In the wall cast from concrete, the structure of the building – that is, its original materiality and design – has become irrelevant. This may be the reason for the slightly disturbing effect of the new façade. It recalls the surrealist procedures of the visual arts, for instance Max Ernst’s frottages or rubbings on paper that reproduce the edges of the object underneath. In fact, we as architects for once did not design any façades as the process as such led to the design of the rebuilt east wing.
The cast relief has the actual façade shimmer through, without being able to repeat it though, as if something had been superimposed – not by any fast industrial action, but over a long period of time. The Alterswert (Alois Riegl, 1903) or age value, the experience of a monument and its history over time, which places the reconstruction in a sensual opposition to the extant monument, appears in the raw, archaic design of the concrete reliefs saved in another form and in synchronicity with the listed building.
#Germany , #museum , #interior, #interior_design , #renovation , #reconstruction
@revitalization
The cast relief has the actual façade shimmer through, without being able to repeat it though, as if something had been superimposed – not by any fast industrial action, but over a long period of time. The Alterswert (Alois Riegl, 1903) or age value, the experience of a monument and its history over time, which places the reconstruction in a sensual opposition to the extant monument, appears in the raw, archaic design of the concrete reliefs saved in another form and in synchronicity with the listed building.
#Germany , #museum , #interior, #interior_design , #renovation , #reconstruction
@revitalization
NO.80.
Reconstruction of the Square in Frydlant
Architects: Balda architect, Jiří Janďourek Atakarchitekti
Location : Frydlant - Městské informační centrum, náměstí Tomáše Garrigue Masaryka 37, 464 01 Frýdlant, Czech Republic
Architect in Charge : Vladimír Balda, Jiří Janďourek
Area : 4000.0 sqm
Project Year : 2011
Photographs : Aleš Jungmann, Jiří Jiroutek
Transportation design : Stanislav Koleník
Structural engineer : KCE statika a dynamika staveb s.r.o.
Electrical work : HESTO, v.o.s.
Water and sewerage : Stanislav Vyskočil
General contractor : EUROVIA CS, a. s., Liberec branch
Stone elements : Ligranit a.s.
Brass panels : Ještědský bronz s.r.o.
Small-scale architecture : Atyp truhlářství, Zámečnictví Pospíšil
Lighting : Etna s.r.o. (iGuzzini)
Architectural competition : 2002
Project : 2004
Text description provided by the architects. The main idea behind the design of the reconstructed square in Frýdlant was to create an open, unobstructed public space – a square that allows residents and visitors to enjoy all types of activities.
The use of three types of paving tiles, two types of stone and the patterns in which these were laid differentiates various types of spaces on the square. With the exception of the parking lot, the square was realized as a barrier-free space.
The central part of the square is entirely open for the reasons stated above. This rectangular space and, in fact, the entire square, is dominated by a fountain featuring a statue of Albrecht von Wallenstein. The silhouette of the Wallenstein statue standing on a separate granite pedestal installed several metres away is reflected on the surface of the fountain’s water, which flows into the granite pool. The bronze statue from the original Wallenstein fountain from 1914 and the new fountain form an integral, illuminated composition. This dominant feature of the square is situated along its north side on an axis with Kostelní Street and divides the central part of the square into two halves. The divided square can be used for various purposes such as fairs, concerts and theatrical performances. The central part of the square is clearly defined by a distinct type of dark basalt tiles, new public lighting and town installations such as information panels, benches, waste bins, bike stands, a drinking fountain, etc. placed around its perimeter. The uniform basalt surface also features the outline of the former town hall made from the original basalt cobblestones. The foundations of the Renaissance town hall were discovered by an archaeological excavation during the reconstruction of the square.
The space in front of the current town hall in the northwest part of the square is a representative area for the gathering of citizens. A mobile stage can be installed in the open space next to four wooden flag pole stands featuring the town crest.
Located on the opposite, southeast side of the square with sycamore trees and benches are cafes and restaurants with outdoor summer seating. The two opposite ends of the square are both paved with the same large granite paving tiles.
The historical parcelisation of the square is reflected in an abstract manner in the small granite tiles of the pavements around the central part of the square. Paths for car traffic and parking spaces on the northeast and southwest sides of the square are differentiated from pedestrian paths by a distinct granite tile pattern.
