NO.35.
Villers Abbey Visitor Center, Belgium, 2016
•Architects: Binario Architectes
•Location: 1495 Villers-la-Ville, Belgium
•Area: 420.0 sqm
•Project Year: 2016
•Photographs: François Lichtle, …
•Manufacturers: Abet Laminati, Dorma, Heradesign
•Structure: JZH et partners
•Fluids: SECA benelux
•Lightning: Henriette Michaux
•Landscape: Du Paysage (Virginie Pigeon et Sébastien Ochej)
•Scenography: L'Escaut
The Villers abbey site is crossed and split by the N275 national road so it loses logic and unity. Architecture, through a common intervention in landscape and scenography fields, tries to reunite the full Cistercian composition plan. The project leads to a truly sequence from the parking to the ruins and prepares the visitors. The new path goes by the mill (reception hall, scenography spaces, models room), reaches the hill across the new footbridge, continues through the garden, crosses the second bridge over the national road and finally goes down into the ruins. The project highlights a common thread by means of sober materials (corten, wood, concrete) set up in various ways.
#ruin , #historic_site , #multiple_use , #preserve
#addition , #landscape , #lighting , #interior, #signage
@revitalization
Villers Abbey Visitor Center, Belgium, 2016
•Architects: Binario Architectes
•Location: 1495 Villers-la-Ville, Belgium
•Area: 420.0 sqm
•Project Year: 2016
•Photographs: François Lichtle, …
•Manufacturers: Abet Laminati, Dorma, Heradesign
•Structure: JZH et partners
•Fluids: SECA benelux
•Lightning: Henriette Michaux
•Landscape: Du Paysage (Virginie Pigeon et Sébastien Ochej)
•Scenography: L'Escaut
The Villers abbey site is crossed and split by the N275 national road so it loses logic and unity. Architecture, through a common intervention in landscape and scenography fields, tries to reunite the full Cistercian composition plan. The project leads to a truly sequence from the parking to the ruins and prepares the visitors. The new path goes by the mill (reception hall, scenography spaces, models room), reaches the hill across the new footbridge, continues through the garden, crosses the second bridge over the national road and finally goes down into the ruins. The project highlights a common thread by means of sober materials (corten, wood, concrete) set up in various ways.
#ruin , #historic_site , #multiple_use , #preserve
#addition , #landscape , #lighting , #interior, #signage
@revitalization
#Croatia , #square , #lighting , #plaza , #city_centre , #historical_centre , #archeology , #conservation , #tower , #landmark , #landscape , #historic_site , #ruin , #preserve
@revitalization
@revitalization
Direct economic impact of Barcelona's Network of Municipal Markets
Conducted with the specific aim of finding out the volume of economic activity and of analysing expenditure in municipal markets, it puts the markets' turnover at between 950 million and 1.1 billion.
To achieve the specific objectives, the following aspects were taken into account: economic indicators (turnover volume, number of employees, evolution of turnover and employees), characteristics of the establishments (product category, surface area, possession regime) and the profile of the operators/traders (socio-economic, length of time with establishment in the market and name of establishments) as well as an analysis of the receipts and profile of consumers.
In relation to the operator profile, the study provides information on aspects such as the average age of traders, the age of the establishments and any reforms that have been carried out; where they come from, the future prospects of the business, customer volume and average monthly sales.
With regard to customer expenditure, it includes information on monthly expenditure on food, loyalty to particular stalls on the market, how often customers shop and their average expenditure, among others.
Conclusions
The conclusions, which show that Barcelona's municipal markets have a turnover of between 950 million and 1.1 billion euros, also highlight the fact that Barcelona markets' market share with regard to fresh food produce is between 30% and 35%.
Other aspects highlighted in the conclusions include the fact that Saturdays are the day with the highest average number of customers, that the most widely purchased products on the market are fish (78%) and meat (74%) and that 60% of market customers shop at the supermarket found in the market (in cases where there is a supermarket) while 40% also shop at the shops around the market.
#Spain , #market , #city_centre , #historical_centre , #archeology, #landmark , #historic_site , #ruin , #convent , #economic_impact , #roof , #remodelling
@revitalization
Conducted with the specific aim of finding out the volume of economic activity and of analysing expenditure in municipal markets, it puts the markets' turnover at between 950 million and 1.1 billion.
To achieve the specific objectives, the following aspects were taken into account: economic indicators (turnover volume, number of employees, evolution of turnover and employees), characteristics of the establishments (product category, surface area, possession regime) and the profile of the operators/traders (socio-economic, length of time with establishment in the market and name of establishments) as well as an analysis of the receipts and profile of consumers.
In relation to the operator profile, the study provides information on aspects such as the average age of traders, the age of the establishments and any reforms that have been carried out; where they come from, the future prospects of the business, customer volume and average monthly sales.
With regard to customer expenditure, it includes information on monthly expenditure on food, loyalty to particular stalls on the market, how often customers shop and their average expenditure, among others.
Conclusions
The conclusions, which show that Barcelona's municipal markets have a turnover of between 950 million and 1.1 billion euros, also highlight the fact that Barcelona markets' market share with regard to fresh food produce is between 30% and 35%.
Other aspects highlighted in the conclusions include the fact that Saturdays are the day with the highest average number of customers, that the most widely purchased products on the market are fish (78%) and meat (74%) and that 60% of market customers shop at the supermarket found in the market (in cases where there is a supermarket) while 40% also shop at the shops around the market.
#Spain , #market , #city_centre , #historical_centre , #archeology, #landmark , #historic_site , #ruin , #convent , #economic_impact , #roof , #remodelling
@revitalization
NO.69.
Ruin Studio / Lily Jencks Studio + Nathanael Dorent Architecture
• Architects: Lily Jencks Studio, Nathanael Dorent Architecture
• Location: Dumfries, United Kingdom
• Design Team: Lily Jencks, Nathanael Dorent, Pati Santos
• Area: 180.0 m2
• Project Year: 2016
• Local Architects: Savills - Michael Leybourne, Allan Lees
• Structural Engineer: Nous engineering – Manja van Der Worp (interior tube)
• Main Contractor: Chalmers Construction
• EPDM Envelope: Carlisle Construction Materials Europe -
• GRP Tube and assemblage: MDM Props
• Joinery: A.B Hastings & Son
• CNC: Mark Angus
• Awards: "GIA Supreme Award" & the "GIA Award 2017" in the category "Residential"
This private house in Scotland is built within the existing stone ruins of an old farmhouse, with beautiful views northwards for more than 50 miles down two valleys. Located in a remote countryside area, this project was conceived to near passivhaus standards with a super insulated envelope and use of solar energy.
The existing ruin, originally construction in the 18th Century, was transformed several times revealing a palimpsest of occupation on the site. We wanted to highlight this historical layering by adding a sequence of counterpoint materials and geometries within the design. The first layer is the existing stone wall, within which sits a black waterproofing EPDM rubber clad pitched-roof 'envelope', and within that a curvilinear interior 'tube' wall system. This interior curved surface is made of insulating recycled polystyrene blocks within a gridded wood structure, and is covered with Glass Reinforced Plastic.
Emphasizing the narrative of time, these three layers also reflect different architectural expressions: the random natural erosion of stone walls, an archetypical minimalist pitched roof, and a free form double curved surface. These three layers are not designed as independent parts, rather, they take on meaning as their relationship evolves through the building’s sections. They separate, come together, and intertwine, creating a series of architectural singularities, revealing simultaneous reading of time and space.
