NO.91.
Empire Stores / S9 Architecture
CLIENT: Midtown Equities, HK Organization and Rockwood Capital.
SIZE: 450 000 SF.
LOCATION: Brooklyn, NY, US
.STATUS: Built 2017.
TEAM: Architects: S9 Architecture, Studio V.
Landscape Designer: Future Green Studio.
Structural Engineer: Robert Silman Associates.
MEP Engineer: Mottola Rini Engineers.
LEED Consultant: Spiezle Architectural Group.
Lighting Consultant: Tillotson Design Associates.
AWARDS: Urban Land Institute. Awards for Excellence in Development. 2018. NYC x Design On the Boards Awards. 2017.
For over 150 years, between the iconic Brooklyn and Manhattan Bridges on the Brooklyn waterfront, lay seven beautiful historic brick structures. These Civil-War-era structures were named after their use as coffee “stores” or storage warehouses, and for the epithet of a growing state: the Empire Stores.
Studio V's designs inject new life into the structures. The designs combine creative contemporary architecture with exacting historic rehabilitation, and combine overlapping uses with public spaces that reveal the inhabitants and historic structures. On top of the building’s extensive green roofs sit two-story glass and steel additions with gardens and terraces frame stunning views of the surrounding bridges. A glass and steel courtyard and passage slices through the historic structures, reconnecting the community cut off from its waterfront. The public passage reveals original sparkling schist walls, around which a spiraling steel and concrete staircase culminates in a public rooftop park revealing a stunning Manhattan Skyline. The unique design combines tech offices and public spaces with cultural and hospitality amenities to create a unique interface between work and play, public spaces and private commerce, that perfectly expresses the ethos of creative contemporary Brooklyn.
Designing an oxymoron isn’t easy: synthesizing old and new, honoring an industrial structure while reinventing it and preserving history while creating meaningful new designed to be representative of our time and culture. This is the design of Empire Stores: speaking to Brooklyn’s historic past, expressing its vibrant culture today, and pointing the way to its future.
1977
The New York Landmarks Preservation Commission designates Fulton Ferry as a historic district, protecting Empire Stores from demolition.
2013
After years of failed attempts to revitalize the deteriorating warehouse, Brooklyn Bridge Park and developers Midtown Equities announce plans for an adaptive reuse of Empire Stores. “All across the waterfront, we are reclaiming and renewing areas that have long been abandoned or neglected, and Empire Stores and the Tobacco Warehouse are the latest examples of that work,” said Mayor Michael Bloomberg at the time.
2017
Empire Stores opens to the public with 360,000 square feet of restaurant, retail, office, and event space. The building’s historic charm is preserved with original architectural details like the iconic brick masonry and iron-shuttered façade, schist stonewalling, and, as a nod to its heritage, coffee chutes, and hoisting wheels.
#USA , #public_space , #lighting , #stair , #awards, #courtyard , #industrial , #store , #office , #public_space , #restaurant , #interior_design
@revitalization
Empire Stores / S9 Architecture
CLIENT: Midtown Equities, HK Organization and Rockwood Capital.
SIZE: 450 000 SF.
LOCATION: Brooklyn, NY, US
.STATUS: Built 2017.
TEAM: Architects: S9 Architecture, Studio V.
Landscape Designer: Future Green Studio.
Structural Engineer: Robert Silman Associates.
MEP Engineer: Mottola Rini Engineers.
LEED Consultant: Spiezle Architectural Group.
Lighting Consultant: Tillotson Design Associates.
AWARDS: Urban Land Institute. Awards for Excellence in Development. 2018. NYC x Design On the Boards Awards. 2017.
For over 150 years, between the iconic Brooklyn and Manhattan Bridges on the Brooklyn waterfront, lay seven beautiful historic brick structures. These Civil-War-era structures were named after their use as coffee “stores” or storage warehouses, and for the epithet of a growing state: the Empire Stores.
Studio V's designs inject new life into the structures. The designs combine creative contemporary architecture with exacting historic rehabilitation, and combine overlapping uses with public spaces that reveal the inhabitants and historic structures. On top of the building’s extensive green roofs sit two-story glass and steel additions with gardens and terraces frame stunning views of the surrounding bridges. A glass and steel courtyard and passage slices through the historic structures, reconnecting the community cut off from its waterfront. The public passage reveals original sparkling schist walls, around which a spiraling steel and concrete staircase culminates in a public rooftop park revealing a stunning Manhattan Skyline. The unique design combines tech offices and public spaces with cultural and hospitality amenities to create a unique interface between work and play, public spaces and private commerce, that perfectly expresses the ethos of creative contemporary Brooklyn.
Designing an oxymoron isn’t easy: synthesizing old and new, honoring an industrial structure while reinventing it and preserving history while creating meaningful new designed to be representative of our time and culture. This is the design of Empire Stores: speaking to Brooklyn’s historic past, expressing its vibrant culture today, and pointing the way to its future.
1977
The New York Landmarks Preservation Commission designates Fulton Ferry as a historic district, protecting Empire Stores from demolition.
2013
After years of failed attempts to revitalize the deteriorating warehouse, Brooklyn Bridge Park and developers Midtown Equities announce plans for an adaptive reuse of Empire Stores. “All across the waterfront, we are reclaiming and renewing areas that have long been abandoned or neglected, and Empire Stores and the Tobacco Warehouse are the latest examples of that work,” said Mayor Michael Bloomberg at the time.
2017
Empire Stores opens to the public with 360,000 square feet of restaurant, retail, office, and event space. The building’s historic charm is preserved with original architectural details like the iconic brick masonry and iron-shuttered façade, schist stonewalling, and, as a nod to its heritage, coffee chutes, and hoisting wheels.
#USA , #public_space , #lighting , #stair , #awards, #courtyard , #industrial , #store , #office , #public_space , #restaurant , #interior_design
@revitalization
The purpose of historical cultural village protection is for its better development. It confronts the strict control guidelines of the local and traditional features but still needs to meet the requirements of new programs. The development of the countryside not only needs to face the natural environment and traditional context, but also needs to create a high-quality space that meets the needs of modern life. line+ studio attempts to combine traditional craftsmanship with industrial prefabrication in this rural transformation project. The light steel structure equips the modern space with a lightweight skeleton and at the same time the traditional rammed earth walls feature it with local characteristics. At the same time, the materials are collected locally, and the old materials are recycled and reused to realize the unity of opposites between “new and old, heavy and light, real and virtual”.
#China , #house, #stair , #hotel , #village , #rural
@revitalization
#China , #house, #stair , #hotel , #village , #rural
@revitalization
NO.100.
Ptuj Performance Center / ENOTA
MONASTERY, PTUJ, SLOVENIA
• Architects: ENOTA
• project Renovation of former Dominican Monastery to Performance Center
• type commercial
• year 2010
• status completed 2015
• size 3.527 m2
• budget 4.400.000 EUR
• client Ptuj Municipality
• location Ptuj, Slovenija
• coordinate 46°27'38"N 15°6'56"E
• project team Dean Lah, Milan Tomac, Polona Ruparčič, Andrej Oblak, Maruša Zupančič, Alja Černe, Tjaž Bauer, Petra Ostanek, Nuša Završnik Šilec, Nebojša Vertovšek
• collaborators Elea iC (structural engineering), Nom biro (mechanical services), Elsing (electrical planning)
• AWARDS
• East Centric Arhitext Awards, Regeneration, finalist Bucharest, Romania, 2016
• European Union Prize for Contemporary Architecture Mies van der Rohe Award, nomination Barcelona, Spain, 2015
• Piranesi Award, nomination Piran, Slovenia, 2014
• Golden Pencil Ljubljana, Slovenia, 2014
• Interior of the Year Ljubljana, Slovenia, 2014
• LEAF Awards, Refurbishment of the Year, shortlisted Dusseldorf, Germany, 2014
• Plečnik Medal Ljubljana, Slovenia, 2014
• Architizer A+ Awards, Architecture + Preservation, jury winner New York, USA, 2014
• Architizer A+ Awards, Architecture + Preservation, popular choice winner New York, USA, 2014
• Architizer A+ Awards, Theatres & Performing Arts Centers, finalist New York, USA, 2014
• AIT Award, Public Building Education, special mention Frankfurt, Germany, 2014
Ptuj Performance Center has been designed by ENOTA, transforming an 800-year-old Dominican monastery in Ptuj, Slovenia into a congress and cultural centre. The conservation and restoration work was taken in steps by the designers due to the extensive painted surfaces which were only partially uncovered and restored.
The new intervention is limited to the surfaces where no new archaeological finds were expected: the floor. Installing heating, ventilation, lighting and sound in the floor allowed the designers to contain the technology needed within the floor space while the walls remained intact. These walls will be restored once the building is already in use due to the demanding time needed to fully and accurately reinstate the surfaces.
Connecting spaces from a variety of historical periods was a challenge for ENOTA and so chose to connect the individual spaces with black concrete paving which is neutral enough as to not detract from the beauty of the restoration, yet contrasting enough to focus the eye on the parts of the building awaiting completion.
