagonal frame becomes the structure where life happens. Similarly, the hexagons of the project can become light, sound, image, space. It is a dynamic system of possible configurations that transform the room according to the given event and program.
The hexagonal mesh is dimensioned coherently with the pace of the wooden trusses. The result is a simple and modular composition, made out of the combination of beams and joints. The beams incorporate in their own structure the technological solutions necessary to set in the room different arrangements. They host indeed the technical devices like lightning, both fixed and movable, sound and video systems, motorized projection tarps and hooks to hang panels and other equipment. The fixing system that allows hanging the hexagons to the trusses is located on the joints.
The whole structure can be easily lowered thanks to a motorized solution, in order to guarantee fast changes of setting, a simple maintenance and a better management of the space. The new set-up is completed on the ground floor by a system of hexagonal structures with the same dimension of the suspended one, that can be freely arranged in the room. They are made of modular elements that increase the number and the complexity of the different configurations of the room.
#Italy , #museum, #gallery , #interior_design , #exhibition , #lighting
@revitalization
Sala delle Capriate at Palazzo della Ragione / CN10 architetti
MUSEUMS & EXHIBIT, RENOVATION
•
BERGAMO, ITALY
Architects: CN10 architetti
Area: 500.0 m²
Year: 2017
Manufacturers: 3M, Wiva group
General Contractor: KREA allestimenti
Text description provided by the architects. The project provides for a new set-up of the "Sala delle Capriate" in the “Palazzo della Ragione” of Upper Bergamo. The building dates back to the XII century and represents the physical and functional center of the historic city. It is the core of a system of open public spaces and it directly relates to them on different sides. Once the building stopped to host the municipality, the upper room changed a series of different functions. Today its walls are covered with a significant review of art pieces collected over time from different buildings of the city.
The result is a minimal intervention made of a suspended system of hexagons, intended as gazes over the city: like the circles drawn on the embroidery of the colored windows, the suspended structure puts on display the excellence of the territory. This is exactly as it occurs in the cellars of the beehive, where the repetition of the hexagonal frame becomes the structure where life happens. Similarly, the hexagons of the project can become light, sound, image, space. It is a dynamic system of possible configurations that transform the room according to the given event and program.
The hexagonal mesh is dimensioned coherently with the pace of the wooden trusses. The result is a simple and modular composition, made out of the combination of beams and joints. The beams incorporate in their own structure the technological solutions necessary to set in the room different arrangements. They host indeed the technical devices like lightning, both fixed and movable, sound and video systems, motorized projection tarps and hooks to hang panels and other equipment. The fixing system that allows hanging the hexagons to the trusses is located on the joints.
The whole structure can be easily lowered thanks to a motorized solution, in order to guarantee fast changes of setting, a simple maintenance and a better management of the space. The new set-up is completed on the ground floor by a system of hexagonal structures with the same dimension of the suspended one, that can be freely arranged in the room. They are made of modular elements that increase the number and the complexity of the different configurations of the room.
#Italy , #museum, #gallery , #interior_design , #exhibition , #lighting
@revitalization
NO.122
Library, Museum and Community Center ‘De Petrus’ / Molenaar&Bol&vanDillen Architects
LIBRARY, COMMUNITY CENTER, ADAPTIVE REUSE
•
VUGHT, THE NETHERLANDS
• Architects: Molenaar&Bol&vanDillen Architects
• Area: 3000.0 m²
• Year: 2018
• Location: Heuvel 2, 5261 EE Vught, The Netherlands
• Interior Architect: Jan David Hanrath
• Landscape Architecture: Houtman+Sander
• Contractor: M.P. Drijvers B.V.
• Restoration contractor: Nico de Bont
• Structural Engineer: H.J.G. Spierings
• Client: DePetrus B.V
After an extensive renovation the church, which dates from 1884, was redeveloped into a multifunctional centre containing a library and a museum but also a bar and shops.
All functions are blended into a large open space which is open to the public. The most striking element is the mezzanine floor. This distinctive element gives the church a new look fitting for its new function. The 500 m2 (5380 sq ft) floor accommodates additional functions such as a study area and meeting rooms. The first floor also houses technical facilities as heating, acoustic covering and lighting. The mezzanine is placed mainly in the aisles so the original spatial quality of the church is preserved. The first floor offers new and spectacular views of the church.
The bookshelves are placed on a rail system so they can be moved to the aisles of the church. In this setting the church can be used for large events several times a year. Because of this the church floor can be used in a highly flexible way, providing room for events on all scales as well as functioning as a library.
On the outside the church space is expanded. The mezzanine floor continues outside as the roof of four pavilions connected to the church. A restaurant is located in the garden pavilion on the south side of the church.
#The_Netherlands , #church, #library , #museum , #lighting , #shop , #interior_design
@revitalization
Library, Museum and Community Center ‘De Petrus’ / Molenaar&Bol&vanDillen Architects
LIBRARY, COMMUNITY CENTER, ADAPTIVE REUSE
•
VUGHT, THE NETHERLANDS
• Architects: Molenaar&Bol&vanDillen Architects
• Area: 3000.0 m²
• Year: 2018
• Location: Heuvel 2, 5261 EE Vught, The Netherlands
• Interior Architect: Jan David Hanrath
• Landscape Architecture: Houtman+Sander
• Contractor: M.P. Drijvers B.V.
• Restoration contractor: Nico de Bont
• Structural Engineer: H.J.G. Spierings
• Client: DePetrus B.V
After an extensive renovation the church, which dates from 1884, was redeveloped into a multifunctional centre containing a library and a museum but also a bar and shops.
All functions are blended into a large open space which is open to the public. The most striking element is the mezzanine floor. This distinctive element gives the church a new look fitting for its new function. The 500 m2 (5380 sq ft) floor accommodates additional functions such as a study area and meeting rooms. The first floor also houses technical facilities as heating, acoustic covering and lighting. The mezzanine is placed mainly in the aisles so the original spatial quality of the church is preserved. The first floor offers new and spectacular views of the church.
The bookshelves are placed on a rail system so they can be moved to the aisles of the church. In this setting the church can be used for large events several times a year. Because of this the church floor can be used in a highly flexible way, providing room for events on all scales as well as functioning as a library.
On the outside the church space is expanded. The mezzanine floor continues outside as the roof of four pavilions connected to the church. A restaurant is located in the garden pavilion on the south side of the church.
#The_Netherlands , #church, #library , #museum , #lighting , #shop , #interior_design
@revitalization
The exhibition halls of the Cultural Museum is composed of three kinds of individual spaces with water patio, thematically ranging from the “Contemporary” to the “Traditional”, and from the “Traditional” to the “Future”. Due to the serious destruction of the Zhang Family’s house, only the exterior wall is intriguing and therefore preserved, inside which the“Contemporary”exhibition hall is built with an offset of 30cm to show the respect toward the old construction. In comparison, the Village History Hall is well preserved. Its internal wooden load-bearing structure repaired, partition walls removed, the original atrium preserved, the Hall witness the unfolding of a second exhibition space with a theme of "Tradition". Under the research on the Village History Hall, it is determined that there had been another building to its north. Therefore, the third, "Future" exhibition hall is built from the renewal of the original site, as well as a water patio and leisure zone in vacant area.
