The renewal of the building with unique historical value had a dual purpose: the reconstruction of the basically Baroque building with significant medieval parts from the 13th century and its several construction and extension periods during the centuries, by preserving their exciting material, structural and spatial imprints, and at the same time a revitalization that meets today’s demands. While mainly public functions will be implemented on the ground floor and in the basement (restaurant, bookstore, coin museum, etc.), the first floor and the attic provide space for educational and research rooms. Upstairs, the prestigious Baroque enfilade serves administrative, educational and representative functions, and the attic floor becomes the researchers’ workplace.
Covering the courtyards of the building can replace the hall-like space, which would be suitable for events and could play a ground floor-distribution role too. The main thesis of the roofing concept was to keep the courtyard-like feeling and to create them as a homogeneous character for the glass roof as possible. Integrating the courts into the interior had the clearly positive outcome of spatially completing the western court. Here the glazing of the arched openings could be removed, allowing for the return to the original state when the corridors around the court were used as an open „cloister.“ Now the cornices support the steel beams bearing the glass structure, and, in the plane of these beams, controllable white linen lamellas ensure both shading and the required homogeneity, while the channel of the custom-made steel beams conceals the space’s lighting so that is almost invisible during the day. It was an important aspect that the new structure above the cornices should integrate all functional needs, and „float“ over the historic structures as a unified and neutral contemporary element.
The building’s 300 years old Baroque roof was greatly damaged in World War II. Since more than half of it was bombed during World War II, it was necessary to create something new between the three original roof structure parts. In a strange way, the serious destruction of the war did not weaken but strengthened the collage-like nature of the building that developed over hundreds of years. Of course, the destroyed parts of the 300-year-old larch roof structure elements could not be complemented, so they were replaced with another – now contemporary – layer instead. Therefore, when walking in the attic, open Baroque spaces of larger ceiling height and exposed carpentry are alternating with homogeneous new spaces of lower ceiling height. The inhomogeneous solution applied in the roof space is close to the inhomogeneity that can be seen at any point of the building, resulting from the complex spatial nature of the different building periods. World War II damages became an integral, visible and readable part of the building’s history.
#Hungary , #public_space , #lighting , #stair , #awards, #courtyard , #hall
@revitalization
Covering the courtyards of the building can replace the hall-like space, which would be suitable for events and could play a ground floor-distribution role too. The main thesis of the roofing concept was to keep the courtyard-like feeling and to create them as a homogeneous character for the glass roof as possible. Integrating the courts into the interior had the clearly positive outcome of spatially completing the western court. Here the glazing of the arched openings could be removed, allowing for the return to the original state when the corridors around the court were used as an open „cloister.“ Now the cornices support the steel beams bearing the glass structure, and, in the plane of these beams, controllable white linen lamellas ensure both shading and the required homogeneity, while the channel of the custom-made steel beams conceals the space’s lighting so that is almost invisible during the day. It was an important aspect that the new structure above the cornices should integrate all functional needs, and „float“ over the historic structures as a unified and neutral contemporary element.
The building’s 300 years old Baroque roof was greatly damaged in World War II. Since more than half of it was bombed during World War II, it was necessary to create something new between the three original roof structure parts. In a strange way, the serious destruction of the war did not weaken but strengthened the collage-like nature of the building that developed over hundreds of years. Of course, the destroyed parts of the 300-year-old larch roof structure elements could not be complemented, so they were replaced with another – now contemporary – layer instead. Therefore, when walking in the attic, open Baroque spaces of larger ceiling height and exposed carpentry are alternating with homogeneous new spaces of lower ceiling height. The inhomogeneous solution applied in the roof space is close to the inhomogeneity that can be seen at any point of the building, resulting from the complex spatial nature of the different building periods. World War II damages became an integral, visible and readable part of the building’s history.
#Hungary , #public_space , #lighting , #stair , #awards, #courtyard , #hall
@revitalization
NO.91.
Empire Stores / S9 Architecture
CLIENT: Midtown Equities, HK Organization and Rockwood Capital.
SIZE: 450 000 SF.
LOCATION: Brooklyn, NY, US
.STATUS: Built 2017.
TEAM: Architects: S9 Architecture, Studio V.
Landscape Designer: Future Green Studio.
Structural Engineer: Robert Silman Associates.
MEP Engineer: Mottola Rini Engineers.
LEED Consultant: Spiezle Architectural Group.
Lighting Consultant: Tillotson Design Associates.
AWARDS: Urban Land Institute. Awards for Excellence in Development. 2018. NYC x Design On the Boards Awards. 2017.
For over 150 years, between the iconic Brooklyn and Manhattan Bridges on the Brooklyn waterfront, lay seven beautiful historic brick structures. These Civil-War-era structures were named after their use as coffee “stores” or storage warehouses, and for the epithet of a growing state: the Empire Stores.
Studio V's designs inject new life into the structures. The designs combine creative contemporary architecture with exacting historic rehabilitation, and combine overlapping uses with public spaces that reveal the inhabitants and historic structures. On top of the building’s extensive green roofs sit two-story glass and steel additions with gardens and terraces frame stunning views of the surrounding bridges. A glass and steel courtyard and passage slices through the historic structures, reconnecting the community cut off from its waterfront. The public passage reveals original sparkling schist walls, around which a spiraling steel and concrete staircase culminates in a public rooftop park revealing a stunning Manhattan Skyline. The unique design combines tech offices and public spaces with cultural and hospitality amenities to create a unique interface between work and play, public spaces and private commerce, that perfectly expresses the ethos of creative contemporary Brooklyn.
Designing an oxymoron isn’t easy: synthesizing old and new, honoring an industrial structure while reinventing it and preserving history while creating meaningful new designed to be representative of our time and culture. This is the design of Empire Stores: speaking to Brooklyn’s historic past, expressing its vibrant culture today, and pointing the way to its future.
1977
The New York Landmarks Preservation Commission designates Fulton Ferry as a historic district, protecting Empire Stores from demolition.
2013
After years of failed attempts to revitalize the deteriorating warehouse, Brooklyn Bridge Park and developers Midtown Equities announce plans for an adaptive reuse of Empire Stores. “All across the waterfront, we are reclaiming and renewing areas that have long been abandoned or neglected, and Empire Stores and the Tobacco Warehouse are the latest examples of that work,” said Mayor Michael Bloomberg at the time.
2017
Empire Stores opens to the public with 360,000 square feet of restaurant, retail, office, and event space. The building’s historic charm is preserved with original architectural details like the iconic brick masonry and iron-shuttered façade, schist stonewalling, and, as a nod to its heritage, coffee chutes, and hoisting wheels.
#USA , #public_space , #lighting , #stair , #awards, #courtyard , #industrial , #store , #office , #public_space , #restaurant , #interior_design
@revitalization
Empire Stores / S9 Architecture
CLIENT: Midtown Equities, HK Organization and Rockwood Capital.
SIZE: 450 000 SF.
LOCATION: Brooklyn, NY, US
.STATUS: Built 2017.
TEAM: Architects: S9 Architecture, Studio V.
Landscape Designer: Future Green Studio.
Structural Engineer: Robert Silman Associates.
MEP Engineer: Mottola Rini Engineers.
LEED Consultant: Spiezle Architectural Group.
Lighting Consultant: Tillotson Design Associates.
AWARDS: Urban Land Institute. Awards for Excellence in Development. 2018. NYC x Design On the Boards Awards. 2017.
For over 150 years, between the iconic Brooklyn and Manhattan Bridges on the Brooklyn waterfront, lay seven beautiful historic brick structures. These Civil-War-era structures were named after their use as coffee “stores” or storage warehouses, and for the epithet of a growing state: the Empire Stores.
Studio V's designs inject new life into the structures. The designs combine creative contemporary architecture with exacting historic rehabilitation, and combine overlapping uses with public spaces that reveal the inhabitants and historic structures. On top of the building’s extensive green roofs sit two-story glass and steel additions with gardens and terraces frame stunning views of the surrounding bridges. A glass and steel courtyard and passage slices through the historic structures, reconnecting the community cut off from its waterfront. The public passage reveals original sparkling schist walls, around which a spiraling steel and concrete staircase culminates in a public rooftop park revealing a stunning Manhattan Skyline. The unique design combines tech offices and public spaces with cultural and hospitality amenities to create a unique interface between work and play, public spaces and private commerce, that perfectly expresses the ethos of creative contemporary Brooklyn.