After the construction of added floors had been torn down, archaeological work revealed rich findings in the central section of the former Gothic church. The sepulchres, reredos, and the remains of the steps and flooring made from Roman gravestones will be presented "in situ". Above this section, the new floor is consequently raised in space, forming tiered stands for the visitors at the same time, and acting as a spatial partition between the reconstructed Baroque church and the remains of the Gothic building.
The path along the staircase towards the visitors' seats is thus a sequence of different spatial experiences:the first landing offers a view of the floor plan of the Gothic building; on the second landing, one can take a close look at the newly discovered details of the Mediaeval architecture; while at the end, towards the top, the view of the entire splendour of the Baroque nave gradually opens.
The contrast between the new floor and the historical substance of the erstwhile monastery is deliberately greatest in the black-on-white appearance of the main hall, referencing the famous black and white habit of the Dominican Order where the white is symbolic of innocence and black of modesty.
#Slovenia , #monastery , #metal , #accessibility , #performance_centre , #stair , #archeology , #interior_design , #lighting , #public_space , #cultural_center
@revitalization
Ptuj Performance Center / ENOTA
MONASTERY, PTUJ, SLOVENIA
• Architects: ENOTA
• project Renovation of former Dominican Monastery to Performance Center
• type commercial
• year 2010
• status completed 2015
• size 3.527 m2
• budget 4.400.000 EUR
• client Ptuj Municipality
• location Ptuj, Slovenija
• coordinate 46°27'38"N 15°6'56"E
• project team Dean Lah, Milan Tomac, Polona Ruparčič, Andrej Oblak, Maruša Zupančič, Alja Černe, Tjaž Bauer, Petra Ostanek, Nuša Završnik Šilec, Nebojša Vertovšek
• collaborators Elea iC (structural engineering), Nom biro (mechanical services), Elsing (electrical planning)
• AWARDS
• East Centric Arhitext Awards, Regeneration, finalist Bucharest, Romania, 2016
• European Union Prize for Contemporary Architecture Mies van der Rohe Award, nomination Barcelona, Spain, 2015
• Piranesi Award, nomination Piran, Slovenia, 2014
• Golden Pencil Ljubljana, Slovenia, 2014
• Interior of the Year Ljubljana, Slovenia, 2014
• LEAF Awards, Refurbishment of the Year, shortlisted Dusseldorf, Germany, 2014
• Plečnik Medal Ljubljana, Slovenia, 2014
• Architizer A+ Awards, Architecture + Preservation, jury winner New York, USA, 2014
• Architizer A+ Awards, Architecture + Preservation, popular choice winner New York, USA, 2014
• Architizer A+ Awards, Theatres & Performing Arts Centers, finalist New York, USA, 2014
• AIT Award, Public Building Education, special mention Frankfurt, Germany, 2014
Ptuj Performance Center has been designed by ENOTA, transforming an 800-year-old Dominican monastery in Ptuj, Slovenia into a congress and cultural centre. The conservation and restoration work was taken in steps by the designers due to the extensive painted surfaces which were only partially uncovered and restored.
The new intervention is limited to the surfaces where no new archaeological finds were expected: the floor. Installing heating, ventilation, lighting and sound in the floor allowed the designers to contain the technology needed within the floor space while the walls remained intact. These walls will be restored once the building is already in use due to the demanding time needed to fully and accurately reinstate the surfaces.
Connecting spaces from a variety of historical periods was a challenge for ENOTA and so chose to connect the individual spaces with black concrete paving which is neutral enough as to not detract from the beauty of the restoration, yet contrasting enough to focus the eye on the parts of the building awaiting completion.
After the construction of added floors had been torn down, archaeological work revealed rich findings in the central section of the former Gothic church. The sepulchres, reredos, and the remains of the steps and flooring made from Roman gravestones will be presented "in situ". Above this section, the new floor is consequently raised in space, forming tiered stands for the visitors at the same time, and acting as a spatial partition between the reconstructed Baroque church and the remains of the Gothic building.
The path along the staircase towards the visitors' seats is thus a sequence of different spatial experiences:the first landing offers a view of the floor plan of the Gothic building; on the second landing, one can take a close look at the newly discovered details of the Mediaeval architecture; while at the end, towards the top, the view of the entire splendour of the Baroque nave gradually opens.
The contrast between the new floor and the historical substance of the erstwhile monastery is deliberately greatest in the black-on-white appearance of the main hall, referencing the famous black and white habit of the Dominican Order where the white is symbolic of innocence and black of modesty.
#Slovenia , #monastery , #metal , #accessibility , #performance_centre , #stair , #archeology , #interior_design , #lighting , #public_space , #cultural_center
@revitalization
NO.101.
The Waterdog / Klaarchitectuur
OFFICES, ADAPTIVE REUSE, OFFICES INTERIORS
•
SINT-TRUIDEN, BELGIUM
• Architects: Klaarchitectuur
• Area:300.0 m²
• Year:2016
• Manufacturers: Flos, MDF Italia
Klaarchitectuur architectural firm recently moved from its practice in Heers to the 16th century chapel De Waterhond in Sint-Truiden. The protected monument underwent a thorough renovation and now combines the old character of the original building with the modern additions of architect Gregory Nijs. The four boxes stacked on top of each other, which serve, among other things, as an office and meeting room, are the biggest eye-catchers.
The chapel dates from the 16 th century. The original function of the building is not entirely clear. It is originally dated as a barn, but because of the luxurious details that the building has, some sources claim that it may have been a residential home. It's certain is that in the 19 e a choir was built centuries which made the building since then as a chapel.
Halfway through the 20th century, the chapel was transformed into a peace court, after which it also served as a music and drawing academy. Finally, a local theater group used the building as a rehearsal room. The building has been vacant for the past 50 years. It has changed ownership several times, but they have never implemented their plans for the building.
Due to the neglect of previous owners, much of the chapel has been lost. Yet the building now gives back the experience of the past. The original oak roof structure with the gate arch and its shingles are reminiscent of the barn. The decorative columns, the arched windows and the only arched vault in the choir remind us of the chapel. The necessary fresco drawings still give the building the sacred atmosphere of yesteryear.
The existing floor has been completely broken up to install floor heating. The original natural stones were then replaced in the original diagonal cross pattern. Because a large part of the old floor was already gone or broken, a parquet floor with a herringbone pattern was opted for in the choir room. In that room there is a kitchen block in brass, which together with the kitchen appliances processes the link to the altar in the form of a cross.
Furthermore, only the entrance door and the existing display case have been replaced and renewed. The old stained glass windows and the constructive outer shell of the building have not changed, which benefits the charm of the building. In the long term there are plans to restore the exterior facade.
The four sleek, stacked boxes on the right side of the building provide a pleasant contrast with the old character of the chapel and its open perception of the space. For architect Gregory Nijs it was a basic requirement to preserve the old feel of the building, but also to use the impressive height. Because comfort and space were needed for, among other things, the plumbing, a lift and office spaces, the idea arose from there to stack.
The stacking is arranged in a staggered manner, with the boxes standing over each other. A staircase complex around the boxes provides an extra experience. The terraces on every floor ensure a pleasant moment of rest. The inner space of the chapel is actually the outer space of the office.
The box on the ground floor contains the sanitary facilities, the elevator and the technical room. The first and second floors serve as office spaces. The reception and meeting room on the third floor is literally in the roof and offers a beautiful view of the oak trusses of the original roof structure, which extends floating beyond the roof.
Sustainability was also taken into account during the renovation work. The open part of the historic and also insulated building has underfloor heating on a condensing gas boiler. The insulated boxes, the work area of the architectural office, are equipped with a heat pump and with ventilation D.
#Belgium , #chapel , #extention , #stair , #interior_design , #lighting , #public_space , #office
@revitalization
The Waterdog / Klaarchitectuur
OFFICES, ADAPTIVE REUSE, OFFICES INTERIORS
•
SINT-TRUIDEN, BELGIUM
• Architects: Klaarchitectuur
• Area:300.0 m²
• Year:2016
• Manufacturers: Flos, MDF Italia
Klaarchitectuur architectural firm recently moved from its practice in Heers to the 16th century chapel De Waterhond in Sint-Truiden. The protected monument underwent a thorough renovation and now combines the old character of the original building with the modern additions of architect Gregory Nijs. The four boxes stacked on top of each other, which serve, among other things, as an office and meeting room, are the biggest eye-catchers.
The chapel dates from the 16 th century. The original function of the building is not entirely clear. It is originally dated as a barn, but because of the luxurious details that the building has, some sources claim that it may have been a residential home. It's certain is that in the 19 e a choir was built centuries which made the building since then as a chapel.
Halfway through the 20th century, the chapel was transformed into a peace court, after which it also served as a music and drawing academy. Finally, a local theater group used the building as a rehearsal room. The building has been vacant for the past 50 years. It has changed ownership several times, but they have never implemented their plans for the building.
Due to the neglect of previous owners, much of the chapel has been lost. Yet the building now gives back the experience of the past. The original oak roof structure with the gate arch and its shingles are reminiscent of the barn. The decorative columns, the arched windows and the only arched vault in the choir remind us of the chapel. The necessary fresco drawings still give the building the sacred atmosphere of yesteryear.