Around the new buildings, the shadow changes with the light. The sunshine is filtered by the trees and scattered in the yard, lively and warm. Along with the breezes, these details of light forms a range of subtle perceptions. Around the old buildings, be it the mottled wall, a grey masonry brick, a tile at the top of the wall, some grass that moves with the wind, or a crawling insect, there is always moment in space that brings one back to a moment in time.
#China , #house, #village , #museum , #library , #lighting , #interior_design , #landscape , #community_center
@revitalization
Around the new buildings, the shadow changes with the light. The sunshine is filtered by the trees and scattered in the yard, lively and warm. Along with the breezes, these details of light forms a range of subtle perceptions. Around the old buildings, be it the mottled wall, a grey masonry brick, a tile at the top of the wall, some grass that moves with the wind, or a crawling insect, there is always moment in space that brings one back to a moment in time.
#China , #house, #village , #museum , #library , #lighting , #interior_design , #landscape , #community_center
@revitalization
NO.124
National Museum Clemenceau / TITAN
MOUILLERON-SAINT-GERMAIN, FRANCE
• client : ministère de la Culture et de la Communication, service des Musées de France, DRAC des Pays de la Loire
• Year: 2019
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Technical information on the Clemenceau National Museum:
Program - the Clemenceau National Museum
Contracting authority - Ministry of Culture and Communication, Museum Service of France, DRAC Pays de la Loire
address - Mouilleron en Pareds - France
Budget - € 1,800,000 including scenography € 400,000
Surface - 600 m2
Team - titan (architects-scenographers), the baroque office (scenographers), up and down (landscape designer), svelt (graphic designers), 8.18 (lighting designer), mazedia (multimedia designer), ecb (economist), energy tribe (ing . fluids), arest (ing. structure), symbiance (acoustician)
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Technical information on the reception pavilion of the Maison de Clemenceau:
Program - reconstruction of the reception pavilion of the Clemenceau house
Client - Center des monuments nationaux, Direction de la Conservation des Monuments et des Collections
Address - Saint-Vincent sur Jard - France
Budget - € 500,000 including landscaping - € 80,000
Surface - 125 m2
Team - titan (landscape architects), ecb (economist), luc moreau (ing. Cfo-cfa), inddigo (ing. Fluids), arest (ing. Structure).
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Born in 1841 in the Vendée, a coastal department of western France, Georges Clemenceau was a politician and journalist – a dominant figure in the French Third Republic and, as prime minister – a major contributor to the Allied victory in World War I.
Today, his native house in Mouilleron-en-Pareds is transformed into a museum, pulling his private world and public life into the public realm. The project emerged from its location, with respect to its historical structure. Designed to give the opportunity to begin a new narrative, the building seeks to uncover both its original and current purpose. The concept proposes contemporary interventions with minimum visual compromise to the building’s original appearance. From one perspective, the architecture follows, both in compositional and museological terms, the traditional, domestic character of a house. Its essence and rustic materials are preserved, leaving ample space for the museography, designed with scenographers Le Bureau Baroque.
The new elements are interwoven into the visitor’s path to activate a unique experience, following the rhythm of the existing architecture. To create a link with the community, the adjacent barn is reconstructed to add new programmatic opportunities for concerts, screenings and exhibitions. The museum reveals a new perspective on how art and architecture would benefit from each other’s challenges, unveiling the real substance of the building to its visitors, and, through its informal learning opportunities, giving a new vantage point on history and present times. The visit is elaborated, involving all senses to create a real interaction between content, scenography and visitor. An interactive website on the internet, a combination of graphics and multimedia invite the visitor to experience the museum, creating a new public route through the building and exposition.
#France , #house, #museum , #lighting , #interior_design , #landscape , #community_center , #multi_purpose
@revitalization
National Museum Clemenceau / TITAN
MOUILLERON-SAINT-GERMAIN, FRANCE
• client : ministère de la Culture et de la Communication, service des Musées de France, DRAC des Pays de la Loire
• Year: 2019
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Technical information on the Clemenceau National Museum:
Program - the Clemenceau National Museum
Contracting authority - Ministry of Culture and Communication, Museum Service of France, DRAC Pays de la Loire
address - Mouilleron en Pareds - France
Budget - € 1,800,000 including scenography € 400,000
Surface - 600 m2
Team - titan (architects-scenographers), the baroque office (scenographers), up and down (landscape designer), svelt (graphic designers), 8.18 (lighting designer), mazedia (multimedia designer), ecb (economist), energy tribe (ing . fluids), arest (ing. structure), symbiance (acoustician)
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Technical information on the reception pavilion of the Maison de Clemenceau:
Program - reconstruction of the reception pavilion of the Clemenceau house
Client - Center des monuments nationaux, Direction de la Conservation des Monuments et des Collections
Address - Saint-Vincent sur Jard - France
Budget - € 500,000 including landscaping - € 80,000
Surface - 125 m2
Team - titan (landscape architects), ecb (economist), luc moreau (ing. Cfo-cfa), inddigo (ing. Fluids), arest (ing. Structure).
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Born in 1841 in the Vendée, a coastal department of western France, Georges Clemenceau was a politician and journalist – a dominant figure in the French Third Republic and, as prime minister – a major contributor to the Allied victory in World War I.
Today, his native house in Mouilleron-en-Pareds is transformed into a museum, pulling his private world and public life into the public realm. The project emerged from its location, with respect to its historical structure. Designed to give the opportunity to begin a new narrative, the building seeks to uncover both its original and current purpose. The concept proposes contemporary interventions with minimum visual compromise to the building’s original appearance. From one perspective, the architecture follows, both in compositional and museological terms, the traditional, domestic character of a house. Its essence and rustic materials are preserved, leaving ample space for the museography, designed with scenographers Le Bureau Baroque.
The new elements are interwoven into the visitor’s path to activate a unique experience, following the rhythm of the existing architecture. To create a link with the community, the adjacent barn is reconstructed to add new programmatic opportunities for concerts, screenings and exhibitions. The museum reveals a new perspective on how art and architecture would benefit from each other’s challenges, unveiling the real substance of the building to its visitors, and, through its informal learning opportunities, giving a new vantage point on history and present times. The visit is elaborated, involving all senses to create a real interaction between content, scenography and visitor. An interactive website on the internet, a combination of graphics and multimedia invite the visitor to experience the museum, creating a new public route through the building and exposition.