Designing an oxymoron isn’t easy: synthesizing old and new, honoring an industrial structure while reinventing it and preserving history while creating meaningful new designed to be representative of our time and culture. This is the design of Empire Stores: speaking to Brooklyn’s historic past, expressing its vibrant culture today, and pointing the way to its future.
1977
The New York Landmarks Preservation Commission designates Fulton Ferry as a historic district, protecting Empire Stores from demolition.
2013
After years of failed attempts to revitalize the deteriorating warehouse, Brooklyn Bridge Park and developers Midtown Equities announce plans for an adaptive reuse of Empire Stores. “All across the waterfront, we are reclaiming and renewing areas that have long been abandoned or neglected, and Empire Stores and the Tobacco Warehouse are the latest examples of that work,” said Mayor Michael Bloomberg at the time.
2017
Empire Stores opens to the public with 360,000 square feet of restaurant, retail, office, and event space. The building’s historic charm is preserved with original architectural details like the iconic brick masonry and iron-shuttered façade, schist stonewalling, and, as a nod to its heritage, coffee chutes, and hoisting wheels.
#USA , #public_space , #lighting , #stair , #awards, #courtyard , #industrial , #store , #office , #public_space , #restaurant , #interior_design
@revitalization
The first two spaces can go from being completely transparent boxes flooded with light, to closed spaces, thanks to the curtains that are hidden in the ceiling and walls. The end of the route reaches the third space, with walls and proportions of 12.40m x 12.40m x 8m, illuminated with indirect overhead light. Also located on this level, are the service areas, the cellar and a staircase to a fourth space on the second level, which functions as an archive. The ruins, converted into spaces of art and contemplation, are decorated with gardens of native rainforest vegetation representative of the country. Three trees of great size and age that were rescued, were transplanted to remain there as survivors.
#Colombia , #interior_design , #house , #public_space , #lighting , #cultural_center , #war_memorial
@revitalization
#Colombia , #interior_design , #house , #public_space , #lighting , #cultural_center , #war_memorial
@revitalization
Modern render and plaster coverings have been successfully removed from the stonework, with original granite flagstones carefully lifted and re-laid within the new ground floor exhibition space. Brick gable walls at high level have also been reinstated, based on historic records. The careful repair of historic fabric, combined with new, modern insertions, creates a new life to these characterful buildings while providing a valuable resource for the local community that can be accessed and enjoyed by visitors from Cornwall and beyond.
#UK , #interior_design , #library , #public_space , #lighting , #cultural_center , #archive , #fire , #incendie
@revitalization
#UK , #interior_design , #library , #public_space , #lighting , #cultural_center , #archive , #fire , #incendie
@revitalization
The second level is a children’s Discovery Centre, a single large bright room equipped with smart tables, robot building kits, and built-in feature walls with Lego, Lite Brite and magnets. In keeping with the mixing of old and new, a floating glass boardroom/ teaching space and a large exterior rooftop terrace and green roof overlook the river, and also provide up-close views of the heritage building, including its newly restored slate roof.
One of the greatest pleasures of the building is the attic Makerspace—an all-white space that soars to a peak, and is braced by an elegant arrangement of star-shaped steel trusses, now adapted to hold strips of lighting. Between these trusses the architects have created a fully-equipped studio outfitted with a laser cutter, 3D printers, soldering stations, vinyl cutters, irons, sewing machines, and wood and metal workshop tools. Visitors can gaze up into the clock tower through a glass ceiling, and see its weights and gears in action. An extended glazed parapet condition at the roof level discreetly houses its mechanicals.
As they updated the building for the present, the architects were also thinking about the future. Anticipating that a river walk will eventually follow the water’s edge, they clad the soffit of the cantilever with aluminum panels, polished with a mirror-like finish, heightening the building’s relationship with its surroundings, and giving future walkers a reason to look up.
Cambridge is a small city, but it has a rich architectural and library heritage that provides context for this project. The Old Post Office is just one of a wealth of historic brick and limestone buildings lining Water Street, including a stately brick Carnegie library, one of three built in the area. These nineteenth-century libraries used classical architecture to show the value placed on knowledge and ideas. With their reimagining of the Idea Exchange Old Post Office, juxtaposing brick and slate with glass and metal, RDHA has made the same statement in an updated architectural language, and shown the value in merging the historical with the contemporary. And while the Idea Exchange Old Post Office is bookless, the Idea Exchange Queen’s Square branch, with an extensive book collection, is only a short walk away.
#Canada , #interior_design , #office , #public_space , #landmark , #cultural_center , #library , #hub , #extention , #glass , #skylight
@revitalization
One of the greatest pleasures of the building is the attic Makerspace—an all-white space that soars to a peak, and is braced by an elegant arrangement of star-shaped steel trusses, now adapted to hold strips of lighting. Between these trusses the architects have created a fully-equipped studio outfitted with a laser cutter, 3D printers, soldering stations, vinyl cutters, irons, sewing machines, and wood and metal workshop tools. Visitors can gaze up into the clock tower through a glass ceiling, and see its weights and gears in action. An extended glazed parapet condition at the roof level discreetly houses its mechanicals.
As they updated the building for the present, the architects were also thinking about the future. Anticipating that a river walk will eventually follow the water’s edge, they clad the soffit of the cantilever with aluminum panels, polished with a mirror-like finish, heightening the building’s relationship with its surroundings, and giving future walkers a reason to look up.
Cambridge is a small city, but it has a rich architectural and library heritage that provides context for this project. The Old Post Office is just one of a wealth of historic brick and limestone buildings lining Water Street, including a stately brick Carnegie library, one of three built in the area. These nineteenth-century libraries used classical architecture to show the value placed on knowledge and ideas. With their reimagining of the Idea Exchange Old Post Office, juxtaposing brick and slate with glass and metal, RDHA has made the same statement in an updated architectural language, and shown the value in merging the historical with the contemporary. And while the Idea Exchange Old Post Office is bookless, the Idea Exchange Queen’s Square branch, with an extensive book collection, is only a short walk away.
#Canada , #interior_design , #office , #public_space , #landmark , #cultural_center , #library , #hub , #extention , #glass , #skylight
@revitalization
NO.99.
New Access to Gironella's Historic Center / Carles Enrich
URBAN DESIGN, INFRASTRUCTURE
•
GIRONELLA, SPAIN
• Architects: Carles Enrich
• Year:2015
• Collaborators: Adriana Campmany, Àngel Rosales, Ada Sánchez
• Structure: MA+SAad
• Budget: Jaume Morro
• Project Promoter: Servei de Patrimoni Arquitectònic Local. Diputació de Barcelona.
• Constructor: Solà Cardona
Text description provided by the architects. Gironella is a municipality that has grown, during the last decades, divided by the river Llobregat. Its historic centre is located on top of a 20 metres high hill on the right bank of the river, where the medieval castle, whose wall is declared a BCIN, was set.
Edging
The modern part of Gironella is placed on the other side of the river, next to the road linking Barcelona with Berga, favoured by a more flat topography, which has allowed an expanding urban growth.
Urban discontinuity.
The 20 metres vertical break between the old and new parts of the town has generated a social fracture. Over the years, the historic centre has been depopulated due to difficulties in accessibility. The narrow stepped streets that lead to the Vila Square represent a huge effort to the elderly and the little ones.
The proposal involves the insertion of a new access to the historic centre to enhance the urban connectivity between the two parts of the town, boosting the use of the old town and avoiding social exclusion.
Cal Metre path recovery.
Gironella’s river facade is formed by a series of medieval remains that mean an architectural and historic heritage for the town, just as so are the industrial colonies of the early twentieth century along the river.
Our proposal seeks to be integrated respectfully as a new layer in the historical memory of the place. We suggest the location of an elevator in a strategic point of Cal Metre path, through where people used to get to the textile industries.
