No.1.

Library 'Water tank', Barcelona, Spain

The project, commisioned to architects Clotet and Paricio, uses prefabricated elements to locate rich and diverse spaces and reading areas along the 65meter-long vaulted structure. Originally built in 1874, the building is a roman-like construction with 12meter-high brickwork vaults.
Project details
Architects Lluís Clotet Ballús – Ignacio Paricio Ansuátegui
Design partner: Jordi Julián Gené
Civil Engineer Santiago Loperena Jené
Civil engineering collaborator Javier Baqueró Rodríguez
Structural analysis and mechanical assesment NB-35 (Jesús Jiménez) O.I.T. (Miquel Camps & Josep Martí Estelles)
Building company Fomento de Construcciones y Contratas
Adress C/ Wellington, 50 08005 – Barcelona
Project start date 1992
Works beginning 1994
Works completion 1999
Measurements 5 floors high / 19.162 square meter

Since 1999, the University of Pompeu Fabra in Barcelona has had a new library, set up in a forgotten nineteenth-century water tank located in the heart of the city. The project, commisioned to architects Clotet and Paricio, uses prefabricated elements to locate rich and diverse spaces and reading areas along the 65meter-long vaulted structure. Originally built in 1874, the building is a roman-like construction with 12meter-high brickwork vaults.
The construction of Dipòsit de les Aigues dates back to 1874, built by Josep Fontserè , but it was not until 1880 when it was first used as a reservoir of water, with the purpose of regulating the flow of the waterfall in the park of Ciutadella as well as watering their gardens.
The then young student of architecture, Antoni Gaudí made the structural calculations of the whole of the reservoir and its support elements .
It was constructed following a classical Roman prototype, formed by 1-meter thick, 14-meters high brick walls, intersecting with vaults and extending 65 meters, as if it were the effect of a mirror, supporting the large tank on top.
After one hundred years of different uses -old people’s home, storage for the fire brigade, car park for the local police department, archive for the Court of Justice- it became property of the Pompeu Fabra University in 1992.The rehabilitation of the Water Tank started in 1993 by architects Lluís Clotet and Ignacio Paricio.
The deposit is joined by an underground passage to the Jaume I building, but it did not start to work as a General University Library until 1999. The interior space is overwhelming. It is a quiet place, allowing to isolate oneself from the outside in a magical atmosphere.
Clotet and Paricio’s respectful intervention using prefabricated elements for the intermediate floors allows for dismantling of the whole intervention if needed.
These new levels favour the creation of very distinctive and diverse reading areas -ranging from spaces barely over 2 meters high to others over 12 meters high, under the vaults- allowing each person to choose their own space according to their needs.
In 2009 the Les Aigues Library was awarded the “Decade Award” by Fundación Oscar Tusquets, which rewards the best work of architecture built in Barcelona 10 years after its completion.

#renovation , #adaptive_reuse , #interior
#lighting , #water_tank , #library

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No.2.

Yalumba Winery – Signature Cellars, Australia

•Architects: Grieve Gillett
•Location: Tanunda, Australia
•Client: Yalumba Winery
•Project Year: 2009
•Photographs: Courtesy of grieve gillett