#France , #house, #museum , #lighting , #interior_design , #landscape , #community_center , #multi_purpose
@revitalization
NO.128
Museum Park of The the Polytechnic Museum / Wowhaus
MOSCOW, RUSSIA
• Architects: Wowhaus
• Area: 14000.0 m²
• Design phase: 2015 – 2016
• Construction phase: 2017 – 2019
• Design Team: Mikhail Kozlov (senior project architect), Maria Khokhlova, Anastasia Rychkova, Anton Sevastyanov, Igor Yakovlev, Marina Yarmarkina, Denis Manshilin, Alyona Zaitseva, Margarita Leonova
• Clients: OAO MNIITEP, Polytechnic Museum Development Fund
• Landscape: Nature form studio
• Lightning: Ultimatum Group
Objective:
Following the concept by Junya Ishigami the territory around the Polytechnic Museum was to be transformed into a Museum Park – a thoroughly designed public space, whose structure takes into account the needs of the Museum and its visitors, as well as intensive transport and pedestrian flows, and the requirements of the city authorities concerning streets and town squares
Solution:
A park-amphitheatre in front of the Museum - an open-air foyer that will become an extension of the spaces inside the building and will act as a prologue, while the inner space is under construction. It will be able to host events while uniting the new pedestrian zone in the building’s lower ground level with the outdoor area alongside Lubyanka Square, attracting pedestrians and providing them with a convenient and pleasant route into the Museum complex.
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Text description provided by the architects. In the contemporary city, the museum long since ceased to be simply a place for storing exhibits, school trips and the “cultural leisure” of adults on their days off. It should be a full-fledged participant in urban life, able to compete on equal terms with parks, cinemas and restaurants. Museum Park is a pedestrian zone and public space that helps draw city dwellers into the Polytechnic Museum.
Following the concept by Jun’ya Ishigami the territory around the Polytechnic Museum was to be transformed into a Museum Park – a thoroughly designed public space, whose structure takes into account the needs of the Museum and its visitors, as well as intensive transport and pedestrian flows, and the requirements of the city authorities concerning streets and town squares.
A park-amphitheatre in front of the Museum - an open-air foyer that will become an extension of the spaces inside the building and will act as a prologue, while the inner space is under construction. It will be able to host events while uniting the new pedestrian zone in the building’s lower ground level with the outdoor area alongside Lubyanka Square, attracting pedestrians and providing them with a convenient and pleasant route into the Museum complex.
#Russia , #museum, #landscape , #extention , #lighting , #open_air , #park , #amphitheatre , #pedestrian , #public_space
@revitalization
Museum Park of The the Polytechnic Museum / Wowhaus
MOSCOW, RUSSIA
• Architects: Wowhaus
• Area: 14000.0 m²
• Design phase: 2015 – 2016
• Construction phase: 2017 – 2019
• Design Team: Mikhail Kozlov (senior project architect), Maria Khokhlova, Anastasia Rychkova, Anton Sevastyanov, Igor Yakovlev, Marina Yarmarkina, Denis Manshilin, Alyona Zaitseva, Margarita Leonova
• Clients: OAO MNIITEP, Polytechnic Museum Development Fund
• Landscape: Nature form studio
• Lightning: Ultimatum Group
Objective:
Following the concept by Junya Ishigami the territory around the Polytechnic Museum was to be transformed into a Museum Park – a thoroughly designed public space, whose structure takes into account the needs of the Museum and its visitors, as well as intensive transport and pedestrian flows, and the requirements of the city authorities concerning streets and town squares
Solution:
A park-amphitheatre in front of the Museum - an open-air foyer that will become an extension of the spaces inside the building and will act as a prologue, while the inner space is under construction. It will be able to host events while uniting the new pedestrian zone in the building’s lower ground level with the outdoor area alongside Lubyanka Square, attracting pedestrians and providing them with a convenient and pleasant route into the Museum complex.
--------------
Text description provided by the architects. In the contemporary city, the museum long since ceased to be simply a place for storing exhibits, school trips and the “cultural leisure” of adults on their days off. It should be a full-fledged participant in urban life, able to compete on equal terms with parks, cinemas and restaurants. Museum Park is a pedestrian zone and public space that helps draw city dwellers into the Polytechnic Museum.
Following the concept by Jun’ya Ishigami the territory around the Polytechnic Museum was to be transformed into a Museum Park – a thoroughly designed public space, whose structure takes into account the needs of the Museum and its visitors, as well as intensive transport and pedestrian flows, and the requirements of the city authorities concerning streets and town squares.
A park-amphitheatre in front of the Museum - an open-air foyer that will become an extension of the spaces inside the building and will act as a prologue, while the inner space is under construction. It will be able to host events while uniting the new pedestrian zone in the building’s lower ground level with the outdoor area alongside Lubyanka Square, attracting pedestrians and providing them with a convenient and pleasant route into the Museum complex.
#Russia , #museum, #landscape , #extention , #lighting , #open_air , #park , #amphitheatre , #pedestrian , #public_space
@revitalization
NO.134
Castillo De La Luz Museum / Nieto Sobejano Arquitectos
MUSEUM
•
LAS PALMAS DE GRAN CANARIA, SPAIN
Architects: Nieto Sobejano Arquitectos
Year: 2013
Client: Ministry of Public Works of Spain
Property: Municipality of Las Palmas de Gran Canaria
Project Architect: Pedro Quero, Alexandra Sobral
Collaborators: Carlos Ballesteros, lago Blanco, Mauro Herrero, Juan Carlos Redondo
Site Management: Nieto Sobejano Arquitectos, S.L.P., Fuensanta Nieto – Enrique Sobejano, Miguel Mesas Izquierdo, José Mena, Edward Lynch, Aparejadores
Structures: N.B.35, S.L.
Facilities: Aguilera Ingenieros, S.A.
Models: Nieto Sobejano Arquitectos, S.L.P.
Project Date: 2000 (1st Phase) , 2006 (2nd Phase)
Construction: 2003-2004 (1st Phase), 2006-2013 (2nd Phase)
Construction Company: Dragados, S.A. (1st Phase), Trycsa_Técnicas de la Restauración y Construcciones, S.A. (2nd Phase)
Prize: Mention Prize Arquitectura Española 2015. CSCAE
The first governor of the Canary Islands ordered the construction of a tower at the end of the fifteenth century, and when it was extended a few years later, the space located between the tower and the new perimeter walls was filled with earth to increase the building’s strength and resistance. That purely defensive need would become the structuring argument of our architectural proposal for the Castillo de La Luz. Located in La Isleta, the isthmus at which the Castilian ships protecting the city arrived, it concealed those primitive walls originally beaten by the sea. The passage of time affected not only its initial use and preservation, but also the conditions of its closest environment: the old coastal fortress that was wrapped by the water during high tide became gradually surrounded by the structures of the port and the growing city of Las Palmas. After being involved in battles at the end of the sixteenth century -in which the city was plundered, burnt, and rebuilt- the fortress retained its military role but gradually declined, reaching the twentieth century in a state of ruin. In the 1960s, however, it was partially reconstructed to become an exhibition gallery.