The elevator will improve the accessibility to the old town but it will also be a trigger to recover the use of this ancient river passage offering new urban continuity with the Vila Square public space.
Materiality.
Our intention is to dialog with all these pre-existences, enhancing a relation with the textile industries and recognizing the green stratum as a public space.
To this end we solve the case of the elevator with 3 materials: steel, ceramic and glass.
Structure.
The steel structure is done entirely in a local workshop and it is moved to the work area in 4 tranches that are definitely placed in 4 different days. It consists of 80.8 tubular columns and 80.8 tubular rings placed every 1.5 metres. Some L 100 profiles welded to the rings allow holding the ceramic lattice sections.
Porosity.
A ceramic lattice made by holed bricks placed on their side faces covers the 16 upper metres.
The choice of this enclosure material responds, on the one hand, to its role as a solar filter offering at the same time porosity, light entrance and ventilation to the elevator case. On the other hand, it dematerializes the case by letting the light go across it provoking an appearance of lightness that contrasts with the opacity that it is shown in a farther point of view.
Visual contact.
The lattice closes three of the four sides of the structure. The inner face is left open allowing a visual relation with the stone wall during the entire journey.
The lower 8 metres of the case have a glazed enclosure. Its transparency ensures a close relation with Cal Metre river path and its trees, which create a magnificent shadow area that changes with the seasons.
To favour the relationship between the elevator and the activities that take place in the square, the elevators façade towards it is made of glass.
#Spain , #public_space , #landmark, #structure , #urban_design , #infrastructure , #elevator , #accessibility
@revitalization
New Access to Gironella's Historic Center / Carles Enrich
URBAN DESIGN, INFRASTRUCTURE
•
GIRONELLA, SPAIN
• Architects: Carles Enrich
• Year:2015
• Collaborators: Adriana Campmany, Àngel Rosales, Ada Sánchez
• Structure: MA+SAad
• Budget: Jaume Morro
• Project Promoter: Servei de Patrimoni Arquitectònic Local. Diputació de Barcelona.
• Constructor: Solà Cardona
Text description provided by the architects. Gironella is a municipality that has grown, during the last decades, divided by the river Llobregat. Its historic centre is located on top of a 20 metres high hill on the right bank of the river, where the medieval castle, whose wall is declared a BCIN, was set.
Edging
The modern part of Gironella is placed on the other side of the river, next to the road linking Barcelona with Berga, favoured by a more flat topography, which has allowed an expanding urban growth.
Urban discontinuity.
The 20 metres vertical break between the old and new parts of the town has generated a social fracture. Over the years, the historic centre has been depopulated due to difficulties in accessibility. The narrow stepped streets that lead to the Vila Square represent a huge effort to the elderly and the little ones.
The proposal involves the insertion of a new access to the historic centre to enhance the urban connectivity between the two parts of the town, boosting the use of the old town and avoiding social exclusion.
Cal Metre path recovery.
Gironella’s river facade is formed by a series of medieval remains that mean an architectural and historic heritage for the town, just as so are the industrial colonies of the early twentieth century along the river.
Our proposal seeks to be integrated respectfully as a new layer in the historical memory of the place. We suggest the location of an elevator in a strategic point of Cal Metre path, through where people used to get to the textile industries.
The elevator will improve the accessibility to the old town but it will also be a trigger to recover the use of this ancient river passage offering new urban continuity with the Vila Square public space.
Materiality.
Our intention is to dialog with all these pre-existences, enhancing a relation with the textile industries and recognizing the green stratum as a public space.
To this end we solve the case of the elevator with 3 materials: steel, ceramic and glass.
Structure.
The steel structure is done entirely in a local workshop and it is moved to the work area in 4 tranches that are definitely placed in 4 different days. It consists of 80.8 tubular columns and 80.8 tubular rings placed every 1.5 metres. Some L 100 profiles welded to the rings allow holding the ceramic lattice sections.
Porosity.
A ceramic lattice made by holed bricks placed on their side faces covers the 16 upper metres.
The choice of this enclosure material responds, on the one hand, to its role as a solar filter offering at the same time porosity, light entrance and ventilation to the elevator case. On the other hand, it dematerializes the case by letting the light go across it provoking an appearance of lightness that contrasts with the opacity that it is shown in a farther point of view.
Visual contact.
The lattice closes three of the four sides of the structure. The inner face is left open allowing a visual relation with the stone wall during the entire journey.
The lower 8 metres of the case have a glazed enclosure. Its transparency ensures a close relation with Cal Metre river path and its trees, which create a magnificent shadow area that changes with the seasons.
To favour the relationship between the elevator and the activities that take place in the square, the elevators façade towards it is made of glass.
#Spain , #public_space , #landmark, #structure , #urban_design , #infrastructure , #elevator , #accessibility
@revitalization
NO.100.
Ptuj Performance Center / ENOTA
MONASTERY, PTUJ, SLOVENIA
• Architects: ENOTA
• project Renovation of former Dominican Monastery to Performance Center
• type commercial
• year 2010
• status completed 2015
• size 3.527 m2
• budget 4.400.000 EUR
• client Ptuj Municipality
• location Ptuj, Slovenija
• coordinate 46°27'38"N 15°6'56"E
• project team Dean Lah, Milan Tomac, Polona Ruparčič, Andrej Oblak, Maruša Zupančič, Alja Černe, Tjaž Bauer, Petra Ostanek, Nuša Završnik Šilec, Nebojša Vertovšek
• collaborators Elea iC (structural engineering), Nom biro (mechanical services), Elsing (electrical planning)
• AWARDS
• East Centric Arhitext Awards, Regeneration, finalist Bucharest, Romania, 2016
• European Union Prize for Contemporary Architecture Mies van der Rohe Award, nomination Barcelona, Spain, 2015
• Piranesi Award, nomination Piran, Slovenia, 2014
• Golden Pencil Ljubljana, Slovenia, 2014
• Interior of the Year Ljubljana, Slovenia, 2014
• LEAF Awards, Refurbishment of the Year, shortlisted Dusseldorf, Germany, 2014
• Plečnik Medal Ljubljana, Slovenia, 2014
• Architizer A+ Awards, Architecture + Preservation, jury winner New York, USA, 2014
• Architizer A+ Awards, Architecture + Preservation, popular choice winner New York, USA, 2014
• Architizer A+ Awards, Theatres & Performing Arts Centers, finalist New York, USA, 2014
• AIT Award, Public Building Education, special mention Frankfurt, Germany, 2014
Ptuj Performance Center has been designed by ENOTA, transforming an 800-year-old Dominican monastery in Ptuj, Slovenia into a congress and cultural centre. The conservation and restoration work was taken in steps by the designers due to the extensive painted surfaces which were only partially uncovered and restored.
The new intervention is limited to the surfaces where no new archaeological finds were expected: the floor. Installing heating, ventilation, lighting and sound in the floor allowed the designers to contain the technology needed within the floor space while the walls remained intact. These walls will be restored once the building is already in use due to the demanding time needed to fully and accurately reinstate the surfaces.
Connecting spaces from a variety of historical periods was a challenge for ENOTA and so chose to connect the individual spaces with black concrete paving which is neutral enough as to not detract from the beauty of the restoration, yet contrasting enough to focus the eye on the parts of the building awaiting completion.
After the construction of added floors had been torn down, archaeological work revealed rich findings in the central section of the former Gothic church. The sepulchres, reredos, and the remains of the steps and flooring made from Roman gravestones will be presented "in situ". Above this section, the new floor is consequently raised in space, forming tiered stands for the visitors at the same time, and acting as a spatial partition between the reconstructed Baroque church and the remains of the Gothic building.
The path along the staircase towards the visitors' seats is thus a sequence of different spatial experiences:the first landing offers a view of the floor plan of the Gothic building; on the second landing, one can take a close look at the newly discovered details of the Mediaeval architecture; while at the end, towards the top, the view of the entire splendour of the Baroque nave gradually opens.