#Czech_Republic , #Reconstruction , #Lighting , #Square , #Plaza , #Urbanism , #unobstructed_public_space , #Paving_tiles , #archaeological_excavation
@revitalization
Reconstruction of the Square in Frydlant
Architects: Balda architect, Jiří Janďourek Atakarchitekti
Location : Frydlant - Městské informační centrum, náměstí Tomáše Garrigue Masaryka 37, 464 01 Frýdlant, Czech Republic
Architect in Charge : Vladimír Balda, Jiří Janďourek
Area : 4000.0 sqm
Project Year : 2011
Photographs : Aleš Jungmann, Jiří Jiroutek
Transportation design : Stanislav Koleník
Structural engineer : KCE statika a dynamika staveb s.r.o.
Electrical work : HESTO, v.o.s.
Water and sewerage : Stanislav Vyskočil
General contractor : EUROVIA CS, a. s., Liberec branch
Stone elements : Ligranit a.s.
Brass panels : Ještědský bronz s.r.o.
Small-scale architecture : Atyp truhlářství, Zámečnictví Pospíšil
Lighting : Etna s.r.o. (iGuzzini)
Architectural competition : 2002
Project : 2004
Text description provided by the architects. The main idea behind the design of the reconstructed square in Frýdlant was to create an open, unobstructed public space – a square that allows residents and visitors to enjoy all types of activities.
The use of three types of paving tiles, two types of stone and the patterns in which these were laid differentiates various types of spaces on the square. With the exception of the parking lot, the square was realized as a barrier-free space.
The central part of the square is entirely open for the reasons stated above. This rectangular space and, in fact, the entire square, is dominated by a fountain featuring a statue of Albrecht von Wallenstein. The silhouette of the Wallenstein statue standing on a separate granite pedestal installed several metres away is reflected on the surface of the fountain’s water, which flows into the granite pool. The bronze statue from the original Wallenstein fountain from 1914 and the new fountain form an integral, illuminated composition. This dominant feature of the square is situated along its north side on an axis with Kostelní Street and divides the central part of the square into two halves. The divided square can be used for various purposes such as fairs, concerts and theatrical performances. The central part of the square is clearly defined by a distinct type of dark basalt tiles, new public lighting and town installations such as information panels, benches, waste bins, bike stands, a drinking fountain, etc. placed around its perimeter. The uniform basalt surface also features the outline of the former town hall made from the original basalt cobblestones. The foundations of the Renaissance town hall were discovered by an archaeological excavation during the reconstruction of the square.
The space in front of the current town hall in the northwest part of the square is a representative area for the gathering of citizens. A mobile stage can be installed in the open space next to four wooden flag pole stands featuring the town crest.
Located on the opposite, southeast side of the square with sycamore trees and benches are cafes and restaurants with outdoor summer seating. The two opposite ends of the square are both paved with the same large granite paving tiles.
The historical parcelisation of the square is reflected in an abstract manner in the small granite tiles of the pavements around the central part of the square. Paths for car traffic and parking spaces on the northeast and southwest sides of the square are differentiated from pedestrian paths by a distinct granite tile pattern.
#Czech_Republic , #Reconstruction , #Lighting , #Square , #Plaza , #Urbanism , #unobstructed_public_space , #Paving_tiles , #archaeological_excavation
@revitalization
NO.140
Digital Reconstruction of Ayine Khaneh Palace (the Mirror pavilion) of Isfahan/ Noor Art & Architecture Studio
FIRM: Noor Art & Architecture Studio,
Architect: mohammad yazdi rad
STATUS: 3D. digital construction
Isfahan is a great historical city in Iran. Chosen as the capital of the Safavid dynasty of Persia, many beautiful structures, such as great palaces, bridges, and mosques had been built in this
city. One of the most important palaces of Isfahan was Ayine Khaneh Palace(the Mirror Pavilion). It was located in the southern shore of the Zayandehrood river in a garden called Saa'dat Abad, which was built in Shah Safi and Shah Abbas II era, in the
16th century.
This palace was stable till the 19th century. In 1891, through the battle for the throne, the palace, along with a number of other important structures, were destroyed by the recommendation of Zello Soltan, the governor of Isfahan.
This project is drafted resorting to three important historical resources: Firstly, the remained pictorial documents, like sketches and plans drawn by the French architects Eugene Flandin and Pascal Coste in 1840, and the photographs taken by the German telegraphist and photographer Ernst Hoeltzer before the destruction of the palace. Secondly, the written descriptions of this complex from the Persian and European historians and tourists like Mirza Tahvildar, Jean Chardin, and Engelbert Kaempfer. Thirdly, the revision of the architecture of other pavilions built at the same time with the Mirror pavilion like Chehel Sotoun palace, Ali Ghapou, Hasht Behesht, and Ashraf Hall, which is still remained.