When undertaking the project to build in the historic castle, which was to be transformed into a new exhibition space equipped with the installations appropriate to a contemporary museum, we decided to begin with a close reading of the circumstances of its past. If, for five centuries, the space between the outer walls and the original tower had remained hidden, filled with earth, our task essentially consisted in emptying it and recovering the view of the primitive fortress, transformed now into the protagonist of the new museum. Where once there was only hardpan, a space up to now concealed from view, a void emerged, covered with a white concrete slab that is separated from the stone walls of the old tower to let natural light pass through narrow skylights. On the exterior, a recently built, fake perimeter pit has been dismantled to free up a vast surface of the terrain on the original, ground level of the fortress, revealing its full dimensions. A new, partially buried pavilion adds complementary spaces for the museum: access, shop, restrooms, storage, and multipurpose hall. A thin horizontal platform that barely emerges from the terrain will be the only visible trace of an intervention that aims at going unnoticed adjacent to the building it serves and complements.
Any contemporary intervention in historical heritage generates a difficult relationship. On occasions like this one it becomes the expression of a direct and clear response to the apparently insignificant circumstances, which simply demanded one fundamental action. Rather than rebuilding or renovating the Castillo de La Luz (“castle of light”), we merely emptied it, revealing its concealed past, now transformed into a space filled with light -as if paying tribute to its name- by means of an architecture that displays itself and its own history.
#Spain, #museum , #interior_design , #tower , #castle , #corten , #prize , #lighting , #park , #landmark
@revitalization
Castillo De La Luz Museum / Nieto Sobejano Arquitectos
MUSEUM
•
LAS PALMAS DE GRAN CANARIA, SPAIN
Architects: Nieto Sobejano Arquitectos
Year: 2013
Client: Ministry of Public Works of Spain
Property: Municipality of Las Palmas de Gran Canaria
Project Architect: Pedro Quero, Alexandra Sobral
Collaborators: Carlos Ballesteros, lago Blanco, Mauro Herrero, Juan Carlos Redondo
Site Management: Nieto Sobejano Arquitectos, S.L.P., Fuensanta Nieto – Enrique Sobejano, Miguel Mesas Izquierdo, José Mena, Edward Lynch, Aparejadores
Structures: N.B.35, S.L.
Facilities: Aguilera Ingenieros, S.A.
Models: Nieto Sobejano Arquitectos, S.L.P.
Project Date: 2000 (1st Phase) , 2006 (2nd Phase)
Construction: 2003-2004 (1st Phase), 2006-2013 (2nd Phase)
Construction Company: Dragados, S.A. (1st Phase), Trycsa_Técnicas de la Restauración y Construcciones, S.A. (2nd Phase)
Prize: Mention Prize Arquitectura Española 2015. CSCAE
The first governor of the Canary Islands ordered the construction of a tower at the end of the fifteenth century, and when it was extended a few years later, the space located between the tower and the new perimeter walls was filled with earth to increase the building’s strength and resistance. That purely defensive need would become the structuring argument of our architectural proposal for the Castillo de La Luz. Located in La Isleta, the isthmus at which the Castilian ships protecting the city arrived, it concealed those primitive walls originally beaten by the sea. The passage of time affected not only its initial use and preservation, but also the conditions of its closest environment: the old coastal fortress that was wrapped by the water during high tide became gradually surrounded by the structures of the port and the growing city of Las Palmas. After being involved in battles at the end of the sixteenth century -in which the city was plundered, burnt, and rebuilt- the fortress retained its military role but gradually declined, reaching the twentieth century in a state of ruin. In the 1960s, however, it was partially reconstructed to become an exhibition gallery.
When undertaking the project to build in the historic castle, which was to be transformed into a new exhibition space equipped with the installations appropriate to a contemporary museum, we decided to begin with a close reading of the circumstances of its past. If, for five centuries, the space between the outer walls and the original tower had remained hidden, filled with earth, our task essentially consisted in emptying it and recovering the view of the primitive fortress, transformed now into the protagonist of the new museum. Where once there was only hardpan, a space up to now concealed from view, a void emerged, covered with a white concrete slab that is separated from the stone walls of the old tower to let natural light pass through narrow skylights. On the exterior, a recently built, fake perimeter pit has been dismantled to free up a vast surface of the terrain on the original, ground level of the fortress, revealing its full dimensions. A new, partially buried pavilion adds complementary spaces for the museum: access, shop, restrooms, storage, and multipurpose hall. A thin horizontal platform that barely emerges from the terrain will be the only visible trace of an intervention that aims at going unnoticed adjacent to the building it serves and complements.
Any contemporary intervention in historical heritage generates a difficult relationship. On occasions like this one it becomes the expression of a direct and clear response to the apparently insignificant circumstances, which simply demanded one fundamental action. Rather than rebuilding or renovating the Castillo de La Luz (“castle of light”), we merely emptied it, revealing its concealed past, now transformed into a space filled with light -as if paying tribute to its name- by means of an architecture that displays itself and its own history.
#Spain, #museum , #interior_design , #tower , #castle , #corten , #prize , #lighting , #park , #landmark
@revitalization
NO.136
The Museum Hotel Antakya / EAA – Emre Arolat Architecture
HOTELS, MUSEUM
•
ANTAKYA, TURKEY
• Architects: EAA - Emre Arolat Architecture
• Area: 34000 m²
• Year: 2019
• Manufacturers: AutoDesk, KEIM, Reynaers Aluminium, Häfele, Jotun, Vitra, SISECAM, Trimble
• Structural Engineering : Nodus Engineering
• Mechanical Engineering: Termomek Eng. & Besa Mech. Eng
• Electrical Engineering: HB Teknik Company
• Infrastructure: Proses Eng.
• Landscape: DS Architecture
• Façade Consultant: Axis Façade Istanbul,
• Wind Load Consultant : Alkazar Engineering & Consultancy,
• Acoustic : Danyal Karagozloglu
• Lighting : Studio Lighting Design
• Fire Consultant: Mustafa Ozgunler & Karina Design Services
• Building Survey, Documentation & Preservation Project Coordination : DS Architecture, M Project Architecture
• 3 D Scan Photogrammetric Documentation: Arc Tron GmbH
Perched Over 2,000-Year-Old Roman Mosaics and Ruins, This Hotel Takes a Bold Approach to Historic Preservation
Text description provided by the architects. Situated nearby the Saint Peter’s Church on Mount Starius in Antakya, that is claimed to have housed the first Christian congregation, the 199-room hotel is erected on a site of archaeological findings dating back to antiquity. The Museum Hotel Antakya pays homage to the amazing mosaics, baths, piazzas discovered during the first drills of the site and draws on the tensioned relationship of Archaeology and Architecture by intertwining the ancient and the modern.
An understanding of the unique context was a vital part of this project; becoming familiar with archaeological preservation, re-interpreting the architectural program of the -hotel typology- and making use of the modular building expertise made it possible to design a building that would fit within this place and to receive the approval of the Heritage Committee.
The structure and above all, the points of the structure were adapted according to the specific nods on the site where archaeological layers were washed off by a former riverbed. There are 66 composite columns, 120 cm in diameter, all interconnected into a steel grid to lift the rooms and common areas of the hotel off the ground.
The building can be considered at four different layers; the first being an open-air museum parkour at a level closest to the findings, the second the common public areas of the hotel; the lobby and the restaurant hovering over a scenery of the archaeological findings.