The contrast between the new floor and the historical substance of the erstwhile monastery is deliberately greatest in the black-on-white appearance of the main hall, referencing the famous black and white habit of the Dominican Order where the white is symbolic of innocence and black of modesty.
#Slovenia , #monastery , #metal , #accessibility , #performance_centre , #stair , #archeology , #interior_design , #lighting , #public_space , #cultural_center
@revitalization
Ptuj Performance Center / ENOTA
MONASTERY, PTUJ, SLOVENIA
• Architects: ENOTA
• project Renovation of former Dominican Monastery to Performance Center
• type commercial
• year 2010
• status completed 2015
• size 3.527 m2
• budget 4.400.000 EUR
• client Ptuj Municipality
• location Ptuj, Slovenija
• coordinate 46°27'38"N 15°6'56"E
• project team Dean Lah, Milan Tomac, Polona Ruparčič, Andrej Oblak, Maruša Zupančič, Alja Černe, Tjaž Bauer, Petra Ostanek, Nuša Završnik Šilec, Nebojša Vertovšek
• collaborators Elea iC (structural engineering), Nom biro (mechanical services), Elsing (electrical planning)
• AWARDS
• East Centric Arhitext Awards, Regeneration, finalist Bucharest, Romania, 2016
• European Union Prize for Contemporary Architecture Mies van der Rohe Award, nomination Barcelona, Spain, 2015
• Piranesi Award, nomination Piran, Slovenia, 2014
• Golden Pencil Ljubljana, Slovenia, 2014
• Interior of the Year Ljubljana, Slovenia, 2014
• LEAF Awards, Refurbishment of the Year, shortlisted Dusseldorf, Germany, 2014
• Plečnik Medal Ljubljana, Slovenia, 2014
• Architizer A+ Awards, Architecture + Preservation, jury winner New York, USA, 2014
• Architizer A+ Awards, Architecture + Preservation, popular choice winner New York, USA, 2014
• Architizer A+ Awards, Theatres & Performing Arts Centers, finalist New York, USA, 2014
• AIT Award, Public Building Education, special mention Frankfurt, Germany, 2014
Ptuj Performance Center has been designed by ENOTA, transforming an 800-year-old Dominican monastery in Ptuj, Slovenia into a congress and cultural centre. The conservation and restoration work was taken in steps by the designers due to the extensive painted surfaces which were only partially uncovered and restored.
The new intervention is limited to the surfaces where no new archaeological finds were expected: the floor. Installing heating, ventilation, lighting and sound in the floor allowed the designers to contain the technology needed within the floor space while the walls remained intact. These walls will be restored once the building is already in use due to the demanding time needed to fully and accurately reinstate the surfaces.
Connecting spaces from a variety of historical periods was a challenge for ENOTA and so chose to connect the individual spaces with black concrete paving which is neutral enough as to not detract from the beauty of the restoration, yet contrasting enough to focus the eye on the parts of the building awaiting completion.
After the construction of added floors had been torn down, archaeological work revealed rich findings in the central section of the former Gothic church. The sepulchres, reredos, and the remains of the steps and flooring made from Roman gravestones will be presented "in situ". Above this section, the new floor is consequently raised in space, forming tiered stands for the visitors at the same time, and acting as a spatial partition between the reconstructed Baroque church and the remains of the Gothic building.
The path along the staircase towards the visitors' seats is thus a sequence of different spatial experiences:the first landing offers a view of the floor plan of the Gothic building; on the second landing, one can take a close look at the newly discovered details of the Mediaeval architecture; while at the end, towards the top, the view of the entire splendour of the Baroque nave gradually opens.
The contrast between the new floor and the historical substance of the erstwhile monastery is deliberately greatest in the black-on-white appearance of the main hall, referencing the famous black and white habit of the Dominican Order where the white is symbolic of innocence and black of modesty.
#Slovenia , #monastery , #metal , #accessibility , #performance_centre , #stair , #archeology , #interior_design , #lighting , #public_space , #cultural_center
@revitalization
NO.101.
The Waterdog / Klaarchitectuur
OFFICES, ADAPTIVE REUSE, OFFICES INTERIORS
•
SINT-TRUIDEN, BELGIUM
• Architects: Klaarchitectuur
• Area:300.0 m²
• Year:2016
• Manufacturers: Flos, MDF Italia
Klaarchitectuur architectural firm recently moved from its practice in Heers to the 16th century chapel De Waterhond in Sint-Truiden. The protected monument underwent a thorough renovation and now combines the old character of the original building with the modern additions of architect Gregory Nijs. The four boxes stacked on top of each other, which serve, among other things, as an office and meeting room, are the biggest eye-catchers.
The chapel dates from the 16 th century. The original function of the building is not entirely clear. It is originally dated as a barn, but because of the luxurious details that the building has, some sources claim that it may have been a residential home. It's certain is that in the 19 e a choir was built centuries which made the building since then as a chapel.
Halfway through the 20th century, the chapel was transformed into a peace court, after which it also served as a music and drawing academy. Finally, a local theater group used the building as a rehearsal room. The building has been vacant for the past 50 years. It has changed ownership several times, but they have never implemented their plans for the building.
Due to the neglect of previous owners, much of the chapel has been lost. Yet the building now gives back the experience of the past. The original oak roof structure with the gate arch and its shingles are reminiscent of the barn. The decorative columns, the arched windows and the only arched vault in the choir remind us of the chapel. The necessary fresco drawings still give the building the sacred atmosphere of yesteryear.
The existing floor has been completely broken up to install floor heating. The original natural stones were then replaced in the original diagonal cross pattern. Because a large part of the old floor was already gone or broken, a parquet floor with a herringbone pattern was opted for in the choir room. In that room there is a kitchen block in brass, which together with the kitchen appliances processes the link to the altar in the form of a cross.
Furthermore, only the entrance door and the existing display case have been replaced and renewed. The old stained glass windows and the constructive outer shell of the building have not changed, which benefits the charm of the building. In the long term there are plans to restore the exterior facade.
The four sleek, stacked boxes on the right side of the building provide a pleasant contrast with the old character of the chapel and its open perception of the space. For architect Gregory Nijs it was a basic requirement to preserve the old feel of the building, but also to use the impressive height. Because comfort and space were needed for, among other things, the plumbing, a lift and office spaces, the idea arose from there to stack.
The stacking is arranged in a staggered manner, with the boxes standing over each other. A staircase complex around the boxes provides an extra experience. The terraces on every floor ensure a pleasant moment of rest. The inner space of the chapel is actually the outer space of the office.
The box on the ground floor contains the sanitary facilities, the elevator and the technical room. The first and second floors serve as office spaces. The reception and meeting room on the third floor is literally in the roof and offers a beautiful view of the oak trusses of the original roof structure, which extends floating beyond the roof.
Sustainability was also taken into account during the renovation work. The open part of the historic and also insulated building has underfloor heating on a condensing gas boiler. The insulated boxes, the work area of the architectural office, are equipped with a heat pump and with ventilation D.
#Belgium , #chapel , #extention , #stair , #interior_design , #lighting , #public_space , #office
@revitalization
The Waterdog / Klaarchitectuur
OFFICES, ADAPTIVE REUSE, OFFICES INTERIORS
•
SINT-TRUIDEN, BELGIUM
• Architects: Klaarchitectuur
• Area:300.0 m²
• Year:2016
• Manufacturers: Flos, MDF Italia
Klaarchitectuur architectural firm recently moved from its practice in Heers to the 16th century chapel De Waterhond in Sint-Truiden. The protected monument underwent a thorough renovation and now combines the old character of the original building with the modern additions of architect Gregory Nijs. The four boxes stacked on top of each other, which serve, among other things, as an office and meeting room, are the biggest eye-catchers.
The chapel dates from the 16 th century. The original function of the building is not entirely clear. It is originally dated as a barn, but because of the luxurious details that the building has, some sources claim that it may have been a residential home. It's certain is that in the 19 e a choir was built centuries which made the building since then as a chapel.
Halfway through the 20th century, the chapel was transformed into a peace court, after which it also served as a music and drawing academy. Finally, a local theater group used the building as a rehearsal room. The building has been vacant for the past 50 years. It has changed ownership several times, but they have never implemented their plans for the building.