Yalumba is Australia’s oldest and most successful family owned winery. The company’s success is driven by tradition and innovation.
To mark Yalumba’s 160th year, Grieve Gillett were commissioned to design a flagship dining and wine tasting area for important clients and associates, within the fabric of the original State Heritage listed Main Administration Building at Angaston.
The following principles guided the project: retention and celebration of existing heritage qualities, a clear distinction between existing fabric and new work and recognition of Yalumba’s ethos of tradition and innovation.
The new facilities comprise the renovation of the subterranean ‘Signature Cellar’, providing a clear span function area; and the conversion of underground concrete wine tanks into private dining and wine tasting rooms, with new kitchen & service areas.
The Signature Cellar was stripped of extraneous elements and the concrete floor re-finished. A central row of columns was removed and a transfer beam introduced, allowing greater flexibility in the use of the space. The transfer structure was incorporated into a new barrel racking system displaying the collection of ‘Signature’ barrels. Discreet lighting was provided – concealed between exposed timber joists and behind barrels highlighting the original rubble walls. The result is a clean, functional open space with richly textured surfaces.
Adjacent to the Signature Cellar are the former open ferment concrete winemaking tanks. The two largest tanks offered a unique opportunity for conversion to tasting and dining spaces. Grieve Gillett approached this challenge by minimising intrusions into the spaces to emphasise the beauty of the existing building fabric and spatial proportions.
Existing paraffin wax sealed concrete tank walls with wine stained patina were protected and retained. New work was designed to appear as a discreet insertion. In the Dining and Tasting rooms, ‘gondolas’ of hoop pine plywood are suspended from the tank roof. These floating elements provide a planar overhead element in the 20m long rooms, concealing light fittings, sprinklers, audio, a/c and acoustic baffling. The ribbed gondolas are open at the edge feathering the view through to the tank walls beyond.
New recycled timber floors stop short of the tank walls giving the impression of a floating floor plane. Continuous lighting concealed under the floor edge washes up the walls highlighting the textured walls.
The result is a reflective inward focused space disconnected from the outside world, where attention is concentrated on wine, food and fellowship.
Clarity of circulation drives the plan with the commercial kitchen centrally located between the Signature cellar and Dining Tanks. Level and obvious access to the Dining and Tasting tank rooms is provided by an inclined walkway, with toilets accessed at a mid-landing.
As the area is ‘ground coupled’, there is little demand on the a/c system which provides predominantly fresh air. Most light fittings are standard energy efficient flour battens concealed behind building elements with indirect light reflected off the textured surfaces.

Yalumba was founded in 1849 by Samuel Smith, British migrant and English brewer, who had brought his family to Angaston seeking a new life. After purchasing a 30-acre parcel of land just beyond the southern-eastern boundary of Angaston, Smith and his son began planting the first vines by moonlight. Samuel named his patch "Yalumba" – aboriginal for "all the land around".

#renovation , #adaptive_reuse , #interior
#lighting , #winery , #revitalization

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The construction and the building methods used have sought to strengthen the church without deleting the signs of deterioration the building has suffered. The intervention has sought to preserve the building’s historic legacy by adding new valuesthat enhance it and give this ancient convent a unique, contemporary form.

#renovation , #church , #Cultural_space , #lighting
#compatible_use , #restoration , #revitalization

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The start of construction and demolition started parallel with the designtask. As a result the pressure on the design process was huge, and this created the demand to compose a powerful design team.
The collaboration between KREUK architectuur, BK. architecten and Stephanie Gieles interieurontwerp is a good example of joining forces to take on larger, more complex projects. Each office has brought its own expertise to raise the output to a higher level. BK. architecten specialize in working with photorealistic 3D images that gives a good visual insight of the design for both the designers and the client throughout the process. Stephanie Gieles interieurontwerp has many years of expertise with monuments and extensive knowledge of materials. KREUK architectuur is strong in communicating between client, contractor and interior design team and has succeeded in this specific project to maintain an overview. The synergy between the three companies has led to the final result, obtained within the stipulated time and budget.

#renovation , #preservation , #interior_design , #library
#authentic_material

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NO.21.