The third level is a cluster of prefab modules of hotel rooms and an open-air circulation which keeps the eye of the beholder on the exquisite landscape of mosaics all the time. Lastly, the canopy, which while protecting everything underneath, forms the ground for the Ballroom, Spa, Meeting Rooms and a Specialty Restaurant planned as pavilions and accompanied by tree filled courtyards as open communal areas with strong ties to the local context.
Taking inspiration from Antakya’s local history the project sought to meet two main objectives; one was to represent the amazing layers of civilizations in a way unprecedented; composed with the function of a hotel and the second was to make use of modern technologies along with more traditional materials in the interiors.
The building has a highly efficient passive ventilation system which eliminated the need for mechanical air conditioning in the circulation. Thanks to the omittance of the outer facade, air circulates freely between the footpaths and the rooms. The glass protective wall at the ground level was designed to harness the local prevailing winds and dust, keeping the archaeological findings safe.
#Turkey, #historic_site #museum , #hotel , #archeology , #ruin , #conservation, #extension , #excavation , #lighting , #interior_design , #mosaic
The Museum Hotel Antakya / EAA – Emre Arolat Architecture
HOTELS, MUSEUM
•
ANTAKYA, TURKEY
• Architects: EAA - Emre Arolat Architecture
• Area: 34000 m²
• Year: 2019
• Manufacturers: AutoDesk, KEIM, Reynaers Aluminium, Häfele, Jotun, Vitra, SISECAM, Trimble
• Structural Engineering : Nodus Engineering
• Mechanical Engineering: Termomek Eng. & Besa Mech. Eng
• Electrical Engineering: HB Teknik Company
• Infrastructure: Proses Eng.
• Landscape: DS Architecture
• Façade Consultant: Axis Façade Istanbul,
• Wind Load Consultant : Alkazar Engineering & Consultancy,
• Acoustic : Danyal Karagozloglu
• Lighting : Studio Lighting Design
• Fire Consultant: Mustafa Ozgunler & Karina Design Services
• Building Survey, Documentation & Preservation Project Coordination : DS Architecture, M Project Architecture
• 3 D Scan Photogrammetric Documentation: Arc Tron GmbH
Perched Over 2,000-Year-Old Roman Mosaics and Ruins, This Hotel Takes a Bold Approach to Historic Preservation
Text description provided by the architects. Situated nearby the Saint Peter’s Church on Mount Starius in Antakya, that is claimed to have housed the first Christian congregation, the 199-room hotel is erected on a site of archaeological findings dating back to antiquity. The Museum Hotel Antakya pays homage to the amazing mosaics, baths, piazzas discovered during the first drills of the site and draws on the tensioned relationship of Archaeology and Architecture by intertwining the ancient and the modern.
An understanding of the unique context was a vital part of this project; becoming familiar with archaeological preservation, re-interpreting the architectural program of the -hotel typology- and making use of the modular building expertise made it possible to design a building that would fit within this place and to receive the approval of the Heritage Committee.
The structure and above all, the points of the structure were adapted according to the specific nods on the site where archaeological layers were washed off by a former riverbed. There are 66 composite columns, 120 cm in diameter, all interconnected into a steel grid to lift the rooms and common areas of the hotel off the ground.
The building can be considered at four different layers; the first being an open-air museum parkour at a level closest to the findings, the second the common public areas of the hotel; the lobby and the restaurant hovering over a scenery of the archaeological findings.
The third level is a cluster of prefab modules of hotel rooms and an open-air circulation which keeps the eye of the beholder on the exquisite landscape of mosaics all the time. Lastly, the canopy, which while protecting everything underneath, forms the ground for the Ballroom, Spa, Meeting Rooms and a Specialty Restaurant planned as pavilions and accompanied by tree filled courtyards as open communal areas with strong ties to the local context.
Taking inspiration from Antakya’s local history the project sought to meet two main objectives; one was to represent the amazing layers of civilizations in a way unprecedented; composed with the function of a hotel and the second was to make use of modern technologies along with more traditional materials in the interiors.
The building has a highly efficient passive ventilation system which eliminated the need for mechanical air conditioning in the circulation. Thanks to the omittance of the outer facade, air circulates freely between the footpaths and the rooms. The glass protective wall at the ground level was designed to harness the local prevailing winds and dust, keeping the archaeological findings safe.
#Turkey, #historic_site #museum , #hotel , #archeology , #ruin , #conservation, #extension , #excavation , #lighting , #interior_design , #mosaic
The new intervention in the Moritzburg Castle aims at protecting the ruins that have represented it for centuries. It does so by keeping the existing building intact, and superimposing a light structure that evokes the works displayed inside. The works of Caspar David Friedrich, El Lissitzky, Edvard Munch, and Klee from the original collection are now accompanied by those of Kirchner, Erich Heckel, and Emil Nolde, donated by Hermann Gerlinger, the owner of one of the most valuable private collections devoted to the Expressionist group Die Brücke, whose presence in the new halls of the museum compensates, in a sense, for the looting that occurred during Nazism and World War II. The pictures of the exhibition are thus incorporated into the new expansion, where, in our imagination, the museum’s architecture, its history, and its contents all merge into a circular process. It is a strange feeling that, since the project’s completion, makes us pause whenever we have returned to visit the castle.
#Germany , #castle, #ruin, #museum , #roof , #lighting ,#interior_design , #palace, #extention
@revitalization
#Germany , #castle, #ruin, #museum , #roof , #lighting ,#interior_design , #palace, #extention
@revitalization
NO.142
The Armenian ethnographic museum of new Julfa / Norvik Abkarian, Sara Jaberi, Adib Iravani/ 2019
Name: The Armenian ethnographic museum of new Julfa/
Location: Vank Cathedral, New Jolfa district, Isfahan, Iran/
Architects: Norvik Abkarian, Sara Jaberi, Adib Iravani/
Design team: Vanand Isaghoolian/
Detail Design: Vazrik Melkonian
Environmental graphic design: Ali Gorjian Jolfaee/
Environmental graphic design team: Ramtin Mir Mohammad Sadeghi, Vergineh Mirzakhanian/
Graphic: ADD Studios/
Date: 2018-2019/
Built area: 300 sqm/
Type: Renovation, Cultural, Museum/
Project manager: Norvik Abkarian/
Consultant: Ali Sheikholeslam/
Construction: Poria Shafiee/
Supervision: Norvik Abkarian, Sara Jaberi/
Client: Diocesan Council of the Armenians in Isfahan/
Credit: Finalist in Memar Award, renovation category, 2019/
The Armenian anthropology museum of Isfahan is curated to showcase the culture and life-style of the Armenians from the time of their immigration to Isfahan (1604) until today. Vank Cathedral is one of the most historical churches in Iran, located in Isfahan, New Jolfa. Which was completed in 1664.
Space recognition
Therefore, according to the main idea of design, slight reformation was undertaken in the structure of the historical building to boost the connection between the visitors and the objects in museum. New organization to gain decent circulation Hence, a linear circulation was consid-ered to show the chronological order of Armenian's immigration and the various aspects of their lives including their scientific and industrial influences and developments.
Slight reformation, object oriented design.