بازآفريني کاخ آيينه خانه اصفهان بر مبناي اسناد مصور و مکتوب
آرشیتکت و شبیه سازی سه بعدی: محمد یزدی راد
استاد راهنما: دکتر نیما ولی بیگ
مساحت زمین: 1000 متر مربع
سال طراحی: 1395
نرم افزارهای مورد استفاده در بازآفرینی رایانه ای: 3ds Max, V-Ray, Photoshop
- نامزد مسابقه CGArchitect 2017
- نامزد جايزه معماري آسيا 2A 2017
اصفهان، شهری بزرگ و تاریخی در مرکز ایران است. زمانی که این شهر در قرن شانزدهم میلادی به پایتختی سلسله صفویه در ایران درآمد، بناهای بسیار زیبایی مانند کاخ ها، پل ها و مساجد بزرگ و با عظمت در آن ساخته شد. یکی از کاخ های مهم اصفهان، کاخ آیینه خانه نام داشته که در باغی به نام سعادت آباد در کرانه جنوبی زاینده رود قرار گرفته بود. این کاخ که در زمان سلطنت شاه صفی و شاه عباس دوم ساخته شده بود، در سال 1270 شمسی در کشاکش نبرد قدرت، به دستور ظل السلطان حاکم وقت اصفهان به همراه تعداد دیگری از بناهای ارزشمند این شهر از میان رفت.
کاخ آیینه خانه بنا به توصیف مورخین، شباهت بسیار زیادی به کاخ چهلستون که همچنان در اصفهان باقی مانده داشته است. این کاخ دارای ایوانی با 18 ستون بوده که به تالاری اتصال داشته است. دیوارهای این کاخ با آیینه کاری های زیبا و تصاویر متعدد تزئین گردیده و کف آن نیز با سنگ مرمر پوشیده شده بود. در وسط ایوان این کاخ، حوضی مرمرین وجود داشته که فواره های آب از چهار پایه ستون به شکل شیر در آن جریان داشته است. امروزه تقریبا تنها بخش باقی مانده از این کاخ، همان پایه ستونهای حجاری شده می باشد.
این طرح بازآفرینی با استناد به سه مرجع مهم تاریخی تدوین گردیده است: منبع نخست، اسناد تصویری برجای مانده مانند اسکیس ها و نقشه های ترسیم شده توسط هیئت فرانسوی پاسکال کوست و اوژن فلاندن در سال 1840، و عکس های گرفته شده توسط مهندس تلگراف آلمانی ارنست هولستر پیش از تخریب این بنا می باشد. دوم، توصیفاتی که مورخین و سیاحان ایرانی و اروپایی همچون تحویلدار، شاردن و کمپفر از این مجموعه داشته اند. سومین مرجع مورد استناد در این بازآفرینی، بررسی معماری سایر کاخ های ساخته شده در زمان صفویه و هم عصر آیینه خانه که همچنان در اصفهان باقی مانده اند، مانند کاخ های چهلستون، عالی قاپو، هشت بهشت و تالار اشرف می باشد.
در این پروژه که به عنوان پایان نامه کارشناسی ارشد معماری تدوین گردیده است، هدف اصلی پژوهش پیرامون طراحی باغ ایرانی در محدوده ی باغ تاریخی سعادت آباد و بازآفرینی کاخ آیینه خانه و کمک به تکمیل پازل معماری و شهرسازی از میان رفته ی اصفهان عهد صفوی در راستای احیای معماری ایرانی می باشد. علاوه بر این، هدف فرعی ایجاد یک اثر فرهنگی ریشه دار است که می تواند زمینه ساز توسعه ی صنعت گردشگری و رونق اقتصادی شود.
#IRAN, #3d, #ruin, #digital , #reconstruction , #بازسازی_دیجیتالی, #تصویر
@revitalization
Digital Reconstruction of Ayine Khaneh Palace (the Mirror pavilion) of Isfahan/ Noor Art & Architecture Studio
FIRM: Noor Art & Architecture Studio,
Architect: mohammad yazdi rad
STATUS: 3D. digital construction
Isfahan is a great historical city in Iran. Chosen as the capital of the Safavid dynasty of Persia, many beautiful structures, such as great palaces, bridges, and mosques had been built in this
city. One of the most important palaces of Isfahan was Ayine Khaneh Palace(the Mirror Pavilion). It was located in the southern shore of the Zayandehrood river in a garden called Saa'dat Abad, which was built in Shah Safi and Shah Abbas II era, in the
16th century.