Due to the neglect of previous owners, much of the chapel has been lost. Yet the building now gives back the experience of the past. The original oak roof structure with the gate arch and its shingles are reminiscent of the barn. The decorative columns, the arched windows and the only arched vault in the choir remind us of the chapel. The necessary fresco drawings still give the building the sacred atmosphere of yesteryear.
The existing floor has been completely broken up to install floor heating. The original natural stones were then replaced in the original diagonal cross pattern. Because a large part of the old floor was already gone or broken, a parquet floor with a herringbone pattern was opted for in the choir room. In that room there is a kitchen block in brass, which together with the kitchen appliances processes the link to the altar in the form of a cross.
Furthermore, only the entrance door and the existing display case have been replaced and renewed. The old stained glass windows and the constructive outer shell of the building have not changed, which benefits the charm of the building. In the long term there are plans to restore the exterior facade.
The four sleek, stacked boxes on the right side of the building provide a pleasant contrast with the old character of the chapel and its open perception of the space. For architect Gregory Nijs it was a basic requirement to preserve the old feel of the building, but also to use the impressive height. Because comfort and space were needed for, among other things, the plumbing, a lift and office spaces, the idea arose from there to stack.
The stacking is arranged in a staggered manner, with the boxes standing over each other. A staircase complex around the boxes provides an extra experience. The terraces on every floor ensure a pleasant moment of rest. The inner space of the chapel is actually the outer space of the office.
The box on the ground floor contains the sanitary facilities, the elevator and the technical room. The first and second floors serve as office spaces. The reception and meeting room on the third floor is literally in the roof and offers a beautiful view of the oak trusses of the original roof structure, which extends floating beyond the roof.
Sustainability was also taken into account during the renovation work. The open part of the historic and also insulated building has underfloor heating on a condensing gas boiler. The insulated boxes, the work area of the architectural office, are equipped with a heat pump and with ventilation D.
#Belgium , #chapel , #extention , #stair , #interior_design , #lighting , #public_space , #office
@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.
--------------
Text description provided by the architects. In the contemporary city, the museum long since ceased to be simply a place for storing exhibits, school trips and the “cultural leisure” of adults on their days off. It should be a full-fledged participant in urban life, able to compete on equal terms with parks, cinemas and restaurants. Museum Park is a pedestrian zone and public space that helps draw city dwellers into the Polytechnic Museum.
Following the concept by Jun’ya Ishigami the territory around the Polytechnic Museum was to be transformed into a Museum Park – a thoroughly designed public space, whose structure takes into account the needs of the Museum and its visitors, as well as intensive transport and pedestrian flows, and the requirements of the city authorities concerning streets and town squares.
A park-amphitheatre in front of the Museum - an open-air foyer that will become an extension of the spaces inside the building and will act as a prologue, while the inner space is under construction. It will be able to host events while uniting the new pedestrian zone in the building’s lower ground level with the outdoor area alongside Lubyanka Square, attracting pedestrians and providing them with a convenient and pleasant route into the Museum complex.
#Russia , #museum, #landscape , #extention , #lighting , #open_air , #park , #amphitheatre , #pedestrian , #public_space
@revitalization
Museum Park of The the Polytechnic Museum / Wowhaus
MOSCOW, RUSSIA
• Architects: Wowhaus
• Area: 14000.0 m²
• Design phase: 2015 – 2016
• Construction phase: 2017 – 2019
• Design Team: Mikhail Kozlov (senior project architect), Maria Khokhlova, Anastasia Rychkova, Anton Sevastyanov, Igor Yakovlev, Marina Yarmarkina, Denis Manshilin, Alyona Zaitseva, Margarita Leonova
• Clients: OAO MNIITEP, Polytechnic Museum Development Fund
• Landscape: Nature form studio
• Lightning: Ultimatum Group
Objective:
Following the concept by Junya Ishigami the territory around the Polytechnic Museum was to be transformed into a Museum Park – a thoroughly designed public space, whose structure takes into account the needs of the Museum and its visitors, as well as intensive transport and pedestrian flows, and the requirements of the city authorities concerning streets and town squares
Solution:
A park-amphitheatre in front of the Museum - an open-air foyer that will become an extension of the spaces inside the building and will act as a prologue, while the inner space is under construction. It will be able to host events while uniting the new pedestrian zone in the building’s lower ground level with the outdoor area alongside Lubyanka Square, attracting pedestrians and providing them with a convenient and pleasant route into the Museum complex.
--------------
Text description provided by the architects. In the contemporary city, the museum long since ceased to be simply a place for storing exhibits, school trips and the “cultural leisure” of adults on their days off. It should be a full-fledged participant in urban life, able to compete on equal terms with parks, cinemas and restaurants. Museum Park is a pedestrian zone and public space that helps draw city dwellers into the Polytechnic Museum.
Following the concept by Jun’ya Ishigami the territory around the Polytechnic Museum was to be transformed into a Museum Park – a thoroughly designed public space, whose structure takes into account the needs of the Museum and its visitors, as well as intensive transport and pedestrian flows, and the requirements of the city authorities concerning streets and town squares.
A park-amphitheatre in front of the Museum - an open-air foyer that will become an extension of the spaces inside the building and will act as a prologue, while the inner space is under construction. It will be able to host events while uniting the new pedestrian zone in the building’s lower ground level with the outdoor area alongside Lubyanka Square, attracting pedestrians and providing them with a convenient and pleasant route into the Museum complex.
#Russia , #museum, #landscape , #extention , #lighting , #open_air , #park , #amphitheatre , #pedestrian , #public_space
@revitalization
NO.129
Can Sau. Emergency Scener / unparelld’arquitectes
Consolidation and adaptation of a party wall in the center of Olot, SPAIN
• Architects: unparelld’arquitectes
• Area: 113.0 m²
• Year: 2019
• Manufacturers: Modern Masters, Rajoleria Llensa, Rixaab
• Lead Architect: Eduard Callís, Guillem Moliner
• Lead Artist: Quim Domene
• Design Team: Clàudia Calvet, Xevi Rodeja, Sara Palmada, Sergi Jiménez
• Client: Olot town hall
• Builder: Construo Construccions Generals
• Consultants: Amaia López, Structural designer
•
The Tura church, confined between narrow streets, gains a public space, presided by the blinded door of the previous temple of the XV century.
--------
unparelld’arquitectes has transformed a party wall in the old city center of olot, spain, with an inhabitable brick façade of three vaults and four niches. titled can sau emergency scenery, the intervention offers a new public space while consolidating the party wall and guaranteeing its waterproof qualities. the structure completes the four existing stepped buttresses it has been built upon, revealing in the background the traces of domestic activity marked on the party wall.
unparelld’arquitectes’ intervention occupies an urban void in the old city center of olot, created when half of can sau building was demolished for street alignment purposes. the empty lot is characterized by a party wall and four stepped buttresses that faced the side façade of the church of the patron saint of olot. ‘in the compact city, the façades take responsibility for giving shape and character to the street,’ explains the local architecture studio. as such, apart from guaranteeing the waterproof qualities of the party wall, the studio has transformed the abandoned lot into a public space where a porous façade offers the background for various cultural activities and social interactions.
using hollow bricks, unparelld’arquitectes built an emergency scenery that completes what the four existing buttresses suggest, revealing traces of domestic activity marked on the party wall. the construction comprises three vaults and four niches, accompanied by a minimum of stands. visual artist, quim domene, intervened a posteriori in the niches, with elements allegorical to the history of the neighborhood.
#Spain , #landscape , #wall , #lighting , #open_air, #demolition , #pedestrian , #public_space , #church , #lighting
@revitalization
Can Sau. Emergency Scener / unparelld’arquitectes
Consolidation and adaptation of a party wall in the center of Olot, SPAIN
• Architects: unparelld’arquitectes
• Area: 113.0 m²
• Year: 2019
• Manufacturers: Modern Masters, Rajoleria Llensa, Rixaab
• Lead Architect: Eduard Callís, Guillem Moliner
• Lead Artist: Quim Domene
• Design Team: Clàudia Calvet, Xevi Rodeja, Sara Palmada, Sergi Jiménez
• Client: Olot town hall
• Builder: Construo Construccions Generals
• Consultants: Amaia López, Structural designer
•
The Tura church, confined between narrow streets, gains a public space, presided by the blinded door of the previous temple of the XV century.