In the ‘tube’are the more public programs of kitchen, study, sitting and dining room. At both ends of the house, the ‘tube’ detaches from the ‘envelope’ to create rooms that are used for the more private functions of bedrooms, bathrooms and storage. To access these spaces, the tube’s non-linear curved surface ramps up, producing a dynamic sensory experience.
The existing ruined walls, and views from the site, dictate the locations for large windows and doors. At these openings the tube funnels out towards the light, creating a 'poched' space, that can be used for furniture and storage. Book shelves, a sofa and seat furniture are created by ‘pulling’ the structural grid through the surface of the GRP walls and seem to be peeling off the tube.
The landscape around the house is of rolling hills with drystone walls defining cow fields. The juxtaposition between straight ancient stone walls and organic topography continues in the garden with gentle landforms bringing the distant landscape towards the house. To the North the walls of the surrounding ruins are extended to define a more formal planted garden.
We have preserved the ruin walls, and reinstituted the pitched roof that would have been there originally, providing an external coherence. However, the matt black rubber exterior and soft curves of the interior are a more counterpoint preservation, accentuating this palimpsest nature of occupation on the site, and pleasures of living within layers of history.
#UK , #detail , #interior, #interior_design , #ruin , #residential
@revitalization
Ruin Studio / Lily Jencks Studio + Nathanael Dorent Architecture
• Architects: Lily Jencks Studio, Nathanael Dorent Architecture
• Location: Dumfries, United Kingdom
• Design Team: Lily Jencks, Nathanael Dorent, Pati Santos
• Area: 180.0 m2
• Project Year: 2016
• Local Architects: Savills - Michael Leybourne, Allan Lees
• Structural Engineer: Nous engineering – Manja van Der Worp (interior tube)
• Main Contractor: Chalmers Construction
• EPDM Envelope: Carlisle Construction Materials Europe -
• GRP Tube and assemblage: MDM Props
• Joinery: A.B Hastings & Son
• CNC: Mark Angus
• Awards: "GIA Supreme Award" & the "GIA Award 2017" in the category "Residential"
This private house in Scotland is built within the existing stone ruins of an old farmhouse, with beautiful views northwards for more than 50 miles down two valleys. Located in a remote countryside area, this project was conceived to near passivhaus standards with a super insulated envelope and use of solar energy.
The existing ruin, originally construction in the 18th Century, was transformed several times revealing a palimpsest of occupation on the site. We wanted to highlight this historical layering by adding a sequence of counterpoint materials and geometries within the design. The first layer is the existing stone wall, within which sits a black waterproofing EPDM rubber clad pitched-roof 'envelope', and within that a curvilinear interior 'tube' wall system. This interior curved surface is made of insulating recycled polystyrene blocks within a gridded wood structure, and is covered with Glass Reinforced Plastic.
Emphasizing the narrative of time, these three layers also reflect different architectural expressions: the random natural erosion of stone walls, an archetypical minimalist pitched roof, and a free form double curved surface. These three layers are not designed as independent parts, rather, they take on meaning as their relationship evolves through the building’s sections. They separate, come together, and intertwine, creating a series of architectural singularities, revealing simultaneous reading of time and space.
In the ‘tube’are the more public programs of kitchen, study, sitting and dining room. At both ends of the house, the ‘tube’ detaches from the ‘envelope’ to create rooms that are used for the more private functions of bedrooms, bathrooms and storage. To access these spaces, the tube’s non-linear curved surface ramps up, producing a dynamic sensory experience.
The existing ruined walls, and views from the site, dictate the locations for large windows and doors. At these openings the tube funnels out towards the light, creating a 'poched' space, that can be used for furniture and storage. Book shelves, a sofa and seat furniture are created by ‘pulling’ the structural grid through the surface of the GRP walls and seem to be peeling off the tube.
The landscape around the house is of rolling hills with drystone walls defining cow fields. The juxtaposition between straight ancient stone walls and organic topography continues in the garden with gentle landforms bringing the distant landscape towards the house. To the North the walls of the surrounding ruins are extended to define a more formal planted garden.
We have preserved the ruin walls, and reinstituted the pitched roof that would have been there originally, providing an external coherence. However, the matt black rubber exterior and soft curves of the interior are a more counterpoint preservation, accentuating this palimpsest nature of occupation on the site, and pleasures of living within layers of history.
#UK , #detail , #interior, #interior_design , #ruin , #residential
@revitalization
NO.70.
Deck Over A Roman Site / Amann-Canovas-Mauri
• Architects: Amann-Canovas-Mauri - Atxu Amann, Andrés Cánovas, Nicolás Maruri.
• Location: Cartagena, Spain
• Design Team: Nacho Álvarez-Monteserín, Javier Gutiérrez, Ana López, Pablo Sigüenza, José López
• Project: October 2008 — July 2009
• Construction: September 2010 — November 2011
• Client Cartagena Puerto de Culturas
• Construction Firm: TMR
• Cost: € 977.719
• Site area: 2036 m²
• Build area: 1847 m²
• Materials: Steel, Polycarbonate Sheets
The building is essentially a cover protecting the remains of a Roman assembly (thermal baths, forum and domus) in the archaeological site of Molinete Park in Cartagena, Spain. This cover is certainly another piece in the historic area of Cartagena whose main architectural challenge is to reconcile very different architectures; from the roman time, passing through baroque to nowadays, making all the interventions vibrate together in the neighborhood. It is a transition element, between very diverse urban conditions: in size, material and structure; from the dense city centre to the sloping park. The primary goal of the work is to respect the existing remains, using a long-span structure, which requires the least amount of support for lifting the cover. The intervention unifies all the remains in a single space, allowing a continuous perception of the whole site. The cover also generates a new urban facade in the partition wall. The project also pursues a sense of lightness and is conceived as an element that allows light inside. The inner layer is built with a modular system of corrugated multiwall translucent polycarbonate sheets. The outer layer, constructed with perforated steel plates, qualifies the incidence of light and gives a uniform exterior appearance. Besides to the steel structure, the building set includes an elevated walkway parallel to the street, that is accessible – like all the built tours - for disabled visitors. It is a very light structure hanging from steel beams. Conceived as a glass box, with a faceted, partially visible geometry, it makes up the street façade and allows a view of the ruins from three meters high as this high path set out an overall vision of the roman remains.
#Spain , #protection , #ruin , #museum , #archeological_site , #lighting
@revitalization
Deck Over A Roman Site / Amann-Canovas-Mauri
• Architects: Amann-Canovas-Mauri - Atxu Amann, Andrés Cánovas, Nicolás Maruri.
• Location: Cartagena, Spain
• Design Team: Nacho Álvarez-Monteserín, Javier Gutiérrez, Ana López, Pablo Sigüenza, José López
• Project: October 2008 — July 2009
• Construction: September 2010 — November 2011
• Client Cartagena Puerto de Culturas
• Construction Firm: TMR
• Cost: € 977.719
• Site area: 2036 m²
• Build area: 1847 m²
• Materials: Steel, Polycarbonate Sheets
The building is essentially a cover protecting the remains of a Roman assembly (thermal baths, forum and domus) in the archaeological site of Molinete Park in Cartagena, Spain. This cover is certainly another piece in the historic area of Cartagena whose main architectural challenge is to reconcile very different architectures; from the roman time, passing through baroque to nowadays, making all the interventions vibrate together in the neighborhood. It is a transition element, between very diverse urban conditions: in size, material and structure; from the dense city centre to the sloping park. The primary goal of the work is to respect the existing remains, using a long-span structure, which requires the least amount of support for lifting the cover. The intervention unifies all the remains in a single space, allowing a continuous perception of the whole site. The cover also generates a new urban facade in the partition wall. The project also pursues a sense of lightness and is conceived as an element that allows light inside. The inner layer is built with a modular system of corrugated multiwall translucent polycarbonate sheets. The outer layer, constructed with perforated steel plates, qualifies the incidence of light and gives a uniform exterior appearance. Besides to the steel structure, the building set includes an elevated walkway parallel to the street, that is accessible – like all the built tours - for disabled visitors. It is a very light structure hanging from steel beams. Conceived as a glass box, with a faceted, partially visible geometry, it makes up the street façade and allows a view of the ruins from three meters high as this high path set out an overall vision of the roman remains.
