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CASA MAX E VALE - valeria sdraiati

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La ristrutturazione nasce dalla volontà di valorizzare tutti quegli elementi originari presenti all’inizio dei lavori: ecco allora che le porte, le cornici, le luminose finestre, gli ampi soffitti, i massicci muri portanti, permettono di far respirare una romantica aria liberty, benchè l’impronta del progetto sia minimalista e moderna.

valeria sdraiati — CASA MAX E VALE

In origine hotel signorile, l’impianto planimetrico dell’appartamento è stato trasformato adeguandolo alle esigenze della giovane coppia: in alcuni particolari, però lo si può ancora riconoscere, come nella possibilità di comunicazione tra le varie stanze, passanti l’una nell’altra.

valeria sdraiati — CASA MAX E VALE

Le porte interne e gli infissi sono stati recuperati, e riproposti in bianco, con smaltatura a pennello.

valeria sdraiati — CASA MAX E VALE

L’illuminazione, spesso a sospensione, cerca di valorizzare l’altezza dei soffitti, come peraltro si propongono di fare i movimenti e la differenziazione di colori tra i veri ribassamenti in cartongesso.

valeria sdraiati — CASA MAX E VALE

Il tavolo in frassino con piedi realizzati in ferro, è stato disegnato per questo appartamento: il piano volutamente lasciato al naturale con finitura a cera e le piccole travi ipe a sostenerlo.

valeria sdraiati — CASA MAX E VALE

valeria sdraiati — CASA MAX E VALE

valeria sdraiati — CASA MAX E VALE

valeria sdraiati — CASA MAX E VALE

valeria sdraiati — CASA MAX E VALE

valeria sdraiati — CASA MAX E VALE

valeria sdraiati — CASA MAX E VALE

valeria sdraiati — CASA MAX E VALE

valeria sdraiati — CASA MAX E VALE

valeria sdraiati — CASA MAX E VALE


Allestimento temporaneo Sepolcreto del Lacerno - Paolo Emilio Bellisario, Ilias Fragkakis

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Il recupero dei cippi funerari e dell’ara è avvenuto nel settembre del 2013, al termine di un complicato scavo archeologico, diretto dalla Soprintendenza per i Beni Archeologici del Lazio in collaborazione con il Museo della Media Valle del Liri. L’intervento fu portato a termine grazie alla sinergia stabilitasi tra diversi Enti e Istituzioni: in particolare le operazioni di scavo furono curate dal Consorzio di Bonifica Conca di Sora, mentre quelle di recupero dagli uomini del 41° Reggimento “CORDENONS” della Caserma Simoni.

Paolo Emilio Bellisario, Ilias Fragkakis — Allestimento temporaneo Sepolcreto del Lacerno

In occasione della presentazione dei risultati degli studi multidisciplinari (archeologici, epigrafici ed antropologici) relativi all’importante scoperta archeologica grazie alla disponibilità della Soprintendenza per i Beni Archeologici del Lazio, dell’Ufficio Servizi e Beni Culturali del Comune di Sora ed alla concreta collaborazione della Impresa Generale Costruzioni Soccodato s.r.l., è stato realizzato, all’interno del museo, un allestimento temporaneo dell’intero recinto funerario, riposizionando i quattro cippi iscritti e l’ara, arricchito da un video-mapping. Il progetto ha previsto l’utilizzo esclusivo di materiali da costruzione in modo da poter essere totalmente reimpiegati dall’impresa una volta terminata la mostra.

Paolo Emilio Bellisario, Ilias Fragkakis — Allestimento temporaneo Sepolcreto del Lacerno

Paolo Emilio Bellisario, Ilias Fragkakis — Allestimento temporaneo Sepolcreto del Lacerno

Paolo Emilio Bellisario, Ilias Fragkakis — Allestimento temporaneo Sepolcreto del Lacerno

Casa Monti 29 - Paolo Muscionico

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Complete renovation of small commercial building with change of use to residential

Paolo Muscionico — Casa Monti 29

EAST FACADE

Paolo Muscionico — Casa Monti 29

LOFT

KINDER L´ECOLE - Luis Moctezuma Gutierrez

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On this project, local practice Novhus had to develop a budget outline for the construction of classrooms which were going to be used as workshops (painting, music, dance and computer lab) for a school in the city of Puebla, Mexico that is growing and therefore requires the expansion of such facilities.

Luis Moctezuma Gutierrez — KINDER L´ECOLE

At the start of this project the customer betting on a subsequent agglomeration of spaces that were covering the program needs and a single health module. Obviously the first task of the office was to convince the customer that despite being a work of inexpensive could generate an interesting proposal. Faced with this position the client agrees that work on various proposals for the construction of such spaces.