To reach this goal, glass boxes with metal profiles were used and environmental graphic in-cluding lighting, spatial proportion and color were applied to the details of each object.
نام: موزه مردم شناسی ارامنه جلفای اصفهان/
آدرس: کلیسای وانک، جلفا، اصفهان/
معماران: نورویک آبکاریان، سارا جابری، ادیب ایروانی/
همکار طراحی: واناند عیسی قلیان
طراح فنی: وازریک ملکنیان
مشاور طرح: علی شیخ الاسلام
تاریخ: شهریور ۱۳۹۷-خرداد ۱۳۹۸
مساحت: ۳۰۰ مترمربع/
نوع: بازسازی، موزه، فرهنگی
کاربری قبلی: انبار، ساختمان اداری، بدون استفاده
سازه بنای موجود: خشت و گل /
مدیر اجرایی: پوریا شفیعی
ناظر معماری: نورویک آبکاریان، سارا جابری
طراح گرافیک محیطی: علی گرجیان جلفایی
همکاران طراحی گرافیک محیطی: رامتین میرمحمد صادقی، ورگینه میرزاخانیان
گرافیک: استودیوهای هَم افزا [استودیو اَد]
مدیر پروژه: نورویک آبکاریان
اعتبار: فینالیست جایزه معمار در بخش بازسازی، ۱۳۹۸/
کارفرما: شورای خلیفه گری ارامنه اصفهان/
ایدهی طراحی موزه مردم شناسی ارامنه اصفهان از وجود نیاز به آشنایی مردم اصفهان و گردشگران از فرهنگ و نوع زندگی ارامنه (از زمان مهاجرت تا به امروز) آغاز شد. به این منظور با موافقت شورای خلیفهگری ارامنه، بخشی از کلیسای وانک که شامل انبار و فضای خالی و بدون استفاده بود به منظور بازسازی انتخاب شد و با جابجایی و سازماندهی جدید به سیرکولاسیونی خطی با یک جهت طراحی شد که متناسب با سناریو چیدمان، (که از بدو مهاجرت ارامنه جلفا و نشان دادن کل دارایی آنها که زمین و آب بود، شروع و با نمایش تأثیرگذاری و پیشرفت و تجارت ادامه یافت و به نوع زندگی آنها در خانواده و مذهب رسید) انجام شد. در طراحی، ایدهی اصلی، دخالت حداقلی در بنای تاریخی و ایجاد حداکثر ارتباط نزدیک و تا حد ممکن فیزیکی با اشیا بود. برای رسیدن به این هدف، کانسپت طراحی اضافه کردن باکسهایی شیشه ای با پروفیل فلزی در نظر گرفته شد که بر اساس نیاز هر بخش، طراحی جزئیات آن اعم از تناسبات، رنگ، نورپردازی و گرافیک محیطی انجام شد.
در این موزه مردم شناسی، فرهنگ، آداب و رسوم، لباس و وسایل زندگی همچنین تجارت ساکنان محله ارمنینشین جلفای اصفهان به نمایش گذاشته شده است.
محدوده مداخلات
با توجه به قدمت بنا، دخل و تصرف ها باید قابل حذف و برگشت پذیر باشد.
#Iran , #church, #museum, #ethnography, #lighting ,#interior_design , #graphic_design , #typography
@revitalization
The Armenian ethnographic museum of new Julfa / Norvik Abkarian, Sara Jaberi, Adib Iravani/ 2019
Name: The Armenian ethnographic museum of new Julfa/
Location: Vank Cathedral, New Jolfa district, Isfahan, Iran/
Architects: Norvik Abkarian, Sara Jaberi, Adib Iravani/
Design team: Vanand Isaghoolian/
Detail Design: Vazrik Melkonian
Environmental graphic design: Ali Gorjian Jolfaee/
Environmental graphic design team: Ramtin Mir Mohammad Sadeghi, Vergineh Mirzakhanian/
Graphic: ADD Studios/
Date: 2018-2019/
Built area: 300 sqm/
Type: Renovation, Cultural, Museum/
Project manager: Norvik Abkarian/
Consultant: Ali Sheikholeslam/
Construction: Poria Shafiee/
Supervision: Norvik Abkarian, Sara Jaberi/
Client: Diocesan Council of the Armenians in Isfahan/
Credit: Finalist in Memar Award, renovation category, 2019/
The Armenian anthropology museum of Isfahan is curated to showcase the culture and life-style of the Armenians from the time of their immigration to Isfahan (1604) until today. Vank Cathedral is one of the most historical churches in Iran, located in Isfahan, New Jolfa. Which was completed in 1664.
Space recognition
Therefore, according to the main idea of design, slight reformation was undertaken in the structure of the historical building to boost the connection between the visitors and the objects in museum. New organization to gain decent circulation Hence, a linear circulation was consid-ered to show the chronological order of Armenian's immigration and the various aspects of their lives including their scientific and industrial influences and developments.
Slight reformation, object oriented design.
To reach this goal, glass boxes with metal profiles were used and environmental graphic in-cluding lighting, spatial proportion and color were applied to the details of each object.
نام: موزه مردم شناسی ارامنه جلفای اصفهان/
آدرس: کلیسای وانک، جلفا، اصفهان/
معماران: نورویک آبکاریان، سارا جابری، ادیب ایروانی/
همکار طراحی: واناند عیسی قلیان
طراح فنی: وازریک ملکنیان
مشاور طرح: علی شیخ الاسلام
تاریخ: شهریور ۱۳۹۷-خرداد ۱۳۹۸
مساحت: ۳۰۰ مترمربع/
نوع: بازسازی، موزه، فرهنگی
کاربری قبلی: انبار، ساختمان اداری، بدون استفاده
سازه بنای موجود: خشت و گل /
مدیر اجرایی: پوریا شفیعی
ناظر معماری: نورویک آبکاریان، سارا جابری
طراح گرافیک محیطی: علی گرجیان جلفایی
همکاران طراحی گرافیک محیطی: رامتین میرمحمد صادقی، ورگینه میرزاخانیان
گرافیک: استودیوهای هَم افزا [استودیو اَد]
مدیر پروژه: نورویک آبکاریان
اعتبار: فینالیست جایزه معمار در بخش بازسازی، ۱۳۹۸/
کارفرما: شورای خلیفه گری ارامنه اصفهان/
ایدهی طراحی موزه مردم شناسی ارامنه اصفهان از وجود نیاز به آشنایی مردم اصفهان و گردشگران از فرهنگ و نوع زندگی ارامنه (از زمان مهاجرت تا به امروز) آغاز شد. به این منظور با موافقت شورای خلیفهگری ارامنه، بخشی از کلیسای وانک که شامل انبار و فضای خالی و بدون استفاده بود به منظور بازسازی انتخاب شد و با جابجایی و سازماندهی جدید به سیرکولاسیونی خطی با یک جهت طراحی شد که متناسب با سناریو چیدمان، (که از بدو مهاجرت ارامنه جلفا و نشان دادن کل دارایی آنها که زمین و آب بود، شروع و با نمایش تأثیرگذاری و پیشرفت و تجارت ادامه یافت و به نوع زندگی آنها در خانواده و مذهب رسید) انجام شد. در طراحی، ایدهی اصلی، دخالت حداقلی در بنای تاریخی و ایجاد حداکثر ارتباط نزدیک و تا حد ممکن فیزیکی با اشیا بود. برای رسیدن به این هدف، کانسپت طراحی اضافه کردن باکسهایی شیشه ای با پروفیل فلزی در نظر گرفته شد که بر اساس نیاز هر بخش، طراحی جزئیات آن اعم از تناسبات، رنگ، نورپردازی و گرافیک محیطی انجام شد.