#Spain , #protection , #ruin , #museum , #archeological_site , #lighting
@revitalization
NO.71.
Caro Hotel / Francesc Rifé Studio
• Interiors Designers: Francesc Rifé Studio
• Location: Carrer de l'Almirall, 14, 46003 València, Valencia, Spain
• Area: 2000.0 m2
• Project Year: 2012
• Photographs: Fernando Alda
• Manufacturers: Flos, HAY, Moroso, Marset, ZANOTTA
• Number of rooms: 26
This boutique hotel is made up of many elements that have been revealed throughout the years. The main element in the structure is the imposing wall from Almohad age which reaches 15 metres high. The wall, dated from the 12th century, crosses the rooms in the first floor. The 19th-century staircase is important because it leads to several spaces. Next, to the staircase, there is a mosaic from the 1st century B.C., which is believed to be the oldest in the city, and a segmental arch shows us the way to the bar, continues to the lobby and to the outside deck.
The lobby leads to several spaces: the reception, integrated as a lightbox inside the original exposed brick wall; the staircase, which leads in its turn to the nearest bedrooms and library; the Sucede restaurant’s interior access –recently awarded with one Michelin star– and the public toilets, and finally, the Meta Bar and terrace on the opposite side.
Neutral materials such as resin flooring in very light colours or the arabesque marble for the counter in Meta Bar were chosen. Walls were painted the same colour as the flooring with the aim of integrating them as much as possible with the furniture designed by the studio, which interacts with other signature pieces. All the 26 bedrooms in the hotel are unique. The complexity of the space needed a different, special tratment for each rest area.
Interior designer Francesc Rifé has created this contemporary hotel in the middle of the old town of this vibrant Mediterranean city, just 200m from the cathedral. The building, the Palace of Marquis of Caro, is a mix of different ages, combining Roman mosaics of the 2nd century BC, the Arab wall of the 12th century, and gothic arches and a façade from the 19th century. All of these are mixed by Rifé with clean lines, an abundance of wood, and modern furniture (most of it designed by him). A carefully considered lighting system ensures a warm, intimate atmosphere. The 26 rooms are all different in character, featuring big beds and spa style bathrooms. The gastronomic restaurant (Alma del Temple) and the bar and terrace (Meta Bar) are open to non-guests and are well worth a visit.
Facilities:
Disabled facilities
Restaurant
Outdoor restaurant
Shuttle service
24hr. Reception
Laundry service
Babysitters
Air conditioning
Satellite TV
Safe-deposit box
Hair dryer
Free WiFi
Beach 6 km.
Golf 15 km.
Meeting room 20 Pers.
#Spain , #ruin , #hotel , #interior_design , #lighting
@revitalization
Caro Hotel / Francesc Rifé Studio
• Interiors Designers: Francesc Rifé Studio
• Location: Carrer de l'Almirall, 14, 46003 València, Valencia, Spain
• Area: 2000.0 m2
• Project Year: 2012
• Photographs: Fernando Alda
• Manufacturers: Flos, HAY, Moroso, Marset, ZANOTTA
• Number of rooms: 26
This boutique hotel is made up of many elements that have been revealed throughout the years. The main element in the structure is the imposing wall from Almohad age which reaches 15 metres high. The wall, dated from the 12th century, crosses the rooms in the first floor. The 19th-century staircase is important because it leads to several spaces. Next, to the staircase, there is a mosaic from the 1st century B.C., which is believed to be the oldest in the city, and a segmental arch shows us the way to the bar, continues to the lobby and to the outside deck.
The lobby leads to several spaces: the reception, integrated as a lightbox inside the original exposed brick wall; the staircase, which leads in its turn to the nearest bedrooms and library; the Sucede restaurant’s interior access –recently awarded with one Michelin star– and the public toilets, and finally, the Meta Bar and terrace on the opposite side.
Neutral materials such as resin flooring in very light colours or the arabesque marble for the counter in Meta Bar were chosen. Walls were painted the same colour as the flooring with the aim of integrating them as much as possible with the furniture designed by the studio, which interacts with other signature pieces. All the 26 bedrooms in the hotel are unique. The complexity of the space needed a different, special tratment for each rest area.
Interior designer Francesc Rifé has created this contemporary hotel in the middle of the old town of this vibrant Mediterranean city, just 200m from the cathedral. The building, the Palace of Marquis of Caro, is a mix of different ages, combining Roman mosaics of the 2nd century BC, the Arab wall of the 12th century, and gothic arches and a façade from the 19th century. All of these are mixed by Rifé with clean lines, an abundance of wood, and modern furniture (most of it designed by him). A carefully considered lighting system ensures a warm, intimate atmosphere. The 26 rooms are all different in character, featuring big beds and spa style bathrooms. The gastronomic restaurant (Alma del Temple) and the bar and terrace (Meta Bar) are open to non-guests and are well worth a visit.
Facilities:
Disabled facilities
Restaurant
Outdoor restaurant
Shuttle service
24hr. Reception
Laundry service
Babysitters
Air conditioning
Satellite TV
Safe-deposit box
Hair dryer
Free WiFi
Beach 6 km.
Golf 15 km.
Meeting room 20 Pers.
#Spain , #ruin , #hotel , #interior_design , #lighting
@revitalization
3) the “Vela” North;
4) the bastion of Savoy (until new garden and part towards the outside courtyard).
#Italy , #ruin , #castle , #lighting , #stair , #archeology , #muesum , #mariage , #hall
@revitalization
4) the bastion of Savoy (until new garden and part towards the outside courtyard).
#Italy , #ruin , #castle , #lighting , #stair , #archeology , #muesum , #mariage , #hall
@revitalization
NO.136
The Museum Hotel Antakya / EAA – Emre Arolat Architecture
HOTELS, MUSEUM
•
ANTAKYA, TURKEY
• Architects: EAA - Emre Arolat Architecture
• Area: 34000 m²
• Year: 2019
• Manufacturers: AutoDesk, KEIM, Reynaers Aluminium, Häfele, Jotun, Vitra, SISECAM, Trimble
• Structural Engineering : Nodus Engineering
• Mechanical Engineering: Termomek Eng. & Besa Mech. Eng
• Electrical Engineering: HB Teknik Company
• Infrastructure: Proses Eng.
• Landscape: DS Architecture
• Façade Consultant: Axis Façade Istanbul,
• Wind Load Consultant : Alkazar Engineering & Consultancy,
• Acoustic : Danyal Karagozloglu
• Lighting : Studio Lighting Design
• Fire Consultant: Mustafa Ozgunler & Karina Design Services
• Building Survey, Documentation & Preservation Project Coordination : DS Architecture, M Project Architecture
• 3 D Scan Photogrammetric Documentation: Arc Tron GmbH
Perched Over 2,000-Year-Old Roman Mosaics and Ruins, This Hotel Takes a Bold Approach to Historic Preservation
Text description provided by the architects. Situated nearby the Saint Peter’s Church on Mount Starius in Antakya, that is claimed to have housed the first Christian congregation, the 199-room hotel is erected on a site of archaeological findings dating back to antiquity. The Museum Hotel Antakya pays homage to the amazing mosaics, baths, piazzas discovered during the first drills of the site and draws on the tensioned relationship of Archaeology and Architecture by intertwining the ancient and the modern.