Conde Duque, Spain , 2011

• Architects: Carlos de Riaño Lozano
• Location: Calle Conde Duque, 28015 Madrid, Spain
• Technical Architects: María del Hierro, Luis García Cebadera
• Area: 29262.0 sqm
• Photographs: Miguel de Guzmán, Alfonso Quiroga
• Collaborators: Almudena Peralta Quintana, Rebeca Hurtado Díaz
• Structure: OTEP INTERNACIONAL
• Constructor: EDHINOR, U.T.E. F. MOLINA – GEOCISA, PECSA, F. MOLINA, CPA y VIAS

In 1717, Pedro de Ribera drew the first project of the Conde Duque barracks in Madrid. It had to provide answers for an ambitious program to house the more than 600 men and 400 horses of the Royal Guard. For almost three centuries the building has maintained the same structure, having overcome countless trials. The most significant ones were two fires in the second half of the 19th Century that almost required its demolition and rebuilding. The restoration was never complete.
In 2004, with the drafting of the Plan Director, began a new adventure in the life of the Conde Duque, which finished with the completion of the works in 2011, after a total and coordinated renovation of the whole building. In its moment it was a risky gamble, since it was the largest building in Madrid after the Alcázar, the old royal palace. And it still is one the hugest and less-known historic buildings of the city.
The first images of its naked interior were open naves of brick arches on granite pillars and at other levels, wrought columns and riveted beams. Clean and austere spaces covered with solid brick structures. The powerful space called for an obvious solution: to maintain the skeleton, to remove additions and to concentrate the new interventions. The aim was to achieve a big neutral container where new timeless objects and specific elements could be situated.
The program proposed by the City of Madrid was aware of those premises and facilitated the task. It essentially wanted to create places of interaction, multi-use spaces and a small collection of venues for the development of activities (a concert hall, a theatre, an assembly hall…). The interior courtyards shape the vast and diverse program. They are also an opportunity to recover open spaces and to allow the indoors and outdoors flow. The building is still very hermetic towards the exterior, but these courts offer a friendly and accessible face. They mean the antechamber, the place of approach, the possibility of understanding.
The intervention consisted of two phases. The first one took place in the southern area of the building, where the original architecture shows the most authenticity, which houses halls for exhibitions and shows. A sequence of big rooms is only altered by small blind boxes that hide the new communication passages. The unique pieces, like the Concert Hall, the Theatre and the Assembly Hall, generate its own ambiance and give its own touch to each environment. The second phase took place in the northern area, where the original container had been extensively transformed throughout the last years. It reorganized less freely the existing institutions, such as the Archives, the Newspaper Library, the Library, the Observatory and the Museum of Contemporary Art.
A common language unified the whole building. The original structures which had survived were recovered and liberated of superposed coats of paint, achieving a homogeneous and continuous canvas. The additions were painted white and we let the elevations tell us their own history. If the surfaces, including lintels and cornices, are the base of this discourse, it is the hollows what provide the nuances. Perfectly ordered, with a repetitive rhythm, now it recovers the vertical proportion, and it is dressed with a mixed carpentry of iron and wood that minimizes the impact from the exterior without subtracting warmth to the interior.

#restoration , #compatible_use , #conservation , #palace , #revitalization
#renovation , #culture , #lighting , #interior , #adaptive_reuse

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The main contradiction that needed to be cleared was between modern and historical architecture’s relationship to ornament and decoration. The densely decorated interior of the cathedral stands in direct contrast with the modernist aesthetics, which got rid of any decoration and finds beauty in clearly visible structures and in the material itself. Although contemporary architecture does not stick rigidly to these century-old principles, applied decoration of the past is still alien to it. The main advantage of the current changes is that they did not ignore decoration entirely, but rather keep them under control: the additions in the liturgical space all fit into the context, show, however, a gentle shift towards a sleeker style – they bring a bit of relief into the thickness of the space. In case of the new furniture, the ornament is integrated into the material.
In other spaces, like in the crypt an inverse solution comes into effect: the formerly abandoned spaces were given a new quality. The heavy pillars received unified white plastering and rhythmical illumination, the alteration of light and shadow gives contemporary aesthetics to the old space.
These solutions shape the spaces in an organic way toward the needs articulated in the present – the refurbishment did not dissolve the building into fragments, but rather managed to develop it continually, adding meaning and functions relevant to contemporary users.