The existing floor has been completely broken up to install floor heating. The original natural stones were then replaced in the original diagonal cross pattern. Because a large part of the old floor was already gone or broken, a parquet floor with a herringbone pattern was opted for in the choir room. In that room there is a kitchen block in brass, which together with the kitchen appliances processes the link to the altar in the form of a cross.
Furthermore, only the entrance door and the existing display case have been replaced and renewed. The old stained glass windows and the constructive outer shell of the building have not changed, which benefits the charm of the building. In the long term there are plans to restore the exterior facade.
The four sleek, stacked boxes on the right side of the building provide a pleasant contrast with the old character of the chapel and its open perception of the space. For architect Gregory Nijs it was a basic requirement to preserve the old feel of the building, but also to use the impressive height. Because comfort and space were needed for, among other things, the plumbing, a lift and office spaces, the idea arose from there to stack.
The stacking is arranged in a staggered manner, with the boxes standing over each other. A staircase complex around the boxes provides an extra experience. The terraces on every floor ensure a pleasant moment of rest. The inner space of the chapel is actually the outer space of the office.
The box on the ground floor contains the sanitary facilities, the elevator and the technical room. The first and second floors serve as office spaces. The reception and meeting room on the third floor is literally in the roof and offers a beautiful view of the oak trusses of the original roof structure, which extends floating beyond the roof.
Sustainability was also taken into account during the renovation work. The open part of the historic and also insulated building has underfloor heating on a condensing gas boiler. The insulated boxes, the work area of the architectural office, are equipped with a heat pump and with ventilation D.
#Belgium , #chapel , #extention , #stair , #interior_design , #lighting , #public_space , #office
@revitalization
NO.108.
Restoration of Castello dei Doria a Dolceacqua / LD+SR architetti
RESTORATION, DOLCEACQUA, ITALY
• Architects: LD+SR architetti
• Year:2015
• Lead Architects: Luca Dolmetta, Silvia Rizzo architetti
• Project Team: Arch. Danilo Cupioli, Arch. Paola Pilotto, Arch. Amir Reza Arya
• Structural Engineering : Ing. Mauro Cevoli
• Installations : Ing. Alberto Frisoni
• Designers: Arch. William Meli, Arch. Bernardet Urbanovics
• Cse : Ing. Claudio Perrino
Text description provided by the architects. After widespread interventions of restoration undertaken since the early 90 's, 2012-2015 covered the restoration and consolidation of certain portions of the main external walls of the Castle (sailing North, Savoy bastion minor), the recovery of the main open spaces that surround it in diffuse form the complex, the establishment of a system of trails that leads the visitor to discover different points of perception of landscapes that surround the monument. The "value" of the Castle is the close relationship between Castle and place where it fits. A relationship was so charming by bringing Claude Monet repeatedly to visit Dolceacqua and capture bridge and Castle in a famous painting by 1884 housed in the Musée Marmottan Monet in Paris.
The Castle situated in a dominant position overlooking the village below is in extreme point advantage to control the Valley of the river of the Nervia Valley. The project seeks to enhance the strategic position, making travel to the visitor the different stages of completion of the building discover some enclosed spaces created in the few portions of the building survived the various bombings and ensuing fires over time, but especially a guided path towards the various land control points.
The restoration and strengthening of masonry degraded extensively featured in significant form the surgery completed in 2015. Any need for structural reinforcement or static improvement though it was turned into an architectural project, also of iron parts that, depending on the requirement, have become paths, passages, elements of reconstruction of portions of walls partly missing or being complete detachment. Items always perceived as new parts, reversible and always side by side with existing fit evident
#Italy, #castle , #landscape, #metal , #stair , #museum , #landmark , #installation
@revitalization
Restoration of Castello dei Doria a Dolceacqua / LD+SR architetti
RESTORATION, DOLCEACQUA, ITALY
• Architects: LD+SR architetti
• Year:2015
• Lead Architects: Luca Dolmetta, Silvia Rizzo architetti
• Project Team: Arch. Danilo Cupioli, Arch. Paola Pilotto, Arch. Amir Reza Arya
• Structural Engineering : Ing. Mauro Cevoli
• Installations : Ing. Alberto Frisoni
• Designers: Arch. William Meli, Arch. Bernardet Urbanovics
• Cse : Ing. Claudio Perrino
Text description provided by the architects. After widespread interventions of restoration undertaken since the early 90 's, 2012-2015 covered the restoration and consolidation of certain portions of the main external walls of the Castle (sailing North, Savoy bastion minor), the recovery of the main open spaces that surround it in diffuse form the complex, the establishment of a system of trails that leads the visitor to discover different points of perception of landscapes that surround the monument. The "value" of the Castle is the close relationship between Castle and place where it fits. A relationship was so charming by bringing Claude Monet repeatedly to visit Dolceacqua and capture bridge and Castle in a famous painting by 1884 housed in the Musée Marmottan Monet in Paris.
The Castle situated in a dominant position overlooking the village below is in extreme point advantage to control the Valley of the river of the Nervia Valley. The project seeks to enhance the strategic position, making travel to the visitor the different stages of completion of the building discover some enclosed spaces created in the few portions of the building survived the various bombings and ensuing fires over time, but especially a guided path towards the various land control points.
The restoration and strengthening of masonry degraded extensively featured in significant form the surgery completed in 2015. Any need for structural reinforcement or static improvement though it was turned into an architectural project, also of iron parts that, depending on the requirement, have become paths, passages, elements of reconstruction of portions of walls partly missing or being complete detachment. Items always perceived as new parts, reversible and always side by side with existing fit evident
#Italy, #castle , #landscape, #metal , #stair , #museum , #landmark , #installation
@revitalization
NO.109.
Villa Castro / AP Valletta + Jens Bruenslow
HOUSES, RENOVATION
NAXXAR, MALTA
• Architects: AP Valletta, Jens Bruenslow
• Area:778.0 m²
• Year:2016
• Client: private
• Manufacturers: Vassallo Joiners, LM Contractor, Vaults
• Costs: €1.2 million
Awards:
World Architecture Festival, 2017, Berlin, New and Old category, Shortlisted
Arbara Coppochin Innternational Biennal Architecture Prize, 2017, Shortlisted
Text description provided by the architects. Villa Castro is located in the town of Naxxar, in the center of the island of Malta. Its location on the perimeter of an Urban Conservation Area has led to drastic modification of the original setting of the villa, recent building developments destroying irreversibly its original context. The project program was organized around the needs of a family and guestrooms to accommodate relatives and friends. The garden, as well as the two internal courtyards, were preserved and, following an unsuccessful attempt at acquiring the remaining portion of the garden immediately adjacent to the existing one, an extension was designed and grafted on the boundary wall to mitigate the negative visual impact of the recent neighboring block of apartments.
The restoration element of the project entailed the securing of dangerous parts, the removal of inserted structures and accretions which conflicted with the authentic organization of space or with the clarity of architectural form, the reopening of blocked arches and the introduction of a few additional openings to allow firstly for more light into the building and, secondly, to strengthen the already well defined symmetry of the garden and courtyard facades. The same principle guided the organization of the external areas. The existing spaces were organized accordingly to the needs of the clients, leaving the ground floor for living, play and entertainment while dedicating the upper entirely to individual bedrooms. Since the depth of the old annex structures is very narrow and rooms typically distributed in an ‘enfilade’ arrangement, an external access balcony was added replacing an existing open balcony.
Moreover, a new stairwell designed in a contemporary language was introduced in an existing backyard to link the long string of rooms aligned along the perimeter, as well as to create space for another bedroom above it. A new extension was built with just enough thickness to house guest quarters that tower over the garden and screen off the new development while closing off the composition of the garden and defining its end facade. They are lifted over the ground on slender columns in order not to obstruct the cornices and pilasters and the pediment of the gate which once led to the garden beyond. All new extensions were conceived as simple volumes and are defined and positioned to compliment, and coexist with the existing building.
They are treated in such a way as to allow maximum light on the inside while retaining a monolithic appearance from the outside in sympathy with the old building. Although almost entirely glazed, this is achieved by means of a dense wooden screen, creating a composition based on the contrast of materiality. The screens are made from American cedar, which will, over time, acquire a natural protective patina of silvery grey that blends in with the limestone surfaces of the old house. Like all projects that involve the rehabilitation and extension of old structures, time is an important element of the composition of which the building is made, and that will unravel with time.