--------
unparelld’arquitectes has transformed a party wall in the old city center of olot, spain, with an inhabitable brick façade of three vaults and four niches. titled can sau emergency scenery, the intervention offers a new public space while consolidating the party wall and guaranteeing its waterproof qualities. the structure completes the four existing stepped buttresses it has been built upon, revealing in the background the traces of domestic activity marked on the party wall.
unparelld’arquitectes’ intervention occupies an urban void in the old city center of olot, created when half of can sau building was demolished for street alignment purposes. the empty lot is characterized by a party wall and four stepped buttresses that faced the side façade of the church of the patron saint of olot. ‘in the compact city, the façades take responsibility for giving shape and character to the street,’ explains the local architecture studio. as such, apart from guaranteeing the waterproof qualities of the party wall, the studio has transformed the abandoned lot into a public space where a porous façade offers the background for various cultural activities and social interactions.
using hollow bricks, unparelld’arquitectes built an emergency scenery that completes what the four existing buttresses suggest, revealing traces of domestic activity marked on the party wall. the construction comprises three vaults and four niches, accompanied by a minimum of stands. visual artist, quim domene, intervened a posteriori in the niches, with elements allegorical to the history of the neighborhood.
#Spain , #landscape , #wall , #lighting , #open_air, #demolition , #pedestrian , #public_space , #church , #lighting
@revitalization
NO.130
Recovery of Merola’s Tower / Carles Enrich Studio
RESTORATION, LANDMARKS & MONUMENTS
•
PUIG-REIG, SPAIN
• Arquitectos: Carles Enrich Studio
• Area: 40.0 m²
• Year: 2019
• Manufacturers: AutoDesk, Tallfusta
• Lead Architect: Carles Enrich Giménez
• Clients: Servei de Patrimoni Arquitectònic Local (Diputació de Barcelona) and Puig-reig Town Council
• Engineering: MASAad
• Landscaping: Carles Enrich Studio
• Collaborators: Brufau Cusó (executive supervision)
• Built Area Tower: 40 m2
• Built Area Environment: 160 m2
In the south of the municipality of Puig-reig stand the remains of the heritage site of the castle of Merola, dating from the late thirteenth century. Due to the documented earth tremors that shook Catalonia in the 1500s, only one of the faces of the defense tower, originally with a rectangular plant of 5 x 3,8 m and 14,8 m height, is still standing. The detachment of a part of its coronation in 2016 puts Puig-reig Town Council on alert. The high risk of collapse, with the subsequent loss of the monument, called for an intervention to guarantee the preservation of the remains and recover the building for the village and as an attraction for visitors.
Two basic lines of intervention were adopted to meet these aims: the consolidation of the surviving remains and the reinforcement of the medieval structure. Reinforcement takes the form of a timber structure comprising 18 sections of 14-cm square that follow the original perimeter of the stone wall. Like scaffolding, it structurally stabilizes the pre-existing construction, recovers the original volume and restores its function in the territory as a lookout and defense point.
The new structure resolves the functional reinforcement conditions and establishes a dialogue with the pre-existing stone wall, evidencing the intervention with respect to the original construction. The missing foundation is recovered with lime concrete and the two structures are tied using wooden profiles anchored to the stone canvas at 14 points.
The insertion of a stairway inside the structure provides access to the three original levels of circulation and facilitates future maintenance of the monument. The ascent to the upper level of the tower recovers a point of view that had been inaccessible since the fifteenth century.
Finally, the stones found in the archaeological excavation are reused to delimit the intervention and show the original demolition material.
#Spain , #landscape , #wall , #lighting , #open_air, #demolition , #pedestrian , #public_space , #church , #lighting , #landmark
@revitalization
Recovery of Merola’s Tower / Carles Enrich Studio
RESTORATION, LANDMARKS & MONUMENTS
•
PUIG-REIG, SPAIN
• Arquitectos: Carles Enrich Studio
• Area: 40.0 m²
• Year: 2019
• Manufacturers: AutoDesk, Tallfusta
• Lead Architect: Carles Enrich Giménez
• Clients: Servei de Patrimoni Arquitectònic Local (Diputació de Barcelona) and Puig-reig Town Council
• Engineering: MASAad
• Landscaping: Carles Enrich Studio
• Collaborators: Brufau Cusó (executive supervision)
• Built Area Tower: 40 m2
• Built Area Environment: 160 m2
In the south of the municipality of Puig-reig stand the remains of the heritage site of the castle of Merola, dating from the late thirteenth century. Due to the documented earth tremors that shook Catalonia in the 1500s, only one of the faces of the defense tower, originally with a rectangular plant of 5 x 3,8 m and 14,8 m height, is still standing. The detachment of a part of its coronation in 2016 puts Puig-reig Town Council on alert. The high risk of collapse, with the subsequent loss of the monument, called for an intervention to guarantee the preservation of the remains and recover the building for the village and as an attraction for visitors.
Two basic lines of intervention were adopted to meet these aims: the consolidation of the surviving remains and the reinforcement of the medieval structure. Reinforcement takes the form of a timber structure comprising 18 sections of 14-cm square that follow the original perimeter of the stone wall. Like scaffolding, it structurally stabilizes the pre-existing construction, recovers the original volume and restores its function in the territory as a lookout and defense point.
The new structure resolves the functional reinforcement conditions and establishes a dialogue with the pre-existing stone wall, evidencing the intervention with respect to the original construction. The missing foundation is recovered with lime concrete and the two structures are tied using wooden profiles anchored to the stone canvas at 14 points.
The insertion of a stairway inside the structure provides access to the three original levels of circulation and facilitates future maintenance of the monument. The ascent to the upper level of the tower recovers a point of view that had been inaccessible since the fifteenth century.
Finally, the stones found in the archaeological excavation are reused to delimit the intervention and show the original demolition material.
#Spain , #landscape , #wall , #lighting , #open_air, #demolition , #pedestrian , #public_space , #church , #lighting , #landmark
@revitalization
The interior of the tower was significantly altered in recent years. The projects objective was to remove all the additions, close newly made openings and remove the plaster coating that hid the original fabric. The original interior staircase, which was partially demolished, is rebuilt based on the typology found in similar towers.
The floor was covered with late twenty century tiles that were taken out: a new floating wood floor is placed instead, detached from the original walls.
After removing the plaster coating on the walls, the original brick fabric emerged.
The use of colour and materials in the interior intend to create a warm, welcoming feeling in contrast with the hash, introverted nature of the building’s exterior.
This simple yet emphatic intervention is intended to show the strength of an ageless construction, made by anonymous builders with simple materials, as well as to emphasize the provisional, light, degradable nature of the contemporary.
#Spain , #landscape , #tower , #open_air, #public_space , #landmark , #extension , #corten , #archeology
@revitalization
The floor was covered with late twenty century tiles that were taken out: a new floating wood floor is placed instead, detached from the original walls.
After removing the plaster coating on the walls, the original brick fabric emerged.
The use of colour and materials in the interior intend to create a warm, welcoming feeling in contrast with the hash, introverted nature of the building’s exterior.
This simple yet emphatic intervention is intended to show the strength of an ageless construction, made by anonymous builders with simple materials, as well as to emphasize the provisional, light, degradable nature of the contemporary.
#Spain , #landscape , #tower , #open_air, #public_space , #landmark , #extension , #corten , #archeology
@revitalization
The large semi-circular arch created is closed by a sliding door with two leaves, each 9.20m high and 1.80 wide, located on the inside of the wall. The door is made of 2mm perforated V-shaped sheet steel without internal profiling and hung from a top profile that helps consolidate the existing arch. The result is a light and continuous veil through which images and sounds of the water are filtered, allowing urban continuity between the fountain and the outer street, both day and night when it is closed for control. The fountain reproduces the plant and approaches the idea of a water container, but this time identifying content and container. It is built by 19mm azure glass walls stacked and fixed using transparent resin materials.