#restoration , #renovation , #conservation , #redevelop
#lighting , #interior , #addition , #refurbishment , #Cathedral

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NO.26.

Saeed Al Maktoum Museum, UAE, 1986
خانه شیخ سعید آل مکتوم، امارات متحده عربی، 1986

خانه شیخ سعید یکی از نقاط دیدنی کشور امارات متحده عربی و از مکان‌های تاریخی و جاذبه های گردشگری شهر دبی است. این خانه محل سکونت حاکم پیشین دبی، شیخ سعید آل مکتوم بوده‌ است. تاریخ ساخت آن به سال ۱۸۹۶ در عهد شیخ مکتوم بن حشر آل مکتوم بر می‌گردد. این بنا تا سال 1958 میلادی (پایان عمر شیخ سعید آل مکتوم) مقر حکومت بوده ‌است. مساحت این بنا در حدود ۳۶۰۰ مترمربع می‌باشد که در سال ۱۹۸۶ میلادی توسط شهرداری دبی بازسازی شده و هم‌اکنون به عنوان موزه ملی اسکناس، عکس‌های تاریخی شهر دبی و همچنین بخشی به معرفی خانواده حکمران اختصاص داده شده است. به لحاظ موقعیت قرارگیری این خانه در منطقه ای استراتژیک، نزدیک به دهانه خور و کنار تونل شندغه واقع شده ‌است. از جمله مصالح بکاررفته در ساخت خانه می توان به آهک و ساروج اشاره نمود. ساختار کالبدی خانه بگونه ای است که پیرامون یک حیاط بزرگ پنج بخش مستقل برای زندگی پنج خانواده در نظر گرفته شده‌ است. هر بخش شامل یک ایوان، مهمان‌خانه و تعدادی اتاق می‌باشد. بادگیرها، درب‌ها و پنجره‌های کنده‌کاری‌شده، نورگیرهای مشبک چوبی و گچی همه و همه تصویرگر خانه‌های قدیمی دبی می‌باشند. این خانه پس از اتمام مراحل مرمت به‌ عنوان یک موزه تغییر کارکرد داده است. عکس‌های قدیم دبی، اسناد تاریخی، پول‌های رایج در زمان‌های نه‌چندان دور و مجموعه‌های تمبر از دیگر دیدنی‌های این موزه می‌باشند.

سپاس از آقای مهندس تقی خانی برای ارسال مدارک

#restoration , #renovation , #conservation , #house
#lighting , #interior , #refurbishment , #museum , #revitalization

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Posterity has been inclined to place the blame for the fire at the feet of the Spanish soldiers at Koldinghus, and it is entirely probable that they, unused to the Nordic winter, fired up all too zealously in the castle's fireplace. The real cause, however, was sooner the fact that the maintenance of the chimneys had been neglected – but whatever the case may be, Jutland's last royal castle, which in 1808 still stood in the Baroque form it had attained through Frederik IV's rebuilding in the years around 1720, had been lost. At the time, however, people were most occupied by the fact that the fire had ruined large amounts of grain. In all it was estimated at 6,000 barrels of rye and oats, which people then made a great effort to salvage in the hope that it could be used as cattle feed?

Koldinghus was not rebuild as a royal castle, and very quickly became one of the romantic ruins which the age loved. In 1813 Christian Molbech passed by, and he writes: “Nature, which so likes to beautify death and destruction, had already here and there adorned the red lots with lively grass growth. The castle bailiff's cow wandered calmly in and out of the windows in search of food on the grass-covered gravel slopes between the walls where courtiers lived in days of old, and in the great, vaulted kitchen where the court was cooked for, a lonely pig had made his spacious dwelling”.