Luis Moctezuma Gutierrez — KINDER L´ECOLE

There were several preliminary ideas for this building and therefore Novhus decided to define areas for technical and economic level which would result in guidelines that later would translate as the most suitable proposal to the situation. The most important points referred to this stage of the project were: Usage or a combination of reduced material; Regional materials; Low-cost materials; Techniques and basic construction procedures, without complexities; Mixed structure (rigid frame-based beams and columns and load-bearing walls); Low maintenance finishes; Propose a static core building type rather than a dispersed and dynamic one; Maximizing natural lighting; Usage of cross ventilation; Solar protection in the rear facade of the building due to its orientation; Ventilation ducts to ensure that all spaces naturally breathe (ventilation).

Luis Moctezuma Gutierrez — KINDER L´ECOLE

This led Novhus to consider the following phrasing as flag of this project: “Think global, act local”, thus obtaining a building that could be classified as regional architecture but with far-reaching intentions.

Luis Moctezuma Gutierrez — KINDER L´ECOLE

The land of small, 10×19 m with a southeast-northwest orientation was coupled manner with total project idea is beginning to generate. Put simply we can say that the land was divided into three parts, of which 2/3 catered for building and 1/3 for green (backyard). -The ground floor is divided into two blocks running along the dominant axis of the property (southeast – northwest), so the left block is used as a covered patio and the right block is defined by the Administrative Office, Stairs, Machinery Room, Bodega, Sanitation for teachers, and coffee area. -The first level has a central space or BLOCK OF SERVICES, which contains the stairs, hallway, sanitation and ventilation ducts which run through the building and fire shots and give vent to health modules in addition to natural lighting. Therefore each of the spaces that make up the building is illuminated and ventilated naturally. The 4 classrooms are located on the sides SERVICES BLOCK, 2 classrooms overlooking the street and another 2 watch the backyard. -The second level repeats the pattern of the first level except the 2 classrooms overlooking the backyard, remove the wall that divides to generate a large hall for dance workshop. The only two facades that saves the building respond openings to their respective orientations, so we have to the southeast façade features large windows and horizontal and vertical format, while the north facade consists of the same skin pierced by narrow vertical openings (loopholes ) that go from floor to ceiling.

Luis Moctezuma Gutierrez — KINDER L´ECOLE

The construction was based structure (columns and beams) apparent reinforced concrete, brick walls red clay apparent annealing finished, walls plastered with cement sand and painted white, polished cement floors with added color, concrete steps armed with added grain washed and exposed marble, natural aluminum windows and clear glass railings and fencing carbon steel.

We feel that this building is a tangible example of what can be done in a country where not always have been the necessary resources. It is also shown that the form, function and sustainability can exist even in its most basic principles, achieving a comfortable space for humans.

MUMBAI CITY MUSEUM - Amanda Levete Architects

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Using the power of absence to create connections between the old and the new, a sunken courtyard or aangan, taking inspiration from the deep and meaningful significance of the Indian stepwell, is embedded between the existing Museum building and the new North Wing.

Amanda Levete Architects — MUMBAI CITY MUSEUM

The courtyard is a metaphor for the cycle of the seasons, capturing the dramatic contrasts of the climate in the fabric of the museum. It is a metaphor for the cycle of time, where people can rethink their place in the world in a space for contemplation and a place for art and culture.

Amanda Levete Architects — MUMBAI CITY MUSEUM

Encircling the aangan is the Mumbai Modern gallery. It forms the beating heart of the Museum, arranged to amplify the inheritance of the recent past and tell a story that is constantly being reshaped on the streets of the city.

The courtyard intersects with the North Wing at a threshold that captures the iconography of place, with a series of ramps, leading to the rest of the museum, which celebrates the theatre of the journey and a pilgrimage to the secular temples of art and history.

Mumbai City Museum - Nieto Sobejano Arquitectos

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Our proposal can be described in essence, as a large garden structure in the park, an undulating roof scape evoking images concealed in our memory of ‘Umbraculum’, greenhouses and zoo constructions. This light and porous shelter generates not only the new building’s formal and volumetric expression, but it also combines space, light, and structure, providing shadow to the spaces below.

Nieto Sobejano Arquitectos — Mumbai City Museum

The variable undulated profile of its section attends to the different uses of the building, the will to introduce natural light, and the search for transparency and visual connections to the garden. Each vault is similar to its adjacent one, but with varying height and radius, adapting either to the inner program or rising above to highlight the voids that traverse the interior space as well as incorporating the existing courtyard buildings. The cuts in the curves of the roofs generate terraces or patios that allow the trees to grow through.

Nieto Sobejano Arquitectos — Mumbai City Museum

Mumbai City Museum - OMA

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Conceptually we created a New North Museum Wing that doesn’t occupy much of the ground plane of the site. It lifts itself up from the site to create an open connection from the ES Patanwala Marg to the existing museum and to create direct visual connections with the city and the zoological gardens.