This palace was stable till the 19th century. In 1891, through the battle for the throne, the palace, along with a number of other important structures, were destroyed by the recommendation of Zello Soltan, the governor of Isfahan.
This project is drafted resorting to three important historical resources: Firstly, the remained pictorial documents, like sketches and plans drawn by the French architects Eugene Flandin and Pascal Coste in 1840, and the photographs taken by the German telegraphist and photographer Ernst Hoeltzer before the destruction of the palace. Secondly, the written descriptions of this complex from the Persian and European historians and tourists like Mirza Tahvildar, Jean Chardin, and Engelbert Kaempfer. Thirdly, the revision of the architecture of other pavilions built at the same time with the Mirror pavilion like Chehel Sotoun palace, Ali Ghapou, Hasht Behesht, and Ashraf Hall, which is still remained.
بازآفريني کاخ آيينه خانه اصفهان بر مبناي اسناد مصور و مکتوب
آرشیتکت و شبیه سازی سه بعدی: محمد یزدی راد
استاد راهنما: دکتر نیما ولی بیگ
مساحت زمین: 1000 متر مربع
سال طراحی: 1395
نرم افزارهای مورد استفاده در بازآفرینی رایانه ای: 3ds Max, V-Ray, Photoshop
- نامزد مسابقه CGArchitect 2017
- نامزد جايزه معماري آسيا 2A 2017
اصفهان، شهری بزرگ و تاریخی در مرکز ایران است. زمانی که این شهر در قرن شانزدهم میلادی به پایتختی سلسله صفویه در ایران درآمد، بناهای بسیار زیبایی مانند کاخ ها، پل ها و مساجد بزرگ و با عظمت در آن ساخته شد. یکی از کاخ های مهم اصفهان، کاخ آیینه خانه نام داشته که در باغی به نام سعادت آباد در کرانه جنوبی زاینده رود قرار گرفته بود. این کاخ که در زمان سلطنت شاه صفی و شاه عباس دوم ساخته شده بود، در سال 1270 شمسی در کشاکش نبرد قدرت، به دستور ظل السلطان حاکم وقت اصفهان به همراه تعداد دیگری از بناهای ارزشمند این شهر از میان رفت.
کاخ آیینه خانه بنا به توصیف مورخین، شباهت بسیار زیادی به کاخ چهلستون که همچنان در اصفهان باقی مانده داشته است. این کاخ دارای ایوانی با 18 ستون بوده که به تالاری اتصال داشته است. دیوارهای این کاخ با آیینه کاری های زیبا و تصاویر متعدد تزئین گردیده و کف آن نیز با سنگ مرمر پوشیده شده بود. در وسط ایوان این کاخ، حوضی مرمرین وجود داشته که فواره های آب از چهار پایه ستون به شکل شیر در آن جریان داشته است. امروزه تقریبا تنها بخش باقی مانده از این کاخ، همان پایه ستونهای حجاری شده می باشد.
این طرح بازآفرینی با استناد به سه مرجع مهم تاریخی تدوین گردیده است: منبع نخست، اسناد تصویری برجای مانده مانند اسکیس ها و نقشه های ترسیم شده توسط هیئت فرانسوی پاسکال کوست و اوژن فلاندن در سال 1840، و عکس های گرفته شده توسط مهندس تلگراف آلمانی ارنست هولستر پیش از تخریب این بنا می باشد. دوم، توصیفاتی که مورخین و سیاحان ایرانی و اروپایی همچون تحویلدار، شاردن و کمپفر از این مجموعه داشته اند. سومین مرجع مورد استناد در این بازآفرینی، بررسی معماری سایر کاخ های ساخته شده در زمان صفویه و هم عصر آیینه خانه که همچنان در اصفهان باقی مانده اند، مانند کاخ های چهلستون، عالی قاپو، هشت بهشت و تالار اشرف می باشد.