#restoration , #renovation , #conservation , #castle , #fire , #recostruction
#lighting , #interior , #refurbishment , #culture , #revitalization

@revitalization

TOWER
15 Observation deck at the top of the Giant Tower
12-14 Tower Rooms, closed at the moment
11 Toys
3rd FLOOR
7 The Ruin Hall
8 Classroom, teaching
9 Temporary Exhibitions
10 The Great Hall
16 Danish Silver 1550-1900
17 Collection of the Erik Fjeldsøe Foundation (Danish Silver 1550-1800)
18 GANGSTEDFONDENS Silver Collection
19 Danish Silver Skønvirke (Thorvald Bindesbøll etc.)
20 Goldsmith Holger Kysters livingroom (early 20th century)
21 Danish Silver 20th Century
2nd FLOOR
6 The Ruin Hall
24 Historicisme (ca. 1830-90)
25 Rococo (approx. 1730-70); Louis Seize (approx. 1760-1800); Empire (approx. 1800-50)
26 Renaissance (approx. 1550-1630)
27 Baroque (approx. 1630-1740)
28 Neoclassicism (1770-1800)
29 The Library Reading Room, porcelain and delft ware




1st FLOOR
1 Tickets, Museum Shop, Wardrobe
4 The Ruin hall
5 King Christian 3.s Chapel (auditorium)
30 The Castle Chapel
31 Church Art, Middle Ages
32-33 Koldinghus History Center
34 Temporary Exhibitions
BASEMENT
2 Basement, toilets
3 The Ruin Hall
35 Café Koldinghus
36 Dungeon

#restoration , #renovation , #conservation , #castle , #fire , #recostruction
#lighting , #interior , #refurbishment , #culture , #revitalization

@revitalization

Below, at the curved wall entry to the mosque, the pixelated and equally structural word Insan (Human) is added to the steel plates, to create a Hegelian dialectic of God/Man. The juxtaposition of both renders the idea of humanity as an integral part of the equation with God, placed in a new dialectic, and becomes a reminder of the humanistic tradition of Islam, as referenced in noted Islamic theologian Mohammad Arkoun’s book Humanisme et Islam – Combats et Propositions (Paris, Vrin, 2005) which places Islam at the origin of the18th century Enlightenment project.
Insan becomes the epicenter of the ground plane of the plaza.
As one moves around the mosque, the planar reading of the mosque formed by the steel plates becomes transparent, while the two words (Allah/Insan) becomes more apparent, and vice versa. The overall lightness of the mosque’s tectonic sits also in a relational contrast to the heaviness of the Moukhtara’s palace stone volumetric.
A fig tree shades the new plaza, and creating a book end along with the existing Olive tree on the other side of the street, alluding to the ‘Fig and Olive’ verse (souret at-teen) in the Quraan and referencing the importance of both trees in Christian tradition as well. At the threshold, the entry to the mosque’s hall, which accommodates both women and men in the same space, is articulated with a chiseled glass façade holding two wooden doors that float within it.

Interior
On the inside of the existing structure, the minimal intervention involved a ‘white-out’ of the concave surfaces of the vaults, using special Lime mix brought from Aleppo in Syria, as well as the introduction of a new skylight that cuts the vaulted space to register the direction of the Quiblah wall towards Makkah, and bring light towards the Mihrab space.
Through the skylight, one can see the minaret in a visual looping of exterior back to the interior, linking visually the disassociation in typical mosques between the sound and the vision.
Similarly, the Mihrab is articulated with a concave reflective polished stainless steel arched wall that, though pointing towards Makkah, implodes this axiality by merging it visually with the wider context, bringing outside in, and distorting the interior spatiality of the mosque.
Towards the back of the mosque where the actual reading of the Quraan would happen, a wooden wall with the word iqra’ (read) is articulated in relief. It references the Islamic scholar Youssef Siddiq’s argument and interpretation that the first word in the Quraan, iqra’, of which the Quraan word is a derivative, argued for a critical and contextual reading of the Quraan as a post-structuralist ‘text’ to be read critically, and not as a meta-narrative to be recited blindly.
The call to prayer, in collaboration with artists Lawrence Abu Hamdan and Nisrine Khodr, was re- interpreted along the same lines as a variation on the normative call to prayer by the idea of having it spoken rather than sung, in a return to the words where the listener focuses on the meaning rather than the melody.
Overall the design of the mosque is a celebration of the ethos of modernity as it relates tectonically to the notion of abstraction, of ephemerality, and representationally to the continuity of the humanism tradition in Islam. It represents a part of a cultural war of ideas that needs to be fought against the fundamentalist forces across religions, a war where architecture is a weapon.