From the entrance, the image is reduced to a horizontal plane of glass and water, the limits of which are lost where the perception of the mud walls and stone retaining walls begins. Its height allows a flooded space to be perceived from the outside. Between the sheet of water and the perimeter walls, the glass floor becomes first a staircase and then a staircase, slowly leading us to the opposite end. There, once below the sheet of water (reference to the original level), we discover a space next to a cistern. A large air bubble used as an interpretive space, where the three main flows that distribute the water appear. Here at the end of this short and intense tour begins the history of the Raudal de la Magdalena.
Assessment
After so many operational alterations and modifications made in the last ten centuries, we inherited a palimpsest of difficult reading that had lost its physical relationship with the citizen, its public function, until its permanent closure. This fact places the architecture project in an interesting field of discussion: the need to expand the concept of public space. For this it is necessary to review the conceptual limits between contemporary public space, hydraulic infrastructure, public source and cultural equipment.
Likewise, it has been necessary to rethink the concept of recovery itself and ask ourselves how to integrate this last stratum from the present time, the need to recover the essential value of the place, putting in value the found remains. The project interprets each rest offering the same validity to all the strata found, validity that is based on the ability of each piece to explain the events that have built it over the centuries. In this sense, the project establishes a unitary assessment of history as a unique process.
In this sense, the materiality of water has lent us its associated value, both symbolic and conceptual, protagonist of urban development. The stone, commissioned for centuries to contain the land and preserve the space that water needs to be offered, has lent us its construction system. Glass, finally, has given us its ability to receive both loans and offer the experience that means immersing yourself in the history of this place.
#Spain, #public_space , #glass , #archeology , #water , #hydraulic_infrastructure , #water_tank , #lighting
@revitalization
From the entrance, the image is reduced to a horizontal plane of glass and water, the limits of which are lost where the perception of the mud walls and stone retaining walls begins. Its height allows a flooded space to be perceived from the outside. Between the sheet of water and the perimeter walls, the glass floor becomes first a staircase and then a staircase, slowly leading us to the opposite end. There, once below the sheet of water (reference to the original level), we discover a space next to a cistern. A large air bubble used as an interpretive space, where the three main flows that distribute the water appear. Here at the end of this short and intense tour begins the history of the Raudal de la Magdalena.
Assessment
After so many operational alterations and modifications made in the last ten centuries, we inherited a palimpsest of difficult reading that had lost its physical relationship with the citizen, its public function, until its permanent closure. This fact places the architecture project in an interesting field of discussion: the need to expand the concept of public space. For this it is necessary to review the conceptual limits between contemporary public space, hydraulic infrastructure, public source and cultural equipment.
Likewise, it has been necessary to rethink the concept of recovery itself and ask ourselves how to integrate this last stratum from the present time, the need to recover the essential value of the place, putting in value the found remains. The project interprets each rest offering the same validity to all the strata found, validity that is based on the ability of each piece to explain the events that have built it over the centuries. In this sense, the project establishes a unitary assessment of history as a unique process.
In this sense, the materiality of water has lent us its associated value, both symbolic and conceptual, protagonist of urban development. The stone, commissioned for centuries to contain the land and preserve the space that water needs to be offered, has lent us its construction system. Glass, finally, has given us its ability to receive both loans and offer the experience that means immersing yourself in the history of this place.
#Spain, #public_space , #glass , #archeology , #water , #hydraulic_infrastructure , #water_tank , #lighting
@revitalization
NO.151
Hastings Pier / dRMM
PUBLIC SPACE, PIER, REFURBISHMENT
•
HASTINGS, UNITED KINGDOM
• Architects: dRMM
• Area: 11720 m²
• Year: 2016
• Manufacturers: Roles Broderick Roofing
• Client: Hastings Pier Charity
• Cost Consultant: PT Projects
• Structural Engineer: Ramboll
• Service Engineer: Ramboll
• Cdm Coordinator: KMCS
• Joinery Company: Timber Craft UK
• Structural Clt Supplier: KLH
• Furniture: dRMM and Hastings & Bexhill Wood Recycling
Hastings Pier is a public pleasure pier in Hastings, East Sussex, England. Built in 1872 and enjoying its prime in the 1930s, it became a popular music venue in the 1960s. The structure suffered major storm damage in 1990, and was closed to the public for a time before closing completely in 2008, and 95% destroyed by a fire in 2010.
Hastings Pier Charity oversaw a rebuilding project, with the pier reopening on 27 April 2016. The redeveloped pier won the 2017 Stirling Prize for architecture
Text description provided by the architects. The 2010 destruction of Hastings Pier by fire was an oppor-tunity to redefine what a pier could be in the 21st century; transforming the shanty town of commer-cialism it was in the 20th century.
After local stakeholder consultation it was clear the Pier would be expected to host many different populist scenarios. dRMM’s re-design master-move was to create a strong, well-serviced platform that could support endless uses; from big-top circus to major music events, local fishing to international markets. In homage to conceptualist Cedric Price, users bring their own architecture to plug in and play.
This is the first phase of regeneration. Most of the work so far has been up to and including deck level. The HLF grant enabled extensive foundation and structural repairs covering fire, sea and storm dam-age (£9M). Further funding (£2.5M) facilitated two buildings, the first of which, the remaining derelict Victorian Pavilion, was transformed into an open-plan, fully-glazed restaurant. dRMM were responsi-ble for the exterior shell and cores; the interior fit-out was by tenant.
The new Visitor Centre is a cross-laminated timber structure, inventively clad in reclaimed decking. Replacing the weakest central section of the damaged pier, it offers adaptable space for events, exhi-bitions and education, with an elevated rooftop belvedere. Reclaimed timber deck furniture was de-signed by dRMM and Hastings & Bexhill Wood Recycling as part of a local employment initiative.
The pier is an extension of the promenade from which it projects; a large public open space. The expe-rience of free space and ‘walking on water’ is heightened by the optics of a louvred balustrade design and quality timber deck. The new pier is a catalyst for urban regeneration. It offers flexibility, material and functional sustainability, and an uninterrupted vista of the natural and built surroundings of the special seaside town of Hastings.
#UK , #pier , #fire , #visitor_centre , #event , #exhibition , #light ,#regeneration, #restaurant, #promenade , #open_air, #public_space , #landmark , #prize
@revitalization
Hastings Pier / dRMM
PUBLIC SPACE, PIER, REFURBISHMENT
•
HASTINGS, UNITED KINGDOM
• Architects: dRMM
• Area: 11720 m²
• Year: 2016
• Manufacturers: Roles Broderick Roofing
• Client: Hastings Pier Charity
• Cost Consultant: PT Projects
• Structural Engineer: Ramboll
• Service Engineer: Ramboll
• Cdm Coordinator: KMCS
• Joinery Company: Timber Craft UK
• Structural Clt Supplier: KLH
• Furniture: dRMM and Hastings & Bexhill Wood Recycling
Hastings Pier is a public pleasure pier in Hastings, East Sussex, England. Built in 1872 and enjoying its prime in the 1930s, it became a popular music venue in the 1960s. The structure suffered major storm damage in 1990, and was closed to the public for a time before closing completely in 2008, and 95% destroyed by a fire in 2010.
Hastings Pier Charity oversaw a rebuilding project, with the pier reopening on 27 April 2016. The redeveloped pier won the 2017 Stirling Prize for architecture
Text description provided by the architects. The 2010 destruction of Hastings Pier by fire was an oppor-tunity to redefine what a pier could be in the 21st century; transforming the shanty town of commer-cialism it was in the 20th century.
After local stakeholder consultation it was clear the Pier would be expected to host many different populist scenarios. dRMM’s re-design master-move was to create a strong, well-serviced platform that could support endless uses; from big-top circus to major music events, local fishing to international markets. In homage to conceptualist Cedric Price, users bring their own architecture to plug in and play.