#Malta, #house , #landscape, #villa , #stair , #extention
@revitalization
Villa Castro / AP Valletta + Jens Bruenslow
HOUSES, RENOVATION
NAXXAR, MALTA
• Architects: AP Valletta, Jens Bruenslow
• Area:778.0 m²
• Year:2016
• Client: private
• Manufacturers: Vassallo Joiners, LM Contractor, Vaults
• Costs: €1.2 million
Awards:
World Architecture Festival, 2017, Berlin, New and Old category, Shortlisted
Arbara Coppochin Innternational Biennal Architecture Prize, 2017, Shortlisted
Text description provided by the architects. Villa Castro is located in the town of Naxxar, in the center of the island of Malta. Its location on the perimeter of an Urban Conservation Area has led to drastic modification of the original setting of the villa, recent building developments destroying irreversibly its original context. The project program was organized around the needs of a family and guestrooms to accommodate relatives and friends. The garden, as well as the two internal courtyards, were preserved and, following an unsuccessful attempt at acquiring the remaining portion of the garden immediately adjacent to the existing one, an extension was designed and grafted on the boundary wall to mitigate the negative visual impact of the recent neighboring block of apartments.
The restoration element of the project entailed the securing of dangerous parts, the removal of inserted structures and accretions which conflicted with the authentic organization of space or with the clarity of architectural form, the reopening of blocked arches and the introduction of a few additional openings to allow firstly for more light into the building and, secondly, to strengthen the already well defined symmetry of the garden and courtyard facades. The same principle guided the organization of the external areas. The existing spaces were organized accordingly to the needs of the clients, leaving the ground floor for living, play and entertainment while dedicating the upper entirely to individual bedrooms. Since the depth of the old annex structures is very narrow and rooms typically distributed in an ‘enfilade’ arrangement, an external access balcony was added replacing an existing open balcony.
Moreover, a new stairwell designed in a contemporary language was introduced in an existing backyard to link the long string of rooms aligned along the perimeter, as well as to create space for another bedroom above it. A new extension was built with just enough thickness to house guest quarters that tower over the garden and screen off the new development while closing off the composition of the garden and defining its end facade. They are lifted over the ground on slender columns in order not to obstruct the cornices and pilasters and the pediment of the gate which once led to the garden beyond. All new extensions were conceived as simple volumes and are defined and positioned to compliment, and coexist with the existing building.
They are treated in such a way as to allow maximum light on the inside while retaining a monolithic appearance from the outside in sympathy with the old building. Although almost entirely glazed, this is achieved by means of a dense wooden screen, creating a composition based on the contrast of materiality. The screens are made from American cedar, which will, over time, acquire a natural protective patina of silvery grey that blends in with the limestone surfaces of the old house. Like all projects that involve the rehabilitation and extension of old structures, time is an important element of the composition of which the building is made, and that will unravel with time.
#Malta, #house , #landscape, #villa , #stair , #extention
@revitalization
مرمت تزیینات:
تزیینات حیاط رییسیان در حد بقیه حیاط های مجموعه نیست. صرفاً سطوح محدودی از اندودها و قطاربندی و.. که ارزش های مطلوبی دارند ملاحظه می شود. به عنوان مثال اندود و نقش کندهایی روی گچ در یکی از فضاها باقی مانده که به دلیل نداشتن روزن به حیاط، به نظر می رسد در ترکیب دیگری کار می کرده و مربوط به بنای دیگری بوده است.
کلیه تزیینات و اندودهای قدیمی حفاظت شده و برای ایجاد وضوح بیشتر با به کار گیری اصول مرمتی سعی در خواناتر کردن آنها شده است.
این حیاط پیش از ساخت بنا محل گودال خشت مال ها بوده لذا در زمان ساخت از قسمت هایی که در دل خاک کنده بودند بهره گرفته و سپس دیوارهای تکمیلی چیده شده اند. همچنین برخی قسمت ها از زلزله سال 1192 ه.ق. باقی مانده و در ادامه آنها دیوارها اضافه شده اند. در احیای بنا این قسمت ها به صورت ویترین نشان داده شده یا تثبیت و حفاظت شده تا ضمن افزودن بر ارزش ها، آنچه بر بنا گذشته برای اهل فن قابل شناسایی باشد.
#Iran, #house , #landscape, #hotel , #stair , #lighting , #restoration , #glass , #metal , #interior_design
@revitalization
تزیینات حیاط رییسیان در حد بقیه حیاط های مجموعه نیست. صرفاً سطوح محدودی از اندودها و قطاربندی و.. که ارزش های مطلوبی دارند ملاحظه می شود. به عنوان مثال اندود و نقش کندهایی روی گچ در یکی از فضاها باقی مانده که به دلیل نداشتن روزن به حیاط، به نظر می رسد در ترکیب دیگری کار می کرده و مربوط به بنای دیگری بوده است.
کلیه تزیینات و اندودهای قدیمی حفاظت شده و برای ایجاد وضوح بیشتر با به کار گیری اصول مرمتی سعی در خواناتر کردن آنها شده است.
این حیاط پیش از ساخت بنا محل گودال خشت مال ها بوده لذا در زمان ساخت از قسمت هایی که در دل خاک کنده بودند بهره گرفته و سپس دیوارهای تکمیلی چیده شده اند. همچنین برخی قسمت ها از زلزله سال 1192 ه.ق. باقی مانده و در ادامه آنها دیوارها اضافه شده اند. در احیای بنا این قسمت ها به صورت ویترین نشان داده شده یا تثبیت و حفاظت شده تا ضمن افزودن بر ارزش ها، آنچه بر بنا گذشته برای اهل فن قابل شناسایی باشد.
#Iran, #house , #landscape, #hotel , #stair , #lighting , #restoration , #glass , #metal , #interior_design
@revitalization
The conversion took place over two years, without a general contractor. All suppliers and subcontractors worked directly for the client. This meant the construction team was able to influence certain decisions even at later stages. “The repurposing was a complex project, so good communication between the various parties was essential,” says Cor Engberink of Key2 Bouwmanagement. “The short lines of communication enabled us to achieve the quality we wanted.” The result is a dazzling conversion full of inventive solutions that not only preserve but enhance the building’s monumental elegance.
#The_Nederlands , #church , #healthcare, #stair
@revitalization
#The_Nederlands , #church , #healthcare, #stair
@revitalization
NO.114
Delle Bonifiche Eco-Museum / Archiplanstudio
MUSEUM, RESTORATION, RENOVATION
•BONDANELLO, ITALY
• Architects: Archiplanstudio
• Area:400.0 m²
• Year:2019
• Manufacturers: Seplux, Maxin, Autodesk
• Clients: Amministarzione Comunale di Moglia
• Amministarzione Comunale Di Moglia: Stefano Mazzocchi
• Landscape: Stefano Gorni Silvestrini
The covering in corten was the last phase of the renovation of “Chiavicone Bondanello”, started in 2009. The building, with hydraulic function on “Cavo Fiuma”, was constructed in the XVIIth century and the actual aspect derives from a renovation in 1900. Furthermore in 1960 the building partially collapsed after the river overflow and it was reconstructed.
A new reticular steel structure with polycarbonate wall replace the volume that was destroyed; inside there is a polyfunctional space with the environment center of the Secchia river park.
The new covering in corten linked the restored facade with the new volume and show the stratification of the interventions. The perception of the facades is dynamic and changes from every different angles, emphasizing the historical facade, the relation with the contemporary intervention or also the strength of the oxidised steel.
The polycarbonate wall during the night works like a lamp that emphasize the social function of the building and make it a signal in the landscape.
#Italy , #hydraulic , #museum , #eco_museum #corten , #metal , #polycarbonate , #landscape , #stair
@revitalization
Delle Bonifiche Eco-Museum / Archiplanstudio
MUSEUM, RESTORATION, RENOVATION
•BONDANELLO, ITALY
• Architects: Archiplanstudio
• Area:400.0 m²
• Year:2019
• Manufacturers: Seplux, Maxin, Autodesk
• Clients: Amministarzione Comunale di Moglia
• Amministarzione Comunale Di Moglia: Stefano Mazzocchi
• Landscape: Stefano Gorni Silvestrini
The covering in corten was the last phase of the renovation of “Chiavicone Bondanello”, started in 2009. The building, with hydraulic function on “Cavo Fiuma”, was constructed in the XVIIth century and the actual aspect derives from a renovation in 1900. Furthermore in 1960 the building partially collapsed after the river overflow and it was reconstructed.
A new reticular steel structure with polycarbonate wall replace the volume that was destroyed; inside there is a polyfunctional space with the environment center of the Secchia river park.
The new covering in corten linked the restored facade with the new volume and show the stratification of the interventions. The perception of the facades is dynamic and changes from every different angles, emphasizing the historical facade, the relation with the contemporary intervention or also the strength of the oxidised steel.
The polycarbonate wall during the night works like a lamp that emphasize the social function of the building and make it a signal in the landscape.