#restoration , #renovation, #mosque , #interior_desigh, #Lebanon , #typography , #lighting ,#landmark
@revitalization

CREATIVE HUB

Tallinn Creative Hub is a creative centre in the heart of Tallinn. Its doors are open to visitors of all ages. It is available for hosting a variety of cultural events and activities focussing on the creative industry.
• Concerts
• Festivals
• Performances
• Exhibitions
• Creative industry workshops
• Seminars and lectures
• Conferences
• Gala events
AN INSPIRING SPACE FOR EVENT ORGANISERS
LABS FOR IMAGINATIVE IDEAS
• MakerLab / a universal workshop for creating product samples and prototypes
• Recording studio / a studio for recording and producing sound
• FoodLab / a place for creating and trying out recipes
A CREATIVE ENVIRONMENT FOR INTERDISCIPLINARY COLLABORATION
• Creative education / a programme for developing interdisciplinary collaboration
OPEN URBAN SPACE FOR CULTURE AND MUSIC PROGRAMMES
• Tallinn Creative Hub Garden / a community garden open in summer for people to spend free time in, as well as a venue for creative young individuals and amateurs
• Kanala café / The Creative Hub Garden’s summer café


Creative Hub is a creative centre and a place for cultural events in the heart of Tallinn. Its doors are open for all visitors, and it is the venue for various workshops, seminars, conferences, festivals, exhibitions and much more.
In 1913–1979, this thoroughly renovated building was home to Tallinn City Central Power Station. With the founding of the power station at the time, the use of electric power became common in Estonia. The Creative Hub is named after the former boiler room (Kultuurikatel in Estonian). Completed in 1934, this part of the building with limestone walls is now used by art-minded, creative people. The former power station’s first serious encounter with art occurred in 1977, when Andrei Tarkovsky used the complex as a set for his cult film “Stalker”.

#restoration , #renovation , #industrial , #interior_design , #tower , #Estonia , #landmark , #creative_center , #hub , #cultural_center , #lighting
@revitalization

The solution for the former wine cellar is remarkable. Now it is a sample and wine tasting room with independent access from the outside. A metal structure, that reminds of the old metal wine racks still present in some homes, was designed a separate piece of furniture, set apart from the walls, to allow a full view of the vaulted room. The ceiling was used for a small lecture hall, with an entrance from the “plaza de armas”.
The stone structure is not covered when its quality and authenticity deserve it. It was cleaned and repointed with a finish similar to that of the exterior walls. A similar criterion was applied to the brick arches and vaults which, against some theories, were never un-plastered and even it they
The exterior openings were closed with stainless steel profile, sandblasted, always accessible and with a minimum impact section to allow the full perception of the medieval opening. The two main halls are directly connected by a spiral staircase with a solid curved wood frame as a banister. The access to this whole area is through a new exterior staircase with metal steps, wrapped in two parallel COR-TEN steel plates.
#restoration , #renovation , #adaptive_reuse , #Rehabilitation , #castle , #tower , #Spain , #landmark , #COR_TEN_steel

@revitalization

NO.56.