در این پروژه که به عنوان پایان نامه کارشناسی ارشد معماری تدوین گردیده است، هدف اصلی پژوهش پیرامون طراحی باغ ایرانی در محدوده ی باغ تاریخی سعادت آباد و بازآفرینی کاخ آیینه خانه و کمک به تکمیل پازل معماری و شهرسازی از میان رفته ی اصفهان عهد صفوی در راستای احیای معماری ایرانی می باشد. علاوه بر این، هدف فرعی ایجاد یک اثر فرهنگی ریشه دار است که می تواند زمینه ساز توسعه ی صنعت گردشگری و رونق اقتصادی شود.
#IRAN, #3d, #ruin, #digital , #reconstruction , #بازسازی_دیجیتالی, #تصویر
@revitalization
NO.170
THE RECONSTRUCTION OF THE COLOSSEUM ARENA
ROMA, ITALY
A competition has been announced for the reconstruction of the Colosseum in Italy. The arena will become a platform for cultural events.
The idea of rebuilding the Colosseum arena was launched by archaeolo-gist Daniele Manacorda in 2014 and supported by Minister Franceschini, who had included the intervention in the Strategic Plan Great Cultural Projects in 2015 for a total funding of 18.5 million euros.
The UNESCO World Heritage Site is one of the most iconic structures in the world, with the Colosseum originally open in 80 A.D. and holding up to 35,000 Romans. Proposals for the renovation are due by 1February 2021. The new floor is expected to be installed by 2023.
Italy's government is seeking bids from engineers to rebuild the floor of the Colosseum in Rome and return it to its former glory.
The retractable floor is expected to feature trap doors and hidden lifts.
"The reconstruction... is a great idea which has gone around the world," Culture Minister Dario Franceschini said in a statement.
"It will be a major technological intervention that will offer visitors the opportunity to, not only see the underground rooms... but also appreciate the beauty of the Colosseum while standing in the center of the arena," he added.
The culture ministry said the redesigned floor, and any trap doors or mechanical components, must be able to close quickly in order to protect the underground spaces from rain.
A new floor would "allow the public to fully understand the use and function of this icon of the ancient world", the statement added.
The ministry said cultural events, such as concerts and theatres, could potentially be held in the Colosseum once the floor is installed.
Built 2,000 years ago, the Colosseum was the biggest amphitheater built in the Roman Em-pire, and hosted gladiatorial fights and other public entertainments.
It remains one of Italy's most famous landmarks, and about 7.6 million people visited the site in 2019.
#Italy, #arena, #lighting, #ruin, #archeology, #reconstruction, #elevator, #cultural_center, #amphitheater, #UNESCO, #landmark
@revitalization
THE RECONSTRUCTION OF THE COLOSSEUM ARENA
ROMA, ITALY
A competition has been announced for the reconstruction of the Colosseum in Italy. The arena will become a platform for cultural events.
The idea of rebuilding the Colosseum arena was launched by archaeolo-gist Daniele Manacorda in 2014 and supported by Minister Franceschini, who had included the intervention in the Strategic Plan Great Cultural Projects in 2015 for a total funding of 18.5 million euros.
The UNESCO World Heritage Site is one of the most iconic structures in the world, with the Colosseum originally open in 80 A.D. and holding up to 35,000 Romans. Proposals for the renovation are due by 1February 2021. The new floor is expected to be installed by 2023.
Italy's government is seeking bids from engineers to rebuild the floor of the Colosseum in Rome and return it to its former glory.
The retractable floor is expected to feature trap doors and hidden lifts.
"The reconstruction... is a great idea which has gone around the world," Culture Minister Dario Franceschini said in a statement.
"It will be a major technological intervention that will offer visitors the opportunity to, not only see the underground rooms... but also appreciate the beauty of the Colosseum while standing in the center of the arena," he added.
The culture ministry said the redesigned floor, and any trap doors or mechanical components, must be able to close quickly in order to protect the underground spaces from rain.
A new floor would "allow the public to fully understand the use and function of this icon of the ancient world", the statement added.
The ministry said cultural events, such as concerts and theatres, could potentially be held in the Colosseum once the floor is installed.
Built 2,000 years ago, the Colosseum was the biggest amphitheater built in the Roman Em-pire, and hosted gladiatorial fights and other public entertainments.
It remains one of Italy's most famous landmarks, and about 7.6 million people visited the site in 2019.
#Italy, #arena, #lighting, #ruin, #archeology, #reconstruction, #elevator, #cultural_center, #amphitheater, #UNESCO, #landmark
@revitalization