OMA — Mumbai City Museum

The New North Wing also roots itself into the earth to provide well protected and conditioned special exhibition spaces. The museum therefore acts as a flower for the city, while the supporting facilities – the open air foyer and the Mumbai Modern – are wrapped around the heart of the flower, holding the overall concept together.

OMA — Mumbai City Museum

The stepped sculpture garden flanks the building and allows for different degrees of intimacy and sculpture display which are accessible from the public spaces around the museum and the exhibition galleries of the museum itself.

Mumbai City Museum - Pei Cobb Freed And Partners

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We envision for the Mumbai City Museum a landmark building, activating a renewed campus, set within a reinvigorated park precinct – wherein dialogue among an extraordinary landscape, a 19th-century Beaux Arts colonial building, a group of 20th- century informal structures, and a 21st-century state-of-the-art museum give voice to the rich, layered, dynamic, and complex life of the city the museum serves.

Pei Cobb Freed And Partners — Mumbai City Museum

This assemblage is focused around a redesigned Museum Plaza – imagined as the social and functional heart of the museum, and counted among the most important public spaces in all of Mumbai. The North Wing’s unique shape and distinctive saw-tooth expression are drawn directly from context, while the building’s orientation, internal organization, materiality, and systems are highly calibrated to climate, daylighting, and energy conservation.

Pei Cobb Freed And Partners — Mumbai City Museum

Our response – modern, efficient, sensitive, graceful – celebrates program and place; gives confident form to the high ambitions of the museum’s curatorial, educational, and community programs; and affirms the museum’s enduring contribution to Mumbai’s civic and cultural life.


Guggenheim museum - Efisio Pitzalis, Geneviève Hanssen, Caterina Belardo, Stefania Di Donato, Marco Russo

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In termini simbolici la proposta progettuale si configura come il resto di una foresta fossile pietrificata. Singoli elementi, simili a giganteschi tronchi d’albero scolpiti e scavati, si dispongono per formare un insieme unitario attorno ai comuni spazi di distribuzione. In termini urbani il nuovo museo s’inserisce nel lotto a disposizione attraverso una conformazione planimetrica pluricellulare che interagisce con le viste principali sulla città. Dal fronte mare, l’articolazione del complesso architettonico è concepita per impedire l’interferenza visiva con il Palace Hotel e con il Parco Tähtitornin vuori. In termini architettonici il nuovo museo è costituito da grandi “stanze del collezionista” connesse tra di loro. Questi corpi autonomi, in ragione delle diverse esigenze, possono isolarsi o partecipare coralmente al percorso espositivo. Il complesso museale è costituito da un organismo continuo di sale a volumetria sferica trattenute all’interno di telai di matrice planimetrica esagonale. Gli spazi interni appaiono come uno scavo praticato nel vivo del corpo solido, quasi che il percorso espositivo del visitatore avesse impresso i suoi movimenti all’interno della materia dura di origine. Nell’area a nord, in prossimità della darsena Vironallas, è previsto l’ingresso principale al pubblico. Il corpo dell’atrio, con le relative funzioni di orientamento, ospita il bar caffetteria al piano terreno e il ristorante al primo livello con vista mare. Tutte le sale espositive, la sala eventi, i negozi con la rampa di distribuzione ai livelli superiori, si dispongono attorno a spazi comuni di distribuzione simili a “piazze urbane” coperte. Questi spazi comuni sono attraversati da varchi verticali che convocano il contesto e costruiscono un attento gioco di incroci visivi tra interno ed esterno. Al piano terra sono previsti gli accessi alle varie sale espositive organizzate attorno all’area comune di distribuzione (multipurpose zone) che dall’ingresso si snoda secondo assi prospettici accidentati. L’area comune (multipurpose zone) raccoglie i flussi dei visitatori dall’ingresso principale e li orienta verso i percorsi espositivi. Sul lato adiacente, verso strada, è contenuta l’area shopping con al centro una rampa elicoidale che conduce al livello espositivo superiore organizzato secondo un percorso continuo. Dalla stessa rampa è possibile accedere ai piani superiori dove sono alloggiati gli uffici, le attività amministrative e le unità di controllo del museo. Su lato strada è prevista l’area sosta per l’accesso dei Vip e per lo scarico merci verso il deposito. Particolare significato simbolico e architettonico assume le coperture dell’edificio. Queste sono leggermente in scavo per opera di un lieve sistema gradonato ad andamento circolare concentrico che richiama le venature interne del tronco d’albero. Tutto il sistema delle coperture, collegato da passerelle in sovrappasso, è raggiungibile dalla rampa elicoidale e dagli ascensori dissimulati all’interno dei gradoni. In termini funzionali, la copertura è organizzata per ospitare lo sculpure garden ed è orientata verso i punti topici della città per catturare i principali monumenti urbani da una posizione altimetrica di grande effetto panoramico. I materiali usati sono ad alta durabilità. L’esterno è in ceramica di colore scuro lucido e l’interno è in legno di acero trattato. Le superfici trasparenti sono in vetro opalescente, con opacità variabile in funzione della luminosità esterna per consentire una perfetta omogeneità luministica. Le superfici in vetro opalescente incidono il volume nelle aree inferiori utili per la esposizione di grandi installazioni e nelle aree superiori per le zone di ritrovo (ristorante) e per gli eventi. Il piano espositivo superiore, da cui è possibile osservare il piano inferiore in doppia altezza, è privo di fonti luminose naturali per consentire l’installazione di opere di pittura e di grafica con fonti di luce artificiale mirata. La struttura è in telai scatolari metallici contenuti nell’intercapedine tra il volume esterno aguzzo e il volume interno curvilineo. L’intercapedine permette di alloggiare tutti gli impianti necessari e di allestire una parete ventilata utile per il risparmio energetico complessivo.