Stapleton Library / Andrew Berman Architect

• Architects: Andrew Berman Architect
• Location: 132 Canal St, Staten Island, NY 10304, USA
• Architect in Charge: Andrew Berman FAIA, Dan Misri, Vinci So
• Area: 12000.0 ft2
• Project Year: 2013
• Photographs: Naho Kubota
• Manufacturers: Schüco
• Client: New York Public Library
• Structural Engineer: Gilsanz Murray Steficek
• MEP Engineers: IP Group Engineers
• Landscape Architects: Wallace, Robert & Todd
• Lighting Designers: Cline Bettridge Bernstein Lighting Design


The New York Public Library commissioned this branch library of 12,000 square feet. We restored the existing 1907 Carrere and Hastings Carnegie Library and designed a new 7,000 square foot building to be located alongside. The library is conceived as a modern public institution that will contribute to the revitalization of the Stapleton neighborhood.
The facility is an assemblage of old and new. The existing Carnegie Library was converted into the Childrens’ Reading Room. The new building, constructed of glue laminated Douglas fir posts, beams, joists and roof decking, houses books and media. The structurally glazed facade invites the public and supplies natural light. The exposed wood structure provides a sense of rhythm, scale and material richness unexpected in contemporary public buildings. A radiant heating system efficiently warms the polished concrete floors.
The new library was intended above all to be an inviting, open, and accessible public space for the community. The new library had to be on a single level, stitch new building to old, and be handicapped accessible. An open plan, easily monitored by staff, that provided strategic spatial separations between children’s areas, teen area, and adult area was desired.
Working with the sloping grade of the land, we sited the new building such that a new street entrance could be accessed from grade, without steps. Teen and adult reading and research areas are located in the new building, separated by a transparent community room. The original Carnegie Library, which is immediately accessed off the new entry, was restored true to its original design, and is now the children’s reading room.
The library is the digital hub and resource for the neighborhood, providing Wi-Fi and computer terminals for students and residents. While information is increasingly available and distributed in a digital format, we sought in this building to assert the enduring relevance and primacy of the book. As such all walls are lined with bookshelves, putting the entire collection of the library within view, and within reach, of all its patrons.

#USA , #library , #lighting , #interior_design , #interior_architecture , #landscape ,#revitalization , #extention , #renovation
@revitalization

The architects organised the building's programme as a journey, so the contemporary alterations made become more prevalent as the visitor progresses through the restaurant.
"The spatial sequence allows to transit between the site periods, finishing in the contemporary addition, whose physical and visual integration with the main square and its components closes a cycle of respect and belonging," said the architects


#Mexico , #restaurant , #industrial , #lighting , #interior_design , #interior_architecture , #landscape , #revitalization , #extention , #renovation
@revitalization

A NEW CINEMA FOR THE 21ST CENTURY
The project has two main aims:
- To showcase the fi lm theatres and visually identify them as physical spaces, as much from within the building as from without.
- To showcase the films, this time directly on the facade. Here the films themselves, rather than the theatres, take their place ... The facades are covered in a kind of huge curtain of LEDs, which is used to screen a range of animation: fi lm extracts, stills, colours and abstract images can be used to bring the facade to life.
These are the means by which the cinema hopes to resume its position within the city: internally, the architecture aims to display the cinema’s unusual and spectacular volumes, while externally it envelops itself in fi lm extracts and moving images, which also speak of cinema ....


An assembly of theatres, stacked and slotted together
The fi lm theatres are arranged within the building so that virtually every volume is visible and identifiable. The contents of the project form a sort of vertical sculpture, where the theatres slot into one another like a puzzle. The tiered seating in the theatres is made visible on its underside, forming magnificent stepped ceilings. These ceilings are then extended into the adjacent space to create partially tiered lobby areas: little amphitheatres that slope down towards the theatre entrances. These create spaces for informal projections, supplementary spaces where yet again cinema is present and disseminated.


It is almost as though the stalls in the fi lm theatres had reached out beyond their boundaries to welcome the public into a universe bathed in fi lm and projections ... The public is welcomed in a vast space beneath tiers of theatre seating As already mentioned, the aim was to make the project more fluid and accessible to all members of the public: entrance is made via a large hall, which runs the full depth of the building and links the Boulevard de Général Leclerc directly to the Rue d’Alésia.