An understanding of the unique context was a vital part of this project; becoming familiar with archaeological preservation, re-interpreting the architectural program of the -hotel typology- and making use of the modular building expertise made it possible to design a building that would fit within this place and to receive the approval of the Heritage Committee.
The structure and above all, the points of the structure were adapted according to the specific nods on the site where archaeological layers were washed off by a former riverbed. There are 66 composite columns, 120 cm in diameter, all interconnected into a steel grid to lift the rooms and common areas of the hotel off the ground.
The building can be considered at four different layers; the first being an open-air museum parkour at a level closest to the findings, the second the common public areas of the hotel; the lobby and the restaurant hovering over a scenery of the archaeological findings.
The third level is a cluster of prefab modules of hotel rooms and an open-air circulation which keeps the eye of the beholder on the exquisite landscape of mosaics all the time. Lastly, the canopy, which while protecting everything underneath, forms the ground for the Ballroom, Spa, Meeting Rooms and a Specialty Restaurant planned as pavilions and accompanied by tree filled courtyards as open communal areas with strong ties to the local context.
Taking inspiration from Antakya’s local history the project sought to meet two main objectives; one was to represent the amazing layers of civilizations in a way unprecedented; composed with the function of a hotel and the second was to make use of modern technologies along with more traditional materials in the interiors.
The building has a highly efficient passive ventilation system which eliminated the need for mechanical air conditioning in the circulation. Thanks to the omittance of the outer facade, air circulates freely between the footpaths and the rooms. The glass protective wall at the ground level was designed to harness the local prevailing winds and dust, keeping the archaeological findings safe.
#Turkey, #historic_site #museum , #hotel , #archeology , #ruin , #conservation, #extension , #excavation , #lighting , #interior_design , #mosaic
The Museum Hotel Antakya / EAA – Emre Arolat Architecture
HOTELS, MUSEUM
•
ANTAKYA, TURKEY
• Architects: EAA - Emre Arolat Architecture
• Area: 34000 m²
• Year: 2019
• Manufacturers: AutoDesk, KEIM, Reynaers Aluminium, Häfele, Jotun, Vitra, SISECAM, Trimble
• Structural Engineering : Nodus Engineering
• Mechanical Engineering: Termomek Eng. & Besa Mech. Eng
• Electrical Engineering: HB Teknik Company
• Infrastructure: Proses Eng.
• Landscape: DS Architecture
• Façade Consultant: Axis Façade Istanbul,
• Wind Load Consultant : Alkazar Engineering & Consultancy,
• Acoustic : Danyal Karagozloglu
• Lighting : Studio Lighting Design
• Fire Consultant: Mustafa Ozgunler & Karina Design Services
• Building Survey, Documentation & Preservation Project Coordination : DS Architecture, M Project Architecture
• 3 D Scan Photogrammetric Documentation: Arc Tron GmbH
Perched Over 2,000-Year-Old Roman Mosaics and Ruins, This Hotel Takes a Bold Approach to Historic Preservation
Text description provided by the architects. Situated nearby the Saint Peter’s Church on Mount Starius in Antakya, that is claimed to have housed the first Christian congregation, the 199-room hotel is erected on a site of archaeological findings dating back to antiquity. The Museum Hotel Antakya pays homage to the amazing mosaics, baths, piazzas discovered during the first drills of the site and draws on the tensioned relationship of Archaeology and Architecture by intertwining the ancient and the modern.
An understanding of the unique context was a vital part of this project; becoming familiar with archaeological preservation, re-interpreting the architectural program of the -hotel typology- and making use of the modular building expertise made it possible to design a building that would fit within this place and to receive the approval of the Heritage Committee.
The structure and above all, the points of the structure were adapted according to the specific nods on the site where archaeological layers were washed off by a former riverbed. There are 66 composite columns, 120 cm in diameter, all interconnected into a steel grid to lift the rooms and common areas of the hotel off the ground.
The building can be considered at four different layers; the first being an open-air museum parkour at a level closest to the findings, the second the common public areas of the hotel; the lobby and the restaurant hovering over a scenery of the archaeological findings.
The third level is a cluster of prefab modules of hotel rooms and an open-air circulation which keeps the eye of the beholder on the exquisite landscape of mosaics all the time. Lastly, the canopy, which while protecting everything underneath, forms the ground for the Ballroom, Spa, Meeting Rooms and a Specialty Restaurant planned as pavilions and accompanied by tree filled courtyards as open communal areas with strong ties to the local context.
Taking inspiration from Antakya’s local history the project sought to meet two main objectives; one was to represent the amazing layers of civilizations in a way unprecedented; composed with the function of a hotel and the second was to make use of modern technologies along with more traditional materials in the interiors.
The building has a highly efficient passive ventilation system which eliminated the need for mechanical air conditioning in the circulation. Thanks to the omittance of the outer facade, air circulates freely between the footpaths and the rooms. The glass protective wall at the ground level was designed to harness the local prevailing winds and dust, keeping the archaeological findings safe.
#Turkey, #historic_site #museum , #hotel , #archeology , #ruin , #conservation, #extension , #excavation , #lighting , #interior_design , #mosaic
NO.139
Summer Stage at Kastav, Crekvina / Nenad Fabijanić
Extension
Location: Kastav, Croatia
• Architects: Nenad Fabijanić
• Area: 1680 m²
• Year: 2018
Design Team: Željko Pavlović
The rebuild design of the internal and external areas at the site Crekvina – Kastav is based on and inspired by archaeological remains of the baroque Jesuit Church of Holy Mary i.e. fragments of the wall and apsis of the never fully built and completed church. Its exact construction date has never been known and according to different sources it varies from the beginning to the end of the 18th century; it was built at the site of the previously demolished, considerably smaller Church of Holy Mary.
Today Crekvina is a plateau with a parking lot and a belvedere along its eastern boundary, with the remains of the sanctuary and the western wall of the nave with five chapels. In accordance with the brief, the design is conceived as bi-functional: in summer as a stage for the events of the Kastav Culture Summer and the rest of the time as a freely accessible square and a belvedere. The impressive construction remains form a spatial “shell”, an ideal stage for architectural artifacts, enable a unique spatial experience during the organization of public and cultural events.
This is a terrace, whose layout is defined by the typological pattern of the envisaged church and belvedere that enable the attraction of a view against a wide horizon. This project is aimed at proving the possibility of achieving a higher level in both functional and aesthetic sense. The points of departure are determined by the fact of the existing archaeological remains whose structure is preserved at the level of the original excavations and disburdened of additional hypothetic simulations of the “old” church (portals, openings, vestries, garages and the like). The newly designed structure in a contrasting shape and material is in all its elements detached from the original layers of walls and foundations.
#Croatia, #church, #ruin, #extention , #archeology , #lighying , #landmark , #corten
@revitalization
Summer Stage at Kastav, Crekvina / Nenad Fabijanić
Extension
Location: Kastav, Croatia
• Architects: Nenad Fabijanić
• Area: 1680 m²
• Year: 2018
Design Team: Željko Pavlović
The rebuild design of the internal and external areas at the site Crekvina – Kastav is based on and inspired by archaeological remains of the baroque Jesuit Church of Holy Mary i.e. fragments of the wall and apsis of the never fully built and completed church. Its exact construction date has never been known and according to different sources it varies from the beginning to the end of the 18th century; it was built at the site of the previously demolished, considerably smaller Church of Holy Mary.