#Italy , #hydraulic , #museum , #eco_museum #corten , #metal , #polycarbonate , #landscape , #stair
@revitalization
NO.118
The renovated Victoria & Albert Museum / AL_A
• MUSEUM, LONDON, UNITED KINGDOM
• Architects: AL_A
• Area: 6360.0 m²
• Year: 2017
Engineers (Smep) : Arup
Quantity Surveyor : Aecom
Lighting Designer: DHA Designs
Historic Building Adviser : Giles Quarme & Associates
Planning Consultant : DP9
Project Manager: Lendlease
Main Contractor: Wates
Specialist Aws Contractor: PAYE
Specialist Subcontractors: Koninklijke Tichelaar Makkum – porcelain tiles; Octatube – oculus; Midland Alloy – Aston Webb Screen gates; Astins – gallery ceiling; EE Stairs – gallery staircase; Cornish Concrete – stepped terrace; Mazorati Ronchetti – café bar
Principal: Amanda Levete
Project Director: Alice Dietsch
Project Architect: Matt Wilkinson
Team: Ho-Yin Ng, Maximiliano Arrocet, Alex Bulygin, Blandine Plenard, Chiara Zaccagnini, Fernando Ruiz Barberan, Filippo Previtali, Giulio Pellizzon, Matthew Riley, Michael Levy, Michael Wetmore, Patrick Drewello, Peter Angrave, Peter King, Raffael Petrovic, Robert Rice, Rumen Stefanov, Song Jie Lim, Stefano Bertotti, Stephen Citrone, Win Assakul
Client: Victoria & Albert
The Victoria and Albert Museum in London is the world's largest museum of applied and decorative arts and design, as well as sculpture, housing a permanent collection of over 2.27 million objects. It was founded in 1852 and named after Queen Victoria and Prince Albert.
Text description provided by the architects. The V&A Exhibition Road Quarter took six years to realise and transforms the V&A’s former boilerhouse yard on London’s great cultural artery, Exhibition Road. This new entrance connects the Museum with its neighbours, reinforcing the Albertopolis vision of intellectual ambition and innovation and creates a sequence of major new spaces.
The Sackler Courtyard is the world’s first all-porcelain public courtyard, and comprises over 11,000 handmade porcelain tiles, inspired by the rich tradition of ceramics at the V&A. This new public space for London also houses a café with furniture designed for the space by AL_A and manufactured by Moroso. The Sackler Courtyard reveals architecturally significant façades and details that have never previously been seen by the public. These include sgraffito decoration on the side of the Henry Cole Wing – a decorative Renaissance technique using multiple layers of coloured plaster created by the first art students at the Museum, in the late 19th century. The stonework of the Aston Webb Screen retains the damage that World War II inflicted on the Museum, which is reflected in 11 sets of new metal gates, designed by AL_A. The gates have been manufactured with a pattern of perforations tracing the imprint of the shrapnel damage on the stonework as well as the Royal Crest in the central gate
The Blavatnik Hall is a new space that will transform how visitors experience and discover the Museum and collections. Connecting the newly displayed Robert H. N. Ho Family Foundation Galleries of Buddhist Art and the Dorothy and Michael Hintze Sculpture Galleries, The Blavatnik Hall gives views through to The John Madejski Garden, leads to a new shop, and connects to the historic Ceramic Staircase as well as the Sackler Centre for arts education, which reopens featuring the new John Lyon’s Charity Community Gallery.
The versatile, 1,100m sq column-free Sainsbury Gallery is one of the largest temporary exhibition galleries in the UK. This flexible exhibition space sits above a floor dedicated to art handling, conservation and preparation space. The new spaces reach as far as 18 metres below ground, directly beneath the Western Range of the V&A’s Grade I listed buildings: a daring engineering and construction challenge that is made visible to the public by steel columns and a beam painted in vivid international orange that are literally holding the weight of history and the Museum’s priceless collections above.
#UK , #museum , #entrance , #gallery , #landscape , #interior_design , #exhibition , #lighting , #stair
@revitalization
The renovated Victoria & Albert Museum / AL_A
• MUSEUM, LONDON, UNITED KINGDOM
• Architects: AL_A
• Area: 6360.0 m²
• Year: 2017
Engineers (Smep) : Arup
Quantity Surveyor : Aecom
Lighting Designer: DHA Designs
Historic Building Adviser : Giles Quarme & Associates
Planning Consultant : DP9
Project Manager: Lendlease
Main Contractor: Wates
Specialist Aws Contractor: PAYE
Specialist Subcontractors: Koninklijke Tichelaar Makkum – porcelain tiles; Octatube – oculus; Midland Alloy – Aston Webb Screen gates; Astins – gallery ceiling; EE Stairs – gallery staircase; Cornish Concrete – stepped terrace; Mazorati Ronchetti – café bar
Principal: Amanda Levete
Project Director: Alice Dietsch
Project Architect: Matt Wilkinson
Team: Ho-Yin Ng, Maximiliano Arrocet, Alex Bulygin, Blandine Plenard, Chiara Zaccagnini, Fernando Ruiz Barberan, Filippo Previtali, Giulio Pellizzon, Matthew Riley, Michael Levy, Michael Wetmore, Patrick Drewello, Peter Angrave, Peter King, Raffael Petrovic, Robert Rice, Rumen Stefanov, Song Jie Lim, Stefano Bertotti, Stephen Citrone, Win Assakul
Client: Victoria & Albert
The Victoria and Albert Museum in London is the world's largest museum of applied and decorative arts and design, as well as sculpture, housing a permanent collection of over 2.27 million objects. It was founded in 1852 and named after Queen Victoria and Prince Albert.
Text description provided by the architects. The V&A Exhibition Road Quarter took six years to realise and transforms the V&A’s former boilerhouse yard on London’s great cultural artery, Exhibition Road. This new entrance connects the Museum with its neighbours, reinforcing the Albertopolis vision of intellectual ambition and innovation and creates a sequence of major new spaces.
The Sackler Courtyard is the world’s first all-porcelain public courtyard, and comprises over 11,000 handmade porcelain tiles, inspired by the rich tradition of ceramics at the V&A. This new public space for London also houses a café with furniture designed for the space by AL_A and manufactured by Moroso. The Sackler Courtyard reveals architecturally significant façades and details that have never previously been seen by the public. These include sgraffito decoration on the side of the Henry Cole Wing – a decorative Renaissance technique using multiple layers of coloured plaster created by the first art students at the Museum, in the late 19th century. The stonework of the Aston Webb Screen retains the damage that World War II inflicted on the Museum, which is reflected in 11 sets of new metal gates, designed by AL_A. The gates have been manufactured with a pattern of perforations tracing the imprint of the shrapnel damage on the stonework as well as the Royal Crest in the central gate
The Blavatnik Hall is a new space that will transform how visitors experience and discover the Museum and collections. Connecting the newly displayed Robert H. N. Ho Family Foundation Galleries of Buddhist Art and the Dorothy and Michael Hintze Sculpture Galleries, The Blavatnik Hall gives views through to The John Madejski Garden, leads to a new shop, and connects to the historic Ceramic Staircase as well as the Sackler Centre for arts education, which reopens featuring the new John Lyon’s Charity Community Gallery.
The versatile, 1,100m sq column-free Sainsbury Gallery is one of the largest temporary exhibition galleries in the UK. This flexible exhibition space sits above a floor dedicated to art handling, conservation and preparation space. The new spaces reach as far as 18 metres below ground, directly beneath the Western Range of the V&A’s Grade I listed buildings: a daring engineering and construction challenge that is made visible to the public by steel columns and a beam painted in vivid international orange that are literally holding the weight of history and the Museum’s priceless collections above.
#UK , #museum , #entrance , #gallery , #landscape , #interior_design , #exhibition , #lighting , #stair
@revitalization
One of the project’s biggest challenges was the logistical complexity of carving out new space for the interventions whilst the building remained in use. Time restrictions were also in place due to the surrounding residential accommodation. Thanks to careful phasing and decanting throughout the lengthy construction programme, Stanton Williams and the team were able to ensure that not one ROH rehearsal or main auditorium performance was missed.
Alan Stanton of Stanton Williams said:
“The Royal Opera House's 'Open Up' project does just that, by opening up what had previously been a fairly constrained set of spaces to the world outside. The Bow Street extension presents a welcoming public face to the building while the expand-ed and interlinked foyer spaces breathe new energy into front-of-house areas. The new Linbury Theatre is a high-quality performance space that will make an important contribution to the work of the Royal Opera House as one of the world's preeminent opera houses."
Chief Executive of the Royal Opera House, Alex Beard, said:
“We are delighted to open the doors to a transformed Royal Opera House. Our brand new entrances, extended foyers and terraces, new café, new bar and restaurant, Linbury Theatre, refurbished Clore Studio as well as extensive programme of daytime events, activities and festivals, make the Royal Opera House London’s newest day time destination. Open every day from 10am, we want as many people as possible to experience our art forms and get a taste of the remarkable creativity at play here."
The elegant, newly created spaces will be brought alive with a year-round day time programme of events, activities and fes-tivals giving a taste of the Royal Opera House: from the mastery of backstage theatre craft, to guest artist performances and immersive events. The new front of house displays will include stunning costumes charting some famous moments in the history of The Royal Ballet and Opera.
#UK , #hall, #opera, #lighting ,#interior_design , #amphitheatre , #cultural_center, #multi_function , #stair
@revitalization
Alan Stanton of Stanton Williams said:
“The Royal Opera House's 'Open Up' project does just that, by opening up what had previously been a fairly constrained set of spaces to the world outside. The Bow Street extension presents a welcoming public face to the building while the expand-ed and interlinked foyer spaces breathe new energy into front-of-house areas. The new Linbury Theatre is a high-quality performance space that will make an important contribution to the work of the Royal Opera House as one of the world's preeminent opera houses."