Within this vast, light and airy space are all the reception services: first in line from the Boulevard entrance are ticket sales, an information point, automated ticket and information points and refreshments, with a seating area and a cafe. Beyond these, to the left, is access to the different theatres, above and below, and then a quieter space towards the Rue d’Alésia entrance, with areas for screening films. This sculpted space is tucked into a hollow beneath the tiered seating of one of the theatres above. All the circulation interlinks within the majestic, triple-height atrium. A series of escalators and walkways behind the facade lead to the different mezzanine levels and upper-level theatres. The public can be seen, and can move around to look at the spaces from below or from above, as well as enjoying views onto the outside world.


Within this array of stairs, walkways and escalators, large areas of tiered seating are arranged. These punctuate the public spaces, providing further spaces for sitting and chatting before going in to see a film. With their backs to the facade, these little amphitheatres address the fi lm theatre wall, onto which moving images can be projected and viewed from the banked seating. A sneak preview of the film, for example ...


#France , #cinema , #interior , #lighting , #interior_design , #renovation

@revitalization

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 entrance of the film house is housed in the neighboring former carpentry workshop. There was previously a lane between the carpentry and the central building which was later built. This padding can be clearly realized by the fact that the old side wall of the center is still visible. This later-filled zone forms the entrance hall of the movie house, from which you get through a new passage and a lazy staircase in the middle of the film house.
Outside the entrance is a public passage made on the ground floor of the carpentry shop, which connects the courtyard to the Bassin via a large staircase. Above this passage lies the office of Lumière, and on the Cour side, where the large height difference joins the ground floor, there is an additional multifunctional space.
The carpentry is one of the earliest and slimmest examples of a 'Hennebique construction'. This construction principle implies that beams, floors and columns were all poured at once, which allowed very slender constructions to be made. The construction of this building has been strengthened especially under the floor, but the slimmest columns on the floor are also visible in the Courgevel after the re-destination.
The large hall of the complex is constructed below the Cour's level using the large height difference between the Cour and the basin at the front of the central. This allows the desired future link with the adjacent Sappi terrain to be built directly behind the complex, leaving room for future developments surrounding the entire Cour.

The complex's extensive and refurbished complex was filled with abandoned technical spaces, some of which have been sealed for years. By combining the basement, which fits into a complex as a machine, it has been possible to give all these spaces a new function, most of which are now publicly accessible. Even the restrooms of the film house are now worth the effort. For example, there were toilets made under the heavily moored vaults of a former railroad raft next to the central station, about which the coal was supplied to the boilers. The toilet next to the restaurant is located in a light high room with beautiful light from above and classic green tiles in which the unit with the toilets and washbasins is now placed in the room. The restrooms at the cinema are located in the former alley between the buildings. The former exterior facade has been visible here, which made the history of the complex visible to the attentive visitor.

Since the complex consists of very different premises with each other a different condition and status, each building is otherwise tackled in a technical sense. In order to be able to repair the heavily dilapidated boiler houses in a sound and durable way, it has been removed in very poor condition and the steel structure as a whole is conserved. The walls are then re-mattened and insulated, resulting in a much more comfortable and durable whole. By choosing for this approach, the entire complex could be maintained, including the slender steel structures. At the same time, this approach made it possible to put under the existing premises a basement for the movie rooms, leaving space in the halls to experience the halls as a whole. The state-of-the-art machine hall has been restored and restored as well as possible. In the base there was chosen to keep up with improvements wherever possible without changing the appearance of the monument.

The whole is a beautiful complex in which the Sphinx industrial heritage is combined with state-of-the-art cinemas and an extensive hospitable hospitality in a great ambiance: a unique film house in a unique place!

The new movie house Lumiere Cinema was opened in October 2016.

#Netherlands , #industrial , #interior, #interior_design , #renovation , #cinema , #complex , #restaurant , #lighting

@revitalization