Today Crekvina is a plateau with a parking lot and a belvedere along its eastern boundary, with the remains of the sanctuary and the western wall of the nave with five chapels. In accordance with the brief, the design is conceived as bi-functional: in summer as a stage for the events of the Kastav Culture Summer and the rest of the time as a freely accessible square and a belvedere. The impressive construction remains form a spatial “shell”, an ideal stage for architectural artifacts, enable a unique spatial experience during the organization of public and cultural events.
This is a terrace, whose layout is defined by the typological pattern of the envisaged church and belvedere that enable the attraction of a view against a wide horizon. This project is aimed at proving the possibility of achieving a higher level in both functional and aesthetic sense. The points of departure are determined by the fact of the existing archaeological remains whose structure is preserved at the level of the original excavations and disburdened of additional hypothetic simulations of the “old” church (portals, openings, vestries, garages and the like). The newly designed structure in a contrasting shape and material is in all its elements detached from the original layers of walls and foundations.
#Croatia, #church, #ruin, #extention , #archeology , #lighying , #landmark , #corten
@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
The new intervention in the Moritzburg Castle aims at protecting the ruins that have represented it for centuries. It does so by keeping the existing building intact, and superimposing a light structure that evokes the works displayed inside. The works of Caspar David Friedrich, El Lissitzky, Edvard Munch, and Klee from the original collection are now accompanied by those of Kirchner, Erich Heckel, and Emil Nolde, donated by Hermann Gerlinger, the owner of one of the most valuable private collections devoted to the Expressionist group Die Brücke, whose presence in the new halls of the museum compensates, in a sense, for the looting that occurred during Nazism and World War II. The pictures of the exhibition are thus incorporated into the new expansion, where, in our imagination, the museum’s architecture, its history, and its contents all merge into a circular process. It is a strange feeling that, since the project’s completion, makes us pause whenever we have returned to visit the castle.
#Germany , #castle, #ruin, #museum , #roof , #lighting ,#interior_design , #palace, #extention
@revitalization
#Germany , #castle, #ruin, #museum , #roof , #lighting ,#interior_design , #palace, #extention
@revitalization
NO.146
WHITBY ABBEY VISITOR CENTRE / Stanton Williams
VISITOR CENTER
• Begun: Jun 2000
• Completed: Sep 2001
• Sector: Arts and culture
• Total cost: £2.8M
• Tender date: Dec 1999
• Procurement: GC/Works/1
• Address: Whitby, North Yorkshire, YO22 4JT, United Kingdom
• Professional Team
• Architect: Stanton Williams
• Project architects: Alan Farlie, David Farlie, Dusan Decermic, Richard Griffin
• Client: English Heritage
• Project manager: Citex
• Quantity surveyor: Citex Bucknall Austin
• Landscape architect: Casella
• Main contractor: William Birch & Sons
• Lighting consultant: LAPD
Suppliers
• Structural steelwork: D W Engineering
• Roofing: Carlton
• Glazing: Odyssey Glass
• Louvres: Aspinalls
• Exhibition installation: Plowden & Smith
• Furniture: Stanton Williams
Awards:
2003 Europa Nostra Award
2003 RIBA Award
2003 Civic Trust Award
2002 RIBA White Rose Award
2002 RICS Award
A contemporary two-storey visitor centre housing information, toilets and a cafe as part of a ma-jor reworking of the Whitby Abbey ruins
• Stanton Williams were commissioned by English Heritage in 1998 to design new visitor facilities for Whitby Abbey. The works formed part of a broader masterplan developed by Stanton Wil-liams with English Heritage in which the ruined Abbey’s headland grounds were reworked to cre-ate a fully accessible setting which respected the considerable archaeological and historical sig-nificance of the site.
• The new Visitor Centre comprises an exhibition gallery and shop created within the semi-ruined seventeenth-century Banqueting Hall. A steel framework was inserted, cage-like, within its shell. Though attached to the shell, the framework reads as an independent structure which supports the centre’s upper floor and roof.Old and new are creatively juxtaposed throughout, especially on the southern front where the steel framework is cantilevered out above the partially-ruined wall in order to support a ‘curtain’ of metal, glass and timber which hangs in front of it. Internally, new screens, showcases and furniture contrast with the exposed brick and stone of the historic build-ing, creating a welcoming setting for archaeological displays and site interpretation.
• The building was completed in 2002 at a cost of £2.85 million. It has been widely acclaimed and has been the recipient of numerous awards from organisations including the RIBA, RICS, Europa Nostra and the Civic Trust.
WHITBY ABBEY IN THE 20TH CENTURY
In 1914 the German High Seas Fleet shelled Whitby and struck the abbey ruins, causing considerable damage to the west front, though this was later repaired. In 1920 the Strickland family handed the abbey over to the Ministry of Works, and over the following decade Sir Charles Peers directed major excava-tions at the site, uncovering evidence of the Anglian settlement here.
Between 1993 and 2008 English Heritage carried out archaeological excavation and survey work, first in connection with the construction of the visitor centre, and secondly to rescue archaeological remains threatened by the steady erosion of the cliff. These excavations produced important evidence for all peri-ods of the abbey’s history
#UK, #archeology ,#interior_design , #ruin , #information , #visitor_centre , #lighting , #gallery , #illumination
@revitalization
WHITBY ABBEY VISITOR CENTRE / Stanton Williams
VISITOR CENTER
• Begun: Jun 2000
• Completed: Sep 2001
• Sector: Arts and culture
• Total cost: £2.8M
• Tender date: Dec 1999
• Procurement: GC/Works/1
• Address: Whitby, North Yorkshire, YO22 4JT, United Kingdom
• Professional Team
• Architect: Stanton Williams
• Project architects: Alan Farlie, David Farlie, Dusan Decermic, Richard Griffin
• Client: English Heritage
• Project manager: Citex
• Quantity surveyor: Citex Bucknall Austin
• Landscape architect: Casella
• Main contractor: William Birch & Sons
• Lighting consultant: LAPD
Suppliers
• Structural steelwork: D W Engineering
• Roofing: Carlton
• Glazing: Odyssey Glass
• Louvres: Aspinalls
• Exhibition installation: Plowden & Smith
• Furniture: Stanton Williams
Awards:
2003 Europa Nostra Award
2003 RIBA Award
2003 Civic Trust Award
2002 RIBA White Rose Award
2002 RICS Award
A contemporary two-storey visitor centre housing information, toilets and a cafe as part of a ma-jor reworking of the Whitby Abbey ruins
• Stanton Williams were commissioned by English Heritage in 1998 to design new visitor facilities for Whitby Abbey. The works formed part of a broader masterplan developed by Stanton Wil-liams with English Heritage in which the ruined Abbey’s headland grounds were reworked to cre-ate a fully accessible setting which respected the considerable archaeological and historical sig-nificance of the site.
• The new Visitor Centre comprises an exhibition gallery and shop created within the semi-ruined seventeenth-century Banqueting Hall. A steel framework was inserted, cage-like, within its shell. Though attached to the shell, the framework reads as an independent structure which supports the centre’s upper floor and roof.Old and new are creatively juxtaposed throughout, especially on the southern front where the steel framework is cantilevered out above the partially-ruined wall in order to support a ‘curtain’ of metal, glass and timber which hangs in front of it. Internally, new screens, showcases and furniture contrast with the exposed brick and stone of the historic build-ing, creating a welcoming setting for archaeological displays and site interpretation.
• The building was completed in 2002 at a cost of £2.85 million. It has been widely acclaimed and has been the recipient of numerous awards from organisations including the RIBA, RICS, Europa Nostra and the Civic Trust.