در این موزه مردم شناسی، فرهنگ، آداب و رسوم، لباس و وسایل زندگی همچنین تجارت ساکنان محله ارمنینشین جلفای اصفهان به نمایش گذاشته شده است.
محدوده مداخلات
با توجه به قدمت بنا، دخل و تصرف ها باید قابل حذف و برگشت پذیر باشد.
#Iran , #church, #museum, #ethnography, #lighting ,#interior_design , #graphic_design , #typography
@revitalization
NO.144
Champollion Museum- The Scriptures of the World
Musée Champollion - Les écritures du monde / Agence Moatti et Rivière
Description
Restoration and reconversion of a 14th century building.
Creation of permanent and temporary exhibition rooms.
Location: Figeac, France
Competition: winning project, October 2001
Year completed: 2007 (Year began 2005)
Studios: Agence Moatti et Rivière
Authors: Alain Moatti (1957 France); Henri Rivière (1965 France)
Collaborators
Project architect: Val de Vincelles Graphic design: Pierre di Sciullo Collaborator (external): Pascal Payeur, Fr Rat Engineering: Betom Toulouse Lighting: Fran Gaunand Façades: Concepta Furniture: Goppion Construction company: MGE Interiors: Goubie Others: Etandex Construction: Sotraco
Map: LatLng: (44.609741, 2.034501)
Area: 1,300 m2 HON.
Cost: 4.1 million euros excluding tax.
Project management: City of Figeac (Lot)
Typographic Moucharaby
The museum is housed in three buildings in the heritage area of the old town and articulates three themes: signify the activities of writing and deciphering texts in urban space, take part in public space, extend the history of these places.
The screen façade on place Champollion enables identification of the museum: it is a meta-phor of writing and deciphering. The old stone façade ensures continuity with the urban fabric and houses of Figeac. The screen façade is set back from the alignment and designed as a composition in glass and copper animated by alphabets. This is the polyglot typographic moucharabieh.
Between these two façades are loggias open to the public, and high up, the soleilo, a feature borrowed from the vernacular architecture of the Figeac region. The depth of the façade forms a public transition space between square and museum.
The façade reflects a blend of artisan and industrial processes.
It expresses poetic modernity inspired by living vibrating light - light that breathes and measures time. Luminous and mysterious by day, at night it is part of the lights of the town.
The façade is composed of a sheet of copper laid over a polymer film. Layered glass carries the copper sheet and film between two separating sheets of PVB.
Graphic artist designed the overall composition of this façade; he etched each letter so that it appears in positive on the copper sheet.
The world famous egyptologist Jean-François Champollion (1790-1832) was born in Figeac; he is the tutelary figure of this museum.
From the origins of writing to the new territories of telematic networks, the museographic itin-erary proposes several modes of entrance: graphics (the design and creation of signs, their evolution, the role of the support, handwriting, composition) ; systems and grammars (the con-struction of words and sentences, the relationship to language, phonetics); and usages (func-tions and power of writing, civilizations and society).
#France , #museum, #house, #lighting ,#interior_design , #typography , #cultural_center, #graphic_design
@revitalization
Champollion Museum- The Scriptures of the World
Musée Champollion - Les écritures du monde / Agence Moatti et Rivière
Description
Restoration and reconversion of a 14th century building.
Creation of permanent and temporary exhibition rooms.
Location: Figeac, France
Competition: winning project, October 2001
Year completed: 2007 (Year began 2005)
Studios: Agence Moatti et Rivière
Authors: Alain Moatti (1957 France); Henri Rivière (1965 France)
Collaborators
Project architect: Val de Vincelles Graphic design: Pierre di Sciullo Collaborator (external): Pascal Payeur, Fr Rat Engineering: Betom Toulouse Lighting: Fran Gaunand Façades: Concepta Furniture: Goppion Construction company: MGE Interiors: Goubie Others: Etandex Construction: Sotraco
Map: LatLng: (44.609741, 2.034501)
Area: 1,300 m2 HON.
Cost: 4.1 million euros excluding tax.
Project management: City of Figeac (Lot)
Typographic Moucharaby
The museum is housed in three buildings in the heritage area of the old town and articulates three themes: signify the activities of writing and deciphering texts in urban space, take part in public space, extend the history of these places.
The screen façade on place Champollion enables identification of the museum: it is a meta-phor of writing and deciphering. The old stone façade ensures continuity with the urban fabric and houses of Figeac. The screen façade is set back from the alignment and designed as a composition in glass and copper animated by alphabets. This is the polyglot typographic moucharabieh.
Between these two façades are loggias open to the public, and high up, the soleilo, a feature borrowed from the vernacular architecture of the Figeac region. The depth of the façade forms a public transition space between square and museum.
The façade reflects a blend of artisan and industrial processes.
It expresses poetic modernity inspired by living vibrating light - light that breathes and measures time. Luminous and mysterious by day, at night it is part of the lights of the town.
The façade is composed of a sheet of copper laid over a polymer film. Layered glass carries the copper sheet and film between two separating sheets of PVB.
Graphic artist designed the overall composition of this façade; he etched each letter so that it appears in positive on the copper sheet.
The world famous egyptologist Jean-François Champollion (1790-1832) was born in Figeac; he is the tutelary figure of this museum.
From the origins of writing to the new territories of telematic networks, the museographic itin-erary proposes several modes of entrance: graphics (the design and creation of signs, their evolution, the role of the support, handwriting, composition) ; systems and grammars (the con-struction of words and sentences, the relationship to language, phonetics); and usages (func-tions and power of writing, civilizations and society).
#France , #museum, #house, #lighting ,#interior_design , #typography , #cultural_center, #graphic_design
@revitalization
BOOK
French Museum Architecture
Published on Feb 11, 2013
Museum design
https://issuu.com/kevinchoy/docs/french_museum_architecture_full/6
#book #ebook #museum
@revitalization
French Museum Architecture
Published on Feb 11, 2013
Museum design
https://issuu.com/kevinchoy/docs/french_museum_architecture_full/6
#book #ebook #museum
@revitalization
Issuu
French Museum Architecture
Museum design
NO.147
Castello di Rivoli-Castle of Rivoli - MUSEUM OF CONTEMPORARY ART
/ Andrea Bruno
LOCATION: Turin, Rivoli - ITALY
ARCHITECT: Andrea Bruno
Year: 1984
PROPERTY: Common Of Rivoli
DEALER / CONTRACT: "Rivoli Castle - Museum Of Contemporary Art" Cultural Association
CategoryConcessionaires / Assignees Of Public Cultural Goods Or Institutes And Places Of Culture Belonging To The Public (Ex Resolutions / Interpelli AE)
Museum of Contemporary Art
Between past, present and future
Starting out in the 11th century as a military stronghold, the Castle of Rivoli is now home to the Museum of Contemporary Art which has a prestigious permanent collection and occasional major exhibitions in an original historical and architectural context.