Chief Executive of the Royal Opera House, Alex Beard, said:
“We are delighted to open the doors to a transformed Royal Opera House. Our brand new entrances, extended foyers and terraces, new café, new bar and restaurant, Linbury Theatre, refurbished Clore Studio as well as extensive programme of daytime events, activities and festivals, make the Royal Opera House London’s newest day time destination. Open every day from 10am, we want as many people as possible to experience our art forms and get a taste of the remarkable creativity at play here."
The elegant, newly created spaces will be brought alive with a year-round day time programme of events, activities and fes-tivals giving a taste of the Royal Opera House: from the mastery of backstage theatre craft, to guest artist performances and immersive events. The new front of house displays will include stunning costumes charting some famous moments in the history of The Royal Ballet and Opera.
#UK , #hall, #opera, #lighting ,#interior_design , #amphitheatre , #cultural_center, #multi_function , #stair
@revitalization
NO.147
Castello di Rivoli-Castle of Rivoli - MUSEUM OF CONTEMPORARY ART
/ Andrea Bruno
LOCATION: Turin, Rivoli - ITALY
ARCHITECT: Andrea Bruno
Year: 1984
PROPERTY: Common Of Rivoli
DEALER / CONTRACT: "Rivoli Castle - Museum Of Contemporary Art" Cultural Association
CategoryConcessionaires / Assignees Of Public Cultural Goods Or Institutes And Places Of Culture Belonging To The Public (Ex Resolutions / Interpelli AE)
Museum of Contemporary Art
Between past, present and future
Starting out in the 11th century as a military stronghold, the Castle of Rivoli is now home to the Museum of Contemporary Art which has a prestigious permanent collection and occasional major exhibitions in an original historical and architectural context.
Owned by the Savoy since 1247, the castle was the first court of the Duchy of Savoy. In the 1600s it was transformed into courtly residence by Carlo and Amedeo di Castellamonte. The complex also gained the "Manica Lunga", the art gallery of dukes, more than 140 metres long.
In the 1700s, Victor Amadeus II commissioned Juvarra to produce a grandiose rebuilding project, works that were never to be concluded. The incompletion of the construction, emphasised by the restora-tion by Andrea Bruno in 1980s, has created an evocative line of continuity extending from the past, to the present and future.
The first renovation works of the Castello di Rivoli were made by the young Turinese architect An-drea Bruno to mark the centenary of the Unification of Italy in 1961. Unfortunately, at that time the budget was only sufficient to repair structural damage. Some years later, in 1967, Bruno proceeded to demolish the decaying parts of the atrium built in the early 20th century. By 1978, the building was in terrible condition: water infiltration had damaged the walls, ceilings, frescos, and stuccos, causing the first collapses. This led the Region of Piedmont to pledge to take care of the building for 30 years, re-storing it and opening it to the public. The works started in 1979 and ended with the Museum’s inau-guration on 18 December 1984.
Bruno decided to keep the surviving historical traces, giving importance to all the moments in the Castle’s life, starting from the Juvarra building site, passing through Carlo Randoni’s work in the late 18th century, up until the interventions made by the military in the 20th century. Bruno avoided falsifi-cations and completions, respecting the original architecture, which became a true image of the histo-ry of the building and the vicissitudes of the structure. He preserved the internal and external decora-tions, stuccos and paintings damaged by the ravages of time and the carelessness of men.
To give visitors a sense of the Savoy residence, Bruno restored two rooms, one on the first floor made during the Juvarra’s period, and the second in the Duke of Aosta’s apartment. He enhanced the unfin-ished atrium, installed the panorama that juts out from the great brick wall of the Castle, and con-ceived the great suspended staircase, as well as the walkway over the great vault of room 18, putting the past and the present in dialogue. Some rooms have no decorations, while several are richly orna-mented with details that recall the splendours of the dynasty and important moments in Rivoli’s histo-ry.
Some time later, works started on the Manica Lunga, which was to become once again a space for ex-hibitions. Here, the staircases and the lift are external, and they have been made in steel and glass to allow visitors to observe the whole unfinished structure. Bruno used modern materials for the new structures, becoming a pioneer of reversibility, and again stressing the relationship between present and past. In Rivoli, the historic building and contemporary forms interact together, while the frescoes dialogue with the work of today’s artists.
#Italy, #castle ,#interior_design , #museum , #lighting , #gallery , #stair
@revitalization
Castello di Rivoli-Castle of Rivoli - MUSEUM OF CONTEMPORARY ART
/ Andrea Bruno
LOCATION: Turin, Rivoli - ITALY
ARCHITECT: Andrea Bruno
Year: 1984
PROPERTY: Common Of Rivoli
DEALER / CONTRACT: "Rivoli Castle - Museum Of Contemporary Art" Cultural Association
CategoryConcessionaires / Assignees Of Public Cultural Goods Or Institutes And Places Of Culture Belonging To The Public (Ex Resolutions / Interpelli AE)
Museum of Contemporary Art
Between past, present and future
Starting out in the 11th century as a military stronghold, the Castle of Rivoli is now home to the Museum of Contemporary Art which has a prestigious permanent collection and occasional major exhibitions in an original historical and architectural context.
Owned by the Savoy since 1247, the castle was the first court of the Duchy of Savoy. In the 1600s it was transformed into courtly residence by Carlo and Amedeo di Castellamonte. The complex also gained the "Manica Lunga", the art gallery of dukes, more than 140 metres long.
In the 1700s, Victor Amadeus II commissioned Juvarra to produce a grandiose rebuilding project, works that were never to be concluded. The incompletion of the construction, emphasised by the restora-tion by Andrea Bruno in 1980s, has created an evocative line of continuity extending from the past, to the present and future.
The first renovation works of the Castello di Rivoli were made by the young Turinese architect An-drea Bruno to mark the centenary of the Unification of Italy in 1961. Unfortunately, at that time the budget was only sufficient to repair structural damage. Some years later, in 1967, Bruno proceeded to demolish the decaying parts of the atrium built in the early 20th century. By 1978, the building was in terrible condition: water infiltration had damaged the walls, ceilings, frescos, and stuccos, causing the first collapses. This led the Region of Piedmont to pledge to take care of the building for 30 years, re-storing it and opening it to the public. The works started in 1979 and ended with the Museum’s inau-guration on 18 December 1984.
Bruno decided to keep the surviving historical traces, giving importance to all the moments in the Castle’s life, starting from the Juvarra building site, passing through Carlo Randoni’s work in the late 18th century, up until the interventions made by the military in the 20th century. Bruno avoided falsifi-cations and completions, respecting the original architecture, which became a true image of the histo-ry of the building and the vicissitudes of the structure. He preserved the internal and external decora-tions, stuccos and paintings damaged by the ravages of time and the carelessness of men.
To give visitors a sense of the Savoy residence, Bruno restored two rooms, one on the first floor made during the Juvarra’s period, and the second in the Duke of Aosta’s apartment. He enhanced the unfin-ished atrium, installed the panorama that juts out from the great brick wall of the Castle, and con-ceived the great suspended staircase, as well as the walkway over the great vault of room 18, putting the past and the present in dialogue. Some rooms have no decorations, while several are richly orna-mented with details that recall the splendours of the dynasty and important moments in Rivoli’s histo-ry.
Some time later, works started on the Manica Lunga, which was to become once again a space for ex-hibitions. Here, the staircases and the lift are external, and they have been made in steel and glass to allow visitors to observe the whole unfinished structure. Bruno used modern materials for the new structures, becoming a pioneer of reversibility, and again stressing the relationship between present and past. In Rivoli, the historic building and contemporary forms interact together, while the frescoes dialogue with the work of today’s artists.
#Italy, #castle ,#interior_design , #museum , #lighting , #gallery , #stair
@revitalization
NO.149
Symmons Plains / Cumulus Studio
HOUSES, RESTORATION
•
PERTH, AUSTRALIA
• Architects: Cumulus Studio
• Area: 1258 m²
• Year: 2019
• Manufacturers: AXOR, Dulux, Elton Group, Viridian, Murobond
• Architects In Charge: Todd Henderson, Pippa Jensen
• Builder: Mark Darke Building & Joinery
• Heritage Stonemasons: Past and Present Stonemasons
• Structure: Brierley Consulting Engineers
• Lighting: Southern Lighting and Casa Monde
• Heritage Consultant: Praxis Environment
• Project Cost: $1,500,001 AUD - $2,000,000 AUD
The Symmons Plains project combines extensive heritage restoration works with functional, sensitive additions.
The Symmons Plains homestead was established in 1839 by John Arndell Youl, a Tasmanian colonist famous for introducing brown trout to Australia. Seven generations of the Youl family lived and farmed the expansive property until it was sold to our client in 2011. Over the years, the Youl family made a number of ambitious additions to the property, most notably the tennis court, airstrip and the world-class Symmons Plains raceway.