WHITBY ABBEY IN THE 20TH CENTURY
In 1914 the German High Seas Fleet shelled Whitby and struck the abbey ruins, causing considerable damage to the west front, though this was later repaired. In 1920 the Strickland family handed the abbey over to the Ministry of Works, and over the following decade Sir Charles Peers directed major excava-tions at the site, uncovering evidence of the Anglian settlement here.
Between 1993 and 2008 English Heritage carried out archaeological excavation and survey work, first in connection with the construction of the visitor centre, and secondly to rescue archaeological remains threatened by the steady erosion of the cliff. These excavations produced important evidence for all peri-ods of the abbey’s history
#UK, #archeology ,#interior_design , #ruin , #information , #visitor_centre , #lighting , #gallery , #illumination
@revitalization
This volume gives the character that the archaeological park demands, an absolute re-spect for the ancient work and a contemporary architecture that accompanies it to make it better. The result is a happy hybridization, A modern architecture justified by the ancient remains and at the same time some remains that grow in a brave and optimistic way with the architecture of the present.
Again, memory and contemporary cultural context.
#Spain , #protection , #ruin , #museum , #archeological_site , #lighting , #archeological_park
@revitalization
Again, memory and contemporary cultural context.
#Spain , #protection , #ruin , #museum , #archeological_site , #lighting , #archeological_park
@revitalization
NO.150
Blencowe Hall / Graham K Norman Architect
Blencowe, Cumbria, England
Architect: Graham K Norman Architect
Year: 2009
Client: Blencow Hall Partners
Service: Architecture: Historic Buildings
Awards
• RIBA Northern Network Award (Silver) (2011)
• Northern Design Awards, Best Property of the Year (2011)
• RICS International Award for Conservation (2010)
• Civic Trust Award (2010)
• RICS NW Building of the Year Award, Eden District Design Award (2010)
• North West Regional Construction Heritage Award (2009, Commendation)
Blencowe Hall was renovated in 2007 and 2008 with English Heritage approval to bring the North and South towers back in to use as holiday accommodation. Blencowe Hall is a Grade 1 listed building which means it is exceptional interest, sometimes considered to be internationally important (only 2.5% of listed buildings in England are classified Grade I).
It comprises a central range with 16th century fortified towers at each end. The towers had become roofless and derelict, resulting in the house being added to the ‘Buildings at Risk’ Register. The serious structural damage to the south tower was stabilised, as was the large gash in the east elevation, and wooden balconies were inserted. Featured in English Heritage’s Constructive Conservation, this project shows how a part-derelict building can be given a new life while retaining its historic character.
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The overall vision was to refurbish the buidling sympathetically whilst bringing it up to modern standards to fulfill its new role as a prestigious holiday home for groups of up to 24 persons.
The gash in the wall to the SouthTower ruin that made it such a spectacle would remain in the new proposal but now behind it would be a wall of glass and discrete steel structure with small balconies with glass balustrading at First and Second floor level for the inhabitants to enjoy the view.
In both towers, accommodation has been reinstated with floors relating to existing fireplace posi-tions. Existing stone staircases formerly open to the air, were now made water tight with new 'cap houses' at Third floor level which provide access to the new lead roofs. The missing North Tower embattled parapet have been rebuilt in salvaged matching stone recovered from the site.
All windows have been replaced with new metal thin profile units with a brown/black powder coated finish. New external doors, floors and floor beams have been made from oak. Internal walls are finished in lime plaster and painted with a proprietary limewash paint. New 'flat' roof structures and hidden gutters to the North and South towers are finished in lead.
The existing heating system has been overhauled with a new oil fired system feeding under floor heating at Ground floor level and radiators at First floor level. The existing drainage system has been abandoned and replace with a new state of the art reed bed system with treated water discharging into a new wildlife pond on land adjacent to the building. A considered landscaping strategy of judicial tree planting has been incorporated to create an appropriate setting for the building.
It would once have been standard conservation practise to leave both towers at Blencowe Hall as ruins, but English Heritage supported the clients desire to bring these structures back into use,- a building that is being maintained because people use it has far better long term prospects than one from where the inhabitants derive no practical benefit.
English Heritage has recognised it as among the top 20 exemplar conservation projects of recent years, and is identified in their publication 'Constructive Conservation in Practice' as a project that demonstrates a new forward thinging way of rescuing ruins or delapidated building as part of re-generation.
#UK , #house, #interior_design , #stair , #glass , #castle , #hall , #tower , #hotel , #ruin
@revitalization
Blencowe Hall / Graham K Norman Architect
Blencowe, Cumbria, England
Architect: Graham K Norman Architect
Year: 2009
Client: Blencow Hall Partners
Service: Architecture: Historic Buildings
Awards
• RIBA Northern Network Award (Silver) (2011)
• Northern Design Awards, Best Property of the Year (2011)
• RICS International Award for Conservation (2010)
• Civic Trust Award (2010)
• RICS NW Building of the Year Award, Eden District Design Award (2010)
• North West Regional Construction Heritage Award (2009, Commendation)
Blencowe Hall was renovated in 2007 and 2008 with English Heritage approval to bring the North and South towers back in to use as holiday accommodation. Blencowe Hall is a Grade 1 listed building which means it is exceptional interest, sometimes considered to be internationally important (only 2.5% of listed buildings in England are classified Grade I).
It comprises a central range with 16th century fortified towers at each end. The towers had become roofless and derelict, resulting in the house being added to the ‘Buildings at Risk’ Register. The serious structural damage to the south tower was stabilised, as was the large gash in the east elevation, and wooden balconies were inserted. Featured in English Heritage’s Constructive Conservation, this project shows how a part-derelict building can be given a new life while retaining its historic character.
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The overall vision was to refurbish the buidling sympathetically whilst bringing it up to modern standards to fulfill its new role as a prestigious holiday home for groups of up to 24 persons.
The gash in the wall to the SouthTower ruin that made it such a spectacle would remain in the new proposal but now behind it would be a wall of glass and discrete steel structure with small balconies with glass balustrading at First and Second floor level for the inhabitants to enjoy the view.
In both towers, accommodation has been reinstated with floors relating to existing fireplace posi-tions. Existing stone staircases formerly open to the air, were now made water tight with new 'cap houses' at Third floor level which provide access to the new lead roofs. The missing North Tower embattled parapet have been rebuilt in salvaged matching stone recovered from the site.
All windows have been replaced with new metal thin profile units with a brown/black powder coated finish. New external doors, floors and floor beams have been made from oak. Internal walls are finished in lime plaster and painted with a proprietary limewash paint. New 'flat' roof structures and hidden gutters to the North and South towers are finished in lead.
The existing heating system has been overhauled with a new oil fired system feeding under floor heating at Ground floor level and radiators at First floor level. The existing drainage system has been abandoned and replace with a new state of the art reed bed system with treated water discharging into a new wildlife pond on land adjacent to the building. A considered landscaping strategy of judicial tree planting has been incorporated to create an appropriate setting for the building.
It would once have been standard conservation practise to leave both towers at Blencowe Hall as ruins, but English Heritage supported the clients desire to bring these structures back into use,- a building that is being maintained because people use it has far better long term prospects than one from where the inhabitants derive no practical benefit.
English Heritage has recognised it as among the top 20 exemplar conservation projects of recent years, and is identified in their publication 'Constructive Conservation in Practice' as a project that demonstrates a new forward thinging way of rescuing ruins or delapidated building as part of re-generation.