Owned by the Savoy since 1247, the castle was the first court of the Duchy of Savoy. In the 1600s it was transformed into courtly residence by Carlo and Amedeo di Castellamonte. The complex also gained the "Manica Lunga", the art gallery of dukes, more than 140 metres long.
In the 1700s, Victor Amadeus II commissioned Juvarra to produce a grandiose rebuilding project, works that were never to be concluded. The incompletion of the construction, emphasised by the restora-tion by Andrea Bruno in 1980s, has created an evocative line of continuity extending from the past, to the present and future.
The first renovation works of the Castello di Rivoli were made by the young Turinese architect An-drea Bruno to mark the centenary of the Unification of Italy in 1961. Unfortunately, at that time the budget was only sufficient to repair structural damage. Some years later, in 1967, Bruno proceeded to demolish the decaying parts of the atrium built in the early 20th century. By 1978, the building was in terrible condition: water infiltration had damaged the walls, ceilings, frescos, and stuccos, causing the first collapses. This led the Region of Piedmont to pledge to take care of the building for 30 years, re-storing it and opening it to the public. The works started in 1979 and ended with the Museum’s inau-guration on 18 December 1984.
Bruno decided to keep the surviving historical traces, giving importance to all the moments in the Castle’s life, starting from the Juvarra building site, passing through Carlo Randoni’s work in the late 18th century, up until the interventions made by the military in the 20th century. Bruno avoided falsifi-cations and completions, respecting the original architecture, which became a true image of the histo-ry of the building and the vicissitudes of the structure. He preserved the internal and external decora-tions, stuccos and paintings damaged by the ravages of time and the carelessness of men.
To give visitors a sense of the Savoy residence, Bruno restored two rooms, one on the first floor made during the Juvarra’s period, and the second in the Duke of Aosta’s apartment. He enhanced the unfin-ished atrium, installed the panorama that juts out from the great brick wall of the Castle, and con-ceived the great suspended staircase, as well as the walkway over the great vault of room 18, putting the past and the present in dialogue. Some rooms have no decorations, while several are richly orna-mented with details that recall the splendours of the dynasty and important moments in Rivoli’s histo-ry.
Some time later, works started on the Manica Lunga, which was to become once again a space for ex-hibitions. Here, the staircases and the lift are external, and they have been made in steel and glass to allow visitors to observe the whole unfinished structure. Bruno used modern materials for the new structures, becoming a pioneer of reversibility, and again stressing the relationship between present and past. In Rivoli, the historic building and contemporary forms interact together, while the frescoes dialogue with the work of today’s artists.
#Italy, #castle ,#interior_design , #museum , #lighting , #gallery , #stair
@revitalization
Castello di Rivoli-Castle of Rivoli - MUSEUM OF CONTEMPORARY ART
/ Andrea Bruno
LOCATION: Turin, Rivoli - ITALY
ARCHITECT: Andrea Bruno
Year: 1984
PROPERTY: Common Of Rivoli
DEALER / CONTRACT: "Rivoli Castle - Museum Of Contemporary Art" Cultural Association
CategoryConcessionaires / Assignees Of Public Cultural Goods Or Institutes And Places Of Culture Belonging To The Public (Ex Resolutions / Interpelli AE)
Museum of Contemporary Art
Between past, present and future
Starting out in the 11th century as a military stronghold, the Castle of Rivoli is now home to the Museum of Contemporary Art which has a prestigious permanent collection and occasional major exhibitions in an original historical and architectural context.
Owned by the Savoy since 1247, the castle was the first court of the Duchy of Savoy. In the 1600s it was transformed into courtly residence by Carlo and Amedeo di Castellamonte. The complex also gained the "Manica Lunga", the art gallery of dukes, more than 140 metres long.
In the 1700s, Victor Amadeus II commissioned Juvarra to produce a grandiose rebuilding project, works that were never to be concluded. The incompletion of the construction, emphasised by the restora-tion by Andrea Bruno in 1980s, has created an evocative line of continuity extending from the past, to the present and future.
The first renovation works of the Castello di Rivoli were made by the young Turinese architect An-drea Bruno to mark the centenary of the Unification of Italy in 1961. Unfortunately, at that time the budget was only sufficient to repair structural damage. Some years later, in 1967, Bruno proceeded to demolish the decaying parts of the atrium built in the early 20th century. By 1978, the building was in terrible condition: water infiltration had damaged the walls, ceilings, frescos, and stuccos, causing the first collapses. This led the Region of Piedmont to pledge to take care of the building for 30 years, re-storing it and opening it to the public. The works started in 1979 and ended with the Museum’s inau-guration on 18 December 1984.
Bruno decided to keep the surviving historical traces, giving importance to all the moments in the Castle’s life, starting from the Juvarra building site, passing through Carlo Randoni’s work in the late 18th century, up until the interventions made by the military in the 20th century. Bruno avoided falsifi-cations and completions, respecting the original architecture, which became a true image of the histo-ry of the building and the vicissitudes of the structure. He preserved the internal and external decora-tions, stuccos and paintings damaged by the ravages of time and the carelessness of men.
To give visitors a sense of the Savoy residence, Bruno restored two rooms, one on the first floor made during the Juvarra’s period, and the second in the Duke of Aosta’s apartment. He enhanced the unfin-ished atrium, installed the panorama that juts out from the great brick wall of the Castle, and con-ceived the great suspended staircase, as well as the walkway over the great vault of room 18, putting the past and the present in dialogue. Some rooms have no decorations, while several are richly orna-mented with details that recall the splendours of the dynasty and important moments in Rivoli’s histo-ry.
Some time later, works started on the Manica Lunga, which was to become once again a space for ex-hibitions. Here, the staircases and the lift are external, and they have been made in steel and glass to allow visitors to observe the whole unfinished structure. Bruno used modern materials for the new structures, becoming a pioneer of reversibility, and again stressing the relationship between present and past. In Rivoli, the historic building and contemporary forms interact together, while the frescoes dialogue with the work of today’s artists.
#Italy, #castle ,#interior_design , #museum , #lighting , #gallery , #stair
@revitalization
This volume gives the character that the archaeological park demands, an absolute re-spect for the ancient work and a contemporary architecture that accompanies it to make it better. The result is a happy hybridization, A modern architecture justified by the ancient remains and at the same time some remains that grow in a brave and optimistic way with the architecture of the present.
Again, memory and contemporary cultural context.
#Spain , #protection , #ruin , #museum , #archeological_site , #lighting , #archeological_park
@revitalization
Again, memory and contemporary cultural context.
#Spain , #protection , #ruin , #museum , #archeological_site , #lighting , #archeological_park
@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
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.
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