Understanding the significant heritage value of their new property, our clients approached the project with a clear vision; firstly to restore the property to its former glory, then introduce new func-tional, contemporary elements that would remain sensitive to the original architecture.
Initial restoration works began with the reinstatement of decaying slaked lime mortar and removal of poor cement repairs. Two specialist restoration stonemasons from England were contracted to assist with the extensive exterior works, utilising traditional lime mortar preparation techniques which can take up to 12 months to mature on site. Further restoration works involved removing inconsistent alterations, such as the rear 1960s laundry and loggia, creating a clean, honest, canvas from which to replan.
As is typical of early Georgian homes, the original homestead was quite stripped back, austere and utilitarian, free from the detail and decoration of later Tasmanian heritage properties. The new light-weight steel and glass insertions reflect this simplicity in form and proportion, while their transpar-ency and reduced height allow the heritage structures to take prominence in the design.
The new intervention, a long extruded tube connects both outbuildings and the rear wing of the homestead into one single consolidated structure. This connection activates the entire cluster of buildings, transforming forgotten spaces used intermittently for storage, supplies and farm vehicles into living, social additions to the family home.
Steel has been used to represent the transition between old and new. Beginning with the clear separation in the steel (new) and stone (old) buildings visible seen from the exterior, the user begins to create an association between what is ‘steel’ and what is ‘new’. This is reflected beyond the steel-framed insertions – from the floating staircase and balustrades within the granary down to subtle thresholds, shelving and benchtop details within the central homestead.
#Australia , #house , #restoration , #interior_design , #stair , #glass
@revitalization
Symmons Plains / Cumulus Studio
HOUSES, RESTORATION
•
PERTH, AUSTRALIA
• Architects: Cumulus Studio
• Area: 1258 m²
• Year: 2019
• Manufacturers: AXOR, Dulux, Elton Group, Viridian, Murobond
• Architects In Charge: Todd Henderson, Pippa Jensen
• Builder: Mark Darke Building & Joinery
• Heritage Stonemasons: Past and Present Stonemasons
• Structure: Brierley Consulting Engineers
• Lighting: Southern Lighting and Casa Monde
• Heritage Consultant: Praxis Environment
• Project Cost: $1,500,001 AUD - $2,000,000 AUD
The Symmons Plains project combines extensive heritage restoration works with functional, sensitive additions.
The Symmons Plains homestead was established in 1839 by John Arndell Youl, a Tasmanian colonist famous for introducing brown trout to Australia. Seven generations of the Youl family lived and farmed the expansive property until it was sold to our client in 2011. Over the years, the Youl family made a number of ambitious additions to the property, most notably the tennis court, airstrip and the world-class Symmons Plains raceway.
Understanding the significant heritage value of their new property, our clients approached the project with a clear vision; firstly to restore the property to its former glory, then introduce new func-tional, contemporary elements that would remain sensitive to the original architecture.
Initial restoration works began with the reinstatement of decaying slaked lime mortar and removal of poor cement repairs. Two specialist restoration stonemasons from England were contracted to assist with the extensive exterior works, utilising traditional lime mortar preparation techniques which can take up to 12 months to mature on site. Further restoration works involved removing inconsistent alterations, such as the rear 1960s laundry and loggia, creating a clean, honest, canvas from which to replan.
As is typical of early Georgian homes, the original homestead was quite stripped back, austere and utilitarian, free from the detail and decoration of later Tasmanian heritage properties. The new light-weight steel and glass insertions reflect this simplicity in form and proportion, while their transpar-ency and reduced height allow the heritage structures to take prominence in the design.
The new intervention, a long extruded tube connects both outbuildings and the rear wing of the homestead into one single consolidated structure. This connection activates the entire cluster of buildings, transforming forgotten spaces used intermittently for storage, supplies and farm vehicles into living, social additions to the family home.
Steel has been used to represent the transition between old and new. Beginning with the clear separation in the steel (new) and stone (old) buildings visible seen from the exterior, the user begins to create an association between what is ‘steel’ and what is ‘new’. This is reflected beyond the steel-framed insertions – from the floating staircase and balustrades within the granary down to subtle thresholds, shelving and benchtop details within the central homestead.
#Australia , #house , #restoration , #interior_design , #stair , #glass
@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.
---------
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
NO.157
A Country House in Chievo / studio wok
RESIDENTIAL ARCHITECTURE, RENOVATION
•
VERONA, ITALY
• Architects: studio wok
• Area: 250 m²
• Year: 2018
• Photographs: Simone Bossi
• Manufacturers:Artemide,Cassina,Fioroni,Flos,Grassi Pietre,Flos
• Lead Architects:Marcello Bondavalli, Nicola Brenna and Carlo Alberto Tagliabue
• Collaborators:Arch. Federica Torri
• General Contractor:PFM contract, Verona
• Structural Engineering, Sustainability:Studio Tecnico associato Breoni
• Agronomy:Simone Bellamoli
• Stone Flooring :Grassi Pietre, Nanto (VI)
• Windows And Tailor, Made Furniture :GF Arredamenti, Ardenno (SO)
• Client:Private
Between history and modernity: a spatial and material dialogue in a rural court.
The new home has been built into a section of the barn of an agricultural court at the gates of Verona, near the river Adige. The project’s leitmotif is a spatial and material dialogue between history and modernity, and it is also characterized by the great care taken in terms of environmental sustainabil-ity. In addition to the use of technical devices and systems for efficient energy, special attention has been given to the surrounding territory and landscape in the use of materials and design choices.
Together with the building, the surrounding garden has also been redesigned and is now an integral part of the house.
The focal element of the garden and the house is a magnolia tree, preserved upon the clients' request. Bordered by a square black flowerbed, in contrast to the stone flooring on which the pool is set, the tree is the protagonist of the outdoor space and perfectly dialogues with the house: the shadow of its foliage is projected at sunset on the stone façade and is visible from all rooms.
The plaster has been detached on the façades, so as to bring the river pebbles into view which form the structure’s load-bearing walls.
On the front towards the garden, a large arch has been reopened as a reminder of the site’s historical agricultural function, making it the fulcrum around which the spaces of the house are distributed. A large rear door frames the masonry arch, becoming a threshold and an element of dialogue between the interior space and the garden.
The front facing the courtyard is characterized by a glass façade with wooden uprights that recalls, in a contemporary way, the wooden walls typical of barns found in local rural courts.
The materials of the façades are traditional and typical of rural architecture around Verona: on the façade, river pebbles are grafted on modern frames in Biancone, local stone from Lessinia and the monolithic elements that house the larch windows.
The house is set out across three floors and all levels engage with the space at the full height of the living room. The ground floor, distinguished by a Vicenza stone pavement, welcomes guests into a large living area and a library with brick fireplace; the upper floors, perceived as a wooden volume hanging from the ceiling, contain the bedrooms.
The birch plywood cladding designs and defines the interior space, marking a clear distinction be-tween the different sections of the home.
A large rear door frames the masonry arch, becoming a threshold and an element of dialogue between the interior space and the garden.
#Italy , #barn , #rural , #house , #interior_design , #stair
@revitalization
A Country House in Chievo / studio wok
RESIDENTIAL ARCHITECTURE, RENOVATION
•
VERONA, ITALY
• Architects: studio wok
• Area: 250 m²
• Year: 2018
• Photographs: Simone Bossi
• Manufacturers:Artemide,Cassina,Fioroni,Flos,Grassi Pietre,Flos
• Lead Architects:Marcello Bondavalli, Nicola Brenna and Carlo Alberto Tagliabue
• Collaborators:Arch. Federica Torri
• General Contractor:PFM contract, Verona
• Structural Engineering, Sustainability:Studio Tecnico associato Breoni
• Agronomy:Simone Bellamoli
• Stone Flooring :Grassi Pietre, Nanto (VI)
• Windows And Tailor, Made Furniture :GF Arredamenti, Ardenno (SO)
• Client:Private
Between history and modernity: a spatial and material dialogue in a rural court.
The new home has been built into a section of the barn of an agricultural court at the gates of Verona, near the river Adige. The project’s leitmotif is a spatial and material dialogue between history and modernity, and it is also characterized by the great care taken in terms of environmental sustainabil-ity. In addition to the use of technical devices and systems for efficient energy, special attention has been given to the surrounding territory and landscape in the use of materials and design choices.
Together with the building, the surrounding garden has also been redesigned and is now an integral part of the house.
The focal element of the garden and the house is a magnolia tree, preserved upon the clients' request. Bordered by a square black flowerbed, in contrast to the stone flooring on which the pool is set, the tree is the protagonist of the outdoor space and perfectly dialogues with the house: the shadow of its foliage is projected at sunset on the stone façade and is visible from all rooms.
The plaster has been detached on the façades, so as to bring the river pebbles into view which form the structure’s load-bearing walls.
On the front towards the garden, a large arch has been reopened as a reminder of the site’s historical agricultural function, making it the fulcrum around which the spaces of the house are distributed. A large rear door frames the masonry arch, becoming a threshold and an element of dialogue between the interior space and the garden.
The front facing the courtyard is characterized by a glass façade with wooden uprights that recalls, in a contemporary way, the wooden walls typical of barns found in local rural courts.