#UK , #house, #interior_design , #stair , #glass , #castle , #hall , #tower , #hotel , #ruin
@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
For the consolidation of the walls and the formalization of the stairs, lime concrete is used in masse to achieve the chromatic and material similarity with the existing one, and reinforced with fibers, to achieve the structural stability required for use. public of the building.
#Spain, #castle, #structure, #tower, #archeology, #ruin , #stair , #lighting
@revitalization
#Spain, #castle, #structure, #tower, #archeology, #ruin , #stair , #lighting
@revitalization
NO.169
Rehabilitation of Roman Tabernae in the Trajan’s Market / Labics
INSTALLATIONS & STRUCTURES, HISTORIC PRESERVATION
•
ROMA, ITALY
Client: Municipality of Rome
Location: Imperial Forum, Rome
Program: New footpath for Trajan’s Forum & Renovation of the Roman Tabernae, Rome
Dates: 1999 - 2004
Gross floor area: 300 sqm (footpath) + 600 sqm (Tabernae)
Cost: 700,000 euro
Design: Nemesi Studio (Maria Claudia Clemente, Michele Molé)
Labics (Maria Claudia Clemente, Francesco Isidori, Marco Sardella)
Architectural team: Daniele Durante, Federico Pitzalis
Consultants: Structural engineering: Studio Ingegneri Associati - Adelio Rossi, Eng.
Services: Riccardo Fibbi arch., Carolina de Camillis arch.
Trajan’s Market is the name given in the early 20th century CE to a complex of buildings in the imperial fora of Rome constructed in 107-110 CE during the reign of Trajan. The complex included a covered market, small shop fronts and a residential apartment block.
Built between the years 100 and 110 A.D, Trajan's Market is believed to be the first covered shopping mall in history.
The projects at Mercati di Traiano is composed of two different projects: the restoration and transformation of an ancient monument in a museal space, and the realization of a pedestrian walkway through Rome’s Imperial Forum.
The restoration and preservation work involved cleaning the ancient walls and stone facades and reintegrating the floors in all tabernae. New bronze floor plates were designed with a geometrical pattern taken from the site creating a background for sevelar smaller interventions, the most significant of which was the reintegration of a portal inside the first taberna and the construction of new public restrooms, both constructed in corteen steel.
The walkway at Campo Carleo re-create an original urban route through the Forum and offers improved disabled access to the site. It links the Forum to the Rione Monti or Suburra – the ancient Roman slums. The monumental wall on which the footpath is hung up is of unique archaeological importance, and the walkway has therefore been differentiated materially, structurally and formally and conceived as an independent and contemporary element. The walkway follows the ancient wall but is detached from it. In contrast to the mass of the ruins, the lightweight walkway is designed as a folded strip which hugs the wall, establishing an intimate and subtle relationship with the monument. Made from corten steel, the footpath blends with the chromatic atmosphere of the background Roman wall, while the discreet stainless steel railing cables ensure the primacy of perspective views across the site.
#Italy, #museum, #lighting, #ruin, #extention, #corten , #bazar , #market , #archeology
@revitalization
Rehabilitation of Roman Tabernae in the Trajan’s Market / Labics
INSTALLATIONS & STRUCTURES, HISTORIC PRESERVATION
•
ROMA, ITALY
Client: Municipality of Rome
Location: Imperial Forum, Rome
Program: New footpath for Trajan’s Forum & Renovation of the Roman Tabernae, Rome
Dates: 1999 - 2004
Gross floor area: 300 sqm (footpath) + 600 sqm (Tabernae)
Cost: 700,000 euro
Design: Nemesi Studio (Maria Claudia Clemente, Michele Molé)
Labics (Maria Claudia Clemente, Francesco Isidori, Marco Sardella)
Architectural team: Daniele Durante, Federico Pitzalis
Consultants: Structural engineering: Studio Ingegneri Associati - Adelio Rossi, Eng.
Services: Riccardo Fibbi arch., Carolina de Camillis arch.
Trajan’s Market is the name given in the early 20th century CE to a complex of buildings in the imperial fora of Rome constructed in 107-110 CE during the reign of Trajan. The complex included a covered market, small shop fronts and a residential apartment block.
Built between the years 100 and 110 A.D, Trajan's Market is believed to be the first covered shopping mall in history.
The projects at Mercati di Traiano is composed of two different projects: the restoration and transformation of an ancient monument in a museal space, and the realization of a pedestrian walkway through Rome’s Imperial Forum.
The restoration and preservation work involved cleaning the ancient walls and stone facades and reintegrating the floors in all tabernae. New bronze floor plates were designed with a geometrical pattern taken from the site creating a background for sevelar smaller interventions, the most significant of which was the reintegration of a portal inside the first taberna and the construction of new public restrooms, both constructed in corteen steel.
The walkway at Campo Carleo re-create an original urban route through the Forum and offers improved disabled access to the site. It links the Forum to the Rione Monti or Suburra – the ancient Roman slums. The monumental wall on which the footpath is hung up is of unique archaeological importance, and the walkway has therefore been differentiated materially, structurally and formally and conceived as an independent and contemporary element. The walkway follows the ancient wall but is detached from it. In contrast to the mass of the ruins, the lightweight walkway is designed as a folded strip which hugs the wall, establishing an intimate and subtle relationship with the monument. Made from corten steel, the footpath blends with the chromatic atmosphere of the background Roman wall, while the discreet stainless steel railing cables ensure the primacy of perspective views across the site.
#Italy, #museum, #lighting, #ruin, #extention, #corten , #bazar , #market , #archeology
@revitalization
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
NO.179
The Reconstruction of the Basilica of Siponto
/ Edoardo Tresoldi
RENOVATION
•
• Architects: Edoardo Tresoldi
• Year: 2016
• Archaeological Park of Siponto
Manfredonia (FG), Italy
• Permanent installation
Commissioned by Ministry of Cultural Heritage and Activities and Tourism
• Awards: "Gold Medal for Italian Architecture" collective show, curated by Lorenza Baroncelli
Triennale Milano, 2018
The basilica of Siponto [...] in Italy’s Puglia region, has long been easy to miss—just another church among the thousands around the country. But these days, the 12th century structure at-tracts a crowd, sometimes even queues. [...]
Art reconstructs time
Archaeology meets contemporary art in the landscape of the Gargano.
The Basilica di Siponto by Edoardo Tresoldi has been awarded the “Gold Medal for Italian Architec-ture – Special Prize to Commission,” considered the most prestigious award in Italian architecture.
The wire mesh sculpture reinterprets the volumes of an Early Christian basilica which formerly sat on the site of the sculpture, adjacent to an existing Romanesque church. The scheme serves as a “bridge towards the memory of the place” allowing the public to contemplate time and history.
The Basilica was inaugurated in March 2016, and has since captivated worldwide attention, provok-ing discussions on new scenarios for the preservation and enhancement of archaeological heritage.
The award follows another accolade bestowed on the Basilica, which was awarded the Riccar-do Francovich Archaeological Prize in 2016 for acknowledging “the site’s capacity to combine aca-demic rigor with an effective communication to the non-specialized audience.”
The intervention realized in the Archaeological Park of Siponto reinterprets the volumes of the an-cient Early Christian basilica located close to the existing Romanesque church, which was erected 600 years later. Promoted by the MIBACT Regional Secretariat and the Archaeological Superintend-ency of Apulia, the project is linked to a conservative intervention.
The majestic wire mesh transparent sculpture presents itself as a contemporary artefact perfectly integrated with the surroundings, and establishes a new dialogue between ancient and contempo-rary, opening up new scenarios for preservation and enhancement of the historical and archaeologi-cal heritage. Detached by strong visual and volumetric decompositions and cherished by the atmos-pheric factors, the installation outlines as a bridge towards the memory of the place and allows the public to relate with time and history.