This is the first phase of regeneration. Most of the work so far has been up to and including deck level. The HLF grant enabled extensive foundation and structural repairs covering fire, sea and storm dam-age (£9M). Further funding (£2.5M) facilitated two buildings, the first of which, the remaining derelict Victorian Pavilion, was transformed into an open-plan, fully-glazed restaurant. dRMM were responsi-ble for the exterior shell and cores; the interior fit-out was by tenant.
The new Visitor Centre is a cross-laminated timber structure, inventively clad in reclaimed decking. Replacing the weakest central section of the damaged pier, it offers adaptable space for events, exhi-bitions and education, with an elevated rooftop belvedere. Reclaimed timber deck furniture was de-signed by dRMM and Hastings & Bexhill Wood Recycling as part of a local employment initiative.
The pier is an extension of the promenade from which it projects; a large public open space. The expe-rience of free space and ‘walking on water’ is heightened by the optics of a louvred balustrade design and quality timber deck. The new pier is a catalyst for urban regeneration. It offers flexibility, material and functional sustainability, and an uninterrupted vista of the natural and built surroundings of the special seaside town of Hastings.
#UK , #pier , #fire , #visitor_centre , #event , #exhibition , #light ,#regeneration, #restaurant, #promenade , #open_air, #public_space , #landmark , #prize
@revitalization
The elliptical pivoting windows made of organic glass 7cm thick and 5.5m in diameter weigh approx-imately 2.5t. Each has a unique shape and, due to their size exceeding the standard glazing, these are probably the largest pivot windows in the world. Opening and closing are engine powered. For the operation of the inner spaces, the windows are fixed in the position of 60% of its opening. Other op-tions are automatic opening with motion-detecting sensors, or they can be opened by the bar staff. The fourteen vaults on the Hořejší Embankment have steel sculptural entrances carved into the jamb in such a way that they connect the vault with the riverfront area in the entire space when opened. In the vaults with public toilets, the entrance wings follow a smooth arc into the interior membrane separating the cabins from the public area.
#CZECH , #riverfront , #event , #exhibition , #lighting , #promenade , #open_air, #public_space , #urban
@revitalization
#CZECH , #riverfront , #event , #exhibition , #lighting , #promenade , #open_air, #public_space , #urban
@revitalization
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A special challenge with the task has been that ancient monuments have been found on the building site that give a story about Denmark's history through a thousand years. Most visible is a protected brick ruin of the canons' monastery from the 12th century, which is integrated into an exhibition space to convey the site's many cultural-historical layers.
The building consists of a single, elongated volume with a saddle roof that stands on pillars above the protected archaeological finds. The length of the building is along the square with a scale and roof slope that follows the neighboring buildings on the square. The archetypal building form has a sculptural skew to the south, to create more light and air towards the neighboring buildings in the courtyard.
To the south is an intimate courtyard, bounded by a wall that frames the street spaces along Sønderportsgade and Rykind.
The upper part of the building is clad with specially developed brick shells in reddish-brown hues, related to the town and the area's typical, brick houses, but by virtue of the larger format of the shells in a contemporary interpretation. The lower part has glass facades, which protect the ruin and at the same time expose the unique finds.
#Denmark, #cathedrale, #square, #fire , #ruin , #public_space , #office , #lighting
@revitalization
A special challenge with the task has been that ancient monuments have been found on the building site that give a story about Denmark's history through a thousand years. Most visible is a protected brick ruin of the canons' monastery from the 12th century, which is integrated into an exhibition space to convey the site's many cultural-historical layers.
The building consists of a single, elongated volume with a saddle roof that stands on pillars above the protected archaeological finds. The length of the building is along the square with a scale and roof slope that follows the neighboring buildings on the square. The archetypal building form has a sculptural skew to the south, to create more light and air towards the neighboring buildings in the courtyard.
To the south is an intimate courtyard, bounded by a wall that frames the street spaces along Sønderportsgade and Rykind.
The upper part of the building is clad with specially developed brick shells in reddish-brown hues, related to the town and the area's typical, brick houses, but by virtue of the larger format of the shells in a contemporary interpretation. The lower part has glass facades, which protect the ruin and at the same time expose the unique finds.
#Denmark, #cathedrale, #square, #fire , #ruin , #public_space , #office , #lighting
@revitalization
NO.162
RENOVATION OF NOTRE DAME SQUARE/ LETELLIER ARCHITECTES
Villefranche-de-Rougergue, France
• Architects: LETELLIER ARCHITECTES
• Area: 1 500 m² SP
• Type: square renovation
Client: CONSEIL GÉNÉRAL DE L’AVEYRON
Cost: 924 000 € HT
Fontainiste : FC URBAN DESIGNER
Paysagiste : FRANÇOISE PERSOUYRE
Ratio : 1 562 €/m2
•
--Classified as a historical monument as a whole and surrounded by arcades surmounted by flamboyant Gothic or Renaissance style residences, it has hosted every Thursday morning for almost 8 centuries one of the most picturesque markets in the Southwest.
Activities of the central fountain: its water jets tell the time; and unique in France, they dance to the rhythm of the 48 carillon bells, one of the most remarkable in the region.--
From April 2 to November 31, 2013, Eurovia Rodez carried out the renovation of Place Notre-Dame in Villefranche-de-Rouergue (12), a site classified "Bâtiment de France".
This site presented technical and town planning constraints that the agency was able to face.
The particularities of this project:
• Earthworks of the existing
• Layout of the square in paving stones according to the techniques used in the Middle Ages
• Pavement structure in gravel cement
• Stormwater systems and slotted gutters in Corten steel
• Laying of 10x25x20 limestone paving stones; recovery from old streets of the city according to cal-pinage architect
• Maximum required joint 1 cm treated by mineralization (55,000 pavers cleaned and re-calibrated before laying)
• Installation of visible bronze joint following a particular pattern
• Installation of Roman bronze numeral for luminous clock
• Jet fountain (except lot)
Were also carried out in the same spirit of limestone paving, 3 lanes located under the peripheral arcades in 2010, 2011 and 2012. Thus, the whole of the place and the arcades are renovated in paving. The collegiate church is then highlighted.
#France, #church, #square, #public_space , #lighting , #fountain ,#water
@revitalization
RENOVATION OF NOTRE DAME SQUARE/ LETELLIER ARCHITECTES
Villefranche-de-Rougergue, France
• Architects: LETELLIER ARCHITECTES
• Area: 1 500 m² SP
• Type: square renovation
Client: CONSEIL GÉNÉRAL DE L’AVEYRON
Cost: 924 000 € HT
Fontainiste : FC URBAN DESIGNER
Paysagiste : FRANÇOISE PERSOUYRE
Ratio : 1 562 €/m2
•
--Classified as a historical monument as a whole and surrounded by arcades surmounted by flamboyant Gothic or Renaissance style residences, it has hosted every Thursday morning for almost 8 centuries one of the most picturesque markets in the Southwest.
Activities of the central fountain: its water jets tell the time; and unique in France, they dance to the rhythm of the 48 carillon bells, one of the most remarkable in the region.--
From April 2 to November 31, 2013, Eurovia Rodez carried out the renovation of Place Notre-Dame in Villefranche-de-Rouergue (12), a site classified "Bâtiment de France".
This site presented technical and town planning constraints that the agency was able to face.
The particularities of this project:
• Earthworks of the existing
• Layout of the square in paving stones according to the techniques used in the Middle Ages
• Pavement structure in gravel cement
• Stormwater systems and slotted gutters in Corten steel
• Laying of 10x25x20 limestone paving stones; recovery from old streets of the city according to cal-pinage architect
• Maximum required joint 1 cm treated by mineralization (55,000 pavers cleaned and re-calibrated before laying)
• Installation of visible bronze joint following a particular pattern
• Installation of Roman bronze numeral for luminous clock
• Jet fountain (except lot)
Were also carried out in the same spirit of limestone paving, 3 lanes located under the peripheral arcades in 2010, 2011 and 2012. Thus, the whole of the place and the arcades are renovated in paving. The collegiate church is then highlighted.
#France, #church, #square, #public_space , #lighting , #fountain ,#water
@revitalization