The materials of the façades are traditional and typical of rural architecture around Verona: on the façade, river pebbles are grafted on modern frames in Biancone, local stone from Lessinia and the monolithic elements that house the larch windows.
The house is set out across three floors and all levels engage with the space at the full height of the living room. The ground floor, distinguished by a Vicenza stone pavement, welcomes guests into a large living area and a library with brick fireplace; the upper floors, perceived as a wooden volume hanging from the ceiling, contain the bedrooms.
The birch plywood cladding designs and defines the interior space, marking a clear distinction be-tween the different sections of the home.
A large rear door frames the masonry arch, becoming a threshold and an element of dialogue between the interior space and the garden.
#Italy , #barn , #rural , #house , #interior_design , #stair
@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.168
República Rosa Boutique Hotel / nicolas&Nicolas
HOTELS
•
QUITO, ECUADOR
• Program: Boutique Hotel
• Architects: nicolas&nicolas
• Collaborators: Juan Pablo Ribadeneira
• Area: 700 m²
• Year: 2020
• Manufacturers: AutoDesk, Adobe, Almacenes Marriott, Briggs, McNeel, Pamesa
• Lead Architects:Nicolás Vivas, Nicolás López Ayoub
• Clients:Casa Anabela Hotel Boutique
Republica Rosa is a hotel in the historic center of Quito, a project that consisted in the materialization of a client's dream, which was the rehabilitation of a property that is part of the Cultural Heritage of Humanity by UNESCO and turn it into an important piece for the city and the hotel sec-tor. Its distinctive pink facade is a republican elevation fac-ing the central courtyard. The idea of giving the hotel an identity caused this facade to be carefully renovated so that the details of curves, reliefs, moldings, edges with its windows and doors are the pink monochrome internal set-ting that reflects joy and creativity.
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Republica Rosa is a Boutique Hotel located in the colonial center of the city of Quito. Designed on a republican style patio house, there is record that this building dates from 1890 when a Spanish citizen bought the property from the Ecuadorian state. Since then, this house has undergone a process of adaptation and transformation of various uses, ex-tensions, and modifications throughout its history.
The client's requirement was to create an 11-room hotel that rescues some of the elements of the republican architecture of Quito but somehow make it “different” from the other boutique hotels with its own identity. This is how the design, on the one hand, restored some original elements of the house (adobe walls, tile roofs and wooden floors), added other new pieces (Coatings and flooring) and reinterpreted others, such as its distinctive and unusual internal façade that overlooks the central courtyard.
Throughout its history and transformations, the walls of the house had several layers of paint, dirt and stucco. When the restoration work of the internal façade began, which is undoubtedly the main element of the project, all the colors that were part of its interior design came to light. Among them a salmon tone, the same one that was selected as the main color of the new identity.
Around the internal façade is the central courtyard typical of this period, which was re-stored and designed to be the main space that houses all the social activities of the hotel. The new mosaic installed on the floor gives a modern and fresh touch the de interior. The walls surrounding the courtyard were covered with plasterboard to accommodate all the new installations without affecting the bearing adobe walls which were also restored to create exposed details of the original material of the house. The rest of the walls and ceil-ings were painted dark gray to create an opaque environment that contrasts the internal salmon-colored facade.
On the other hand, the rooms had to respond to the current need of a hotel to be flexible and able to transform its rooms according to demand. The confined spaces of this exist-ing architecture forced the creation of a flexible custom-designed furniture manufactured by local artisans, which transforms a single room into a double in a few minutes. The original wooden floors and adobe walls were restored but also a new lighting design was implemented that creates a cozy atmosphere.
Material used.
1. Flooring: Ceramic tiles, Pamesa
2. Doors: Handcrafted locally, local artisans
3. Windows: Handcrafted locally, local artisans
4. Interior lighting: Downlights, Flos
5. Interior furniture: Handcrafted locally, local artisans
#Ecuador, #hotel, #flexible, #stair, #lighting, #UNESCO, #extention, #interior_design
@revitalization
República Rosa Boutique Hotel / nicolas&Nicolas
HOTELS
•
QUITO, ECUADOR
• Program: Boutique Hotel
• Architects: nicolas&nicolas
• Collaborators: Juan Pablo Ribadeneira
• Area: 700 m²
• Year: 2020
• Manufacturers: AutoDesk, Adobe, Almacenes Marriott, Briggs, McNeel, Pamesa
• Lead Architects:Nicolás Vivas, Nicolás López Ayoub
• Clients:Casa Anabela Hotel Boutique
Republica Rosa is a hotel in the historic center of Quito, a project that consisted in the materialization of a client's dream, which was the rehabilitation of a property that is part of the Cultural Heritage of Humanity by UNESCO and turn it into an important piece for the city and the hotel sec-tor. Its distinctive pink facade is a republican elevation fac-ing the central courtyard. The idea of giving the hotel an identity caused this facade to be carefully renovated so that the details of curves, reliefs, moldings, edges with its windows and doors are the pink monochrome internal set-ting that reflects joy and creativity.
------
Republica Rosa is a Boutique Hotel located in the colonial center of the city of Quito. Designed on a republican style patio house, there is record that this building dates from 1890 when a Spanish citizen bought the property from the Ecuadorian state. Since then, this house has undergone a process of adaptation and transformation of various uses, ex-tensions, and modifications throughout its history.
The client's requirement was to create an 11-room hotel that rescues some of the elements of the republican architecture of Quito but somehow make it “different” from the other boutique hotels with its own identity. This is how the design, on the one hand, restored some original elements of the house (adobe walls, tile roofs and wooden floors), added other new pieces (Coatings and flooring) and reinterpreted others, such as its distinctive and unusual internal façade that overlooks the central courtyard.
Throughout its history and transformations, the walls of the house had several layers of paint, dirt and stucco. When the restoration work of the internal façade began, which is undoubtedly the main element of the project, all the colors that were part of its interior design came to light. Among them a salmon tone, the same one that was selected as the main color of the new identity.
Around the internal façade is the central courtyard typical of this period, which was re-stored and designed to be the main space that houses all the social activities of the hotel. The new mosaic installed on the floor gives a modern and fresh touch the de interior. The walls surrounding the courtyard were covered with plasterboard to accommodate all the new installations without affecting the bearing adobe walls which were also restored to create exposed details of the original material of the house. The rest of the walls and ceil-ings were painted dark gray to create an opaque environment that contrasts the internal salmon-colored facade.
On the other hand, the rooms had to respond to the current need of a hotel to be flexible and able to transform its rooms according to demand. The confined spaces of this exist-ing architecture forced the creation of a flexible custom-designed furniture manufactured by local artisans, which transforms a single room into a double in a few minutes. The original wooden floors and adobe walls were restored but also a new lighting design was implemented that creates a cozy atmosphere.
Material used.
1. Flooring: Ceramic tiles, Pamesa
2. Doors: Handcrafted locally, local artisans
3. Windows: Handcrafted locally, local artisans
4. Interior lighting: Downlights, Flos
5. Interior furniture: Handcrafted locally, local artisans
#Ecuador, #hotel, #flexible, #stair, #lighting, #UNESCO, #extention, #interior_design
@revitalization
Right now, the six-inch screen we're holding in our hands has completely reshaped the way we perceive the world, taking us away from concentration and contemplation with its abbreviated images, fragmented messages, and real-time communications. In this era of the bowed generation, a huge screen hanging overhead may temporarily cure contem-porary people's distraction or cervical spondylosis, recovering the tranquility and curiosi-ty of the ancients when they looking up at the starry night.
#China, #factory, #lighting, #stair, #office, #interior_design
@revitalization
#China, #factory, #lighting, #stair, #office, #interior_design
@revitalization
Concrete paths. On the ground floor, we designed a network of marching areas and pavements from precise smooth pre-cast concrete boards laid down into individual areas. Pre-cast concrete is defined by rigorously straight Corten steel profiles that create a distance from uneven and ir-regular walls. The area between the precise profile and irregular walls is dumped by gravel that highlights both and conciliates irregularity with the uncompromising straight forefront.
Past and present. Our concept is based on respect towards the historical building and it pursues a major effort to preserve the castle’s authentic character. The palace gained an attractive sight-seeing route that allows the visitors to learn about the building history and enjoy the picturesque views from the footbridges on the upper levels of the castle what once used to be a roof. Contem-porary architecture does not compete with the historical building, rather it creates a cohesive unit in which all the elements, old and new go hand in hand.
#Czech, #castle, #interior_design, #lighting, #corten, #glass, #museum, #stair
@revitalization
Past and present. Our concept is based on respect towards the historical building and it pursues a major effort to preserve the castle’s authentic character. The palace gained an attractive sight-seeing route that allows the visitors to learn about the building history and enjoy the picturesque views from the footbridges on the upper levels of the castle what once used to be a roof. Contem-porary architecture does not compete with the historical building, rather it creates a cohesive unit in which all the elements, old and new go hand in hand.
#Czech, #castle, #interior_design, #lighting, #corten, #glass, #museum, #stair
@revitalization