The visual power is based on the essential necessity to coincide art, landscape, history and sur-rounding environment, and configures itself as an artistic development of the classical concept of restoration, an innovative reinterpretation of archaeology realized with the support of contemporary art.
#Italy, #basilica, #church, #instalation, #lighting, #mesh, #museum, #archeological_park, #archeological_site, #ruin, #landmark, #sculpture, #awards
@revitalization
The Reconstruction of the Basilica of Siponto
/ Edoardo Tresoldi
RENOVATION
•
• Architects: Edoardo Tresoldi
• Year: 2016
• Archaeological Park of Siponto
Manfredonia (FG), Italy
• Permanent installation
Commissioned by Ministry of Cultural Heritage and Activities and Tourism
• Awards: "Gold Medal for Italian Architecture" collective show, curated by Lorenza Baroncelli
Triennale Milano, 2018
The basilica of Siponto [...] in Italy’s Puglia region, has long been easy to miss—just another church among the thousands around the country. But these days, the 12th century structure at-tracts a crowd, sometimes even queues. [...]
Art reconstructs time
Archaeology meets contemporary art in the landscape of the Gargano.
The Basilica di Siponto by Edoardo Tresoldi has been awarded the “Gold Medal for Italian Architec-ture – Special Prize to Commission,” considered the most prestigious award in Italian architecture.
The wire mesh sculpture reinterprets the volumes of an Early Christian basilica which formerly sat on the site of the sculpture, adjacent to an existing Romanesque church. The scheme serves as a “bridge towards the memory of the place” allowing the public to contemplate time and history.
The Basilica was inaugurated in March 2016, and has since captivated worldwide attention, provok-ing discussions on new scenarios for the preservation and enhancement of archaeological heritage.
The award follows another accolade bestowed on the Basilica, which was awarded the Riccar-do Francovich Archaeological Prize in 2016 for acknowledging “the site’s capacity to combine aca-demic rigor with an effective communication to the non-specialized audience.”
The intervention realized in the Archaeological Park of Siponto reinterprets the volumes of the an-cient Early Christian basilica located close to the existing Romanesque church, which was erected 600 years later. Promoted by the MIBACT Regional Secretariat and the Archaeological Superintend-ency of Apulia, the project is linked to a conservative intervention.
The majestic wire mesh transparent sculpture presents itself as a contemporary artefact perfectly integrated with the surroundings, and establishes a new dialogue between ancient and contempo-rary, opening up new scenarios for preservation and enhancement of the historical and archaeologi-cal heritage. Detached by strong visual and volumetric decompositions and cherished by the atmos-pheric factors, the installation outlines as a bridge towards the memory of the place and allows the public to relate with time and history.
The visual power is based on the essential necessity to coincide art, landscape, history and sur-rounding environment, and configures itself as an artistic development of the classical concept of restoration, an innovative reinterpretation of archaeology realized with the support of contemporary art.
#Italy, #basilica, #church, #instalation, #lighting, #mesh, #museum, #archeological_park, #archeological_site, #ruin, #landmark, #sculpture, #awards
@revitalization
NO.181
Convent Saint François / Amelia Tavella Architectes
MONASTERY, RESTORATION, EXTENSION
•
• Architects: Amelia Tavella Architectes
• Area: 1000 m²
• Year: 2021
• Manufacturers: Schuco, Terre Cuite des Launes
• Lead Architect: Amelia Tavella
• Acoustic Consulting: Acoustique & Conseil
• Structural Engineer: ISB
• Historic Building Advisor: A-C Perrot
• Economist: Ingenia
• Fluids Engineers: G2I
• City: Sainte-Lucie-de-Tallano
• Country: France
• Awards: TECU ARCHITECTURE AWARD 2022
An intervention of rehabilitation and extension leads to a reflection on the theme of conservation in a process of metamorphosis that embraces the ruin and returns it to contemporaneity.
The complex, perched in the wild Corsican landscape amidst rocks, woods, olive groves and small villages, appears as a fortress in which the passage of time and inactivity have allowed nature to freely take possession of the building, almost acting, before its resurrection, as a protective “armour” and structural support, like the roots of a fig tree that have become an integral part of the façade.
Here, the architect chose to conserve the ruins and replace the missing part of the volume with a perforated copper structure that re-proposes the sil-houette of the pre-existing building, while declaring the contemporary char-acter of the ex-novo building as the site of a cultural center (“Maison du Territoire”).
The choice of copper was justified by the material’s durability and ability to transform over time from a tactile and chromatic point of view, allowing the composition to narrate an evolving tale beyond any intent of “crystallizing” history.
The walls of the copper building, perforated with small panels that allow light to filter into the interior corridors, evoke the suggestion of a mashrabiyya – the traditional grid used in the architecture of Arab coun-tries to facilitate natural ventilation and control lighting – or of the stained-glass window of a church, with vibrant plays of light and shadow projected onto the interior stone walls.
A work that, tiptoeing in the footsteps of the past, exudes love for the place and its historical memory, for the building and its natural transformation from what it was into what it will be and into what it will one day no longer be, in the intimate conviction of impermanence as the only possible form of reality.
#France, #Corsica, #monastery, #convent, #ruin, #extention, #restoration, #rehabilitation, #moucharabieh, #mashrabiyya #copper, #cultural_center, #awards
@revitalization
Convent Saint François / Amelia Tavella Architectes
MONASTERY, RESTORATION, EXTENSION
•
• Architects: Amelia Tavella Architectes
• Area: 1000 m²
• Year: 2021
• Manufacturers: Schuco, Terre Cuite des Launes
• Lead Architect: Amelia Tavella
• Acoustic Consulting: Acoustique & Conseil
• Structural Engineer: ISB
• Historic Building Advisor: A-C Perrot
• Economist: Ingenia
• Fluids Engineers: G2I
• City: Sainte-Lucie-de-Tallano
• Country: France
• Awards: TECU ARCHITECTURE AWARD 2022
An intervention of rehabilitation and extension leads to a reflection on the theme of conservation in a process of metamorphosis that embraces the ruin and returns it to contemporaneity.
The complex, perched in the wild Corsican landscape amidst rocks, woods, olive groves and small villages, appears as a fortress in which the passage of time and inactivity have allowed nature to freely take possession of the building, almost acting, before its resurrection, as a protective “armour” and structural support, like the roots of a fig tree that have become an integral part of the façade.
Here, the architect chose to conserve the ruins and replace the missing part of the volume with a perforated copper structure that re-proposes the sil-houette of the pre-existing building, while declaring the contemporary char-acter of the ex-novo building as the site of a cultural center (“Maison du Territoire”).
The choice of copper was justified by the material’s durability and ability to transform over time from a tactile and chromatic point of view, allowing the composition to narrate an evolving tale beyond any intent of “crystallizing” history.
The walls of the copper building, perforated with small panels that allow light to filter into the interior corridors, evoke the suggestion of a mashrabiyya – the traditional grid used in the architecture of Arab coun-tries to facilitate natural ventilation and control lighting – or of the stained-glass window of a church, with vibrant plays of light and shadow projected onto the interior stone walls.
A work that, tiptoeing in the footsteps of the past, exudes love for the place and its historical memory, for the building and its natural transformation from what it was into what it will be and into what it will one day no longer be, in the intimate conviction of impermanence as the only possible form of reality.
#France, #Corsica, #monastery, #convent, #ruin, #extention, #restoration, #rehabilitation, #moucharabieh, #mashrabiyya #copper, #cultural_center, #awards
@revitalization