Efisio Pitzalis, Geneviève Hanssen, Caterina Belardo, Stefania Di Donato, Marco Russo — Guggenheim museum

veduta generale

Efisio Pitzalis, Geneviève Hanssen, Caterina Belardo, Stefania Di Donato, Marco Russo — Guggenheim museum

Veduta aerea

Efisio Pitzalis, Geneviève Hanssen, Caterina Belardo, Stefania Di Donato, Marco Russo — Guggenheim museum

Planivolumetrico

Efisio Pitzalis, Geneviève Hanssen, Caterina Belardo, Stefania Di Donato, Marco Russo — Guggenheim museum

Pianta Piano Terra

Efisio Pitzalis, Geneviève Hanssen, Caterina Belardo, Stefania Di Donato, Marco Russo — Guggenheim museum

Pianta Piano Primo

Efisio Pitzalis, Geneviève Hanssen, Caterina Belardo, Stefania Di Donato, Marco Russo — Guggenheim museum

Veduta Frontale

Efisio Pitzalis, Geneviève Hanssen, Caterina Belardo, Stefania Di Donato, Marco Russo — Guggenheim museum

Veduta Laterale

Efisio Pitzalis, Geneviève Hanssen, Caterina Belardo, Stefania Di Donato, Marco Russo — Guggenheim museum

Veduta notturna

Efisio Pitzalis, Geneviève Hanssen, Caterina Belardo, Stefania Di Donato, Marco Russo — Guggenheim museum

Dettaglio

Efisio Pitzalis, Geneviève Hanssen, Caterina Belardo, Stefania Di Donato, Marco Russo — Guggenheim museum

Veduta Atrio

Efisio Pitzalis, Geneviève Hanssen, Caterina Belardo, Stefania Di Donato, Marco Russo — Guggenheim museum

Veduta Sala Espositiva

Efisio Pitzalis, Geneviève Hanssen, Caterina Belardo, Stefania Di Donato, Marco Russo — Guggenheim museum

Sezione Longitudinale

Efisio Pitzalis, Geneviève Hanssen, Caterina Belardo, Stefania Di Donato, Marco Russo — Guggenheim museum

Sezione Longitudinale

Efisio Pitzalis, Geneviève Hanssen, Caterina Belardo, Stefania Di Donato, Marco Russo — Guggenheim museum

Particolare Sezione

3xkb - Sergio Fanego, Larissa Rojas, Mieguel Duarte, Adriana Moreno, Carlos Lara, Nestor Robelli, Federico Cairoli

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In the current process of expansion of cities, what is really important are not financial resources, neither does materiality define character, nor some kind of style or form. Today, what is essential is the place. Living in the city means access to infrastructure, clean water, transport, public space, food, education, and culture, which enables the urban dweller to become human. Within this reasoning, absolutely urgent, contemporary and universal, this small project rethinks themes such as density, public space, the best use of energy, and how these elements contribute to the generation of a new identity. Thus, Asunción can (and should) re-convert into any city on the planet and establish minimum standards of habitability. With limited financial resources we rearrange the cost grid of traditional construction, and from rigorous analysis, we identified that where the least amount of energy is spent is in the support (the structure), it is then clad with finishes, expensive materials, but socially recognized as signs of status which is the result of a complete distortion between skeleton and filling. This disarms the concept of integrity, impoverishes authenticity and space. Inverting concepts also means an infringement, to generate backflow. In this way … the supports, the actual structure, releases and is space, this becomes a form and is recognized in difference, it thus generates a clear and frank picture, above all authentic. A result charged with dignity, presents the materials on their specific process of application and work. Thus, the concept of Heidegger, one lives, recognizes and belongs to the space, one can access the improved result given by a contemporary project of reason based on the concept of the family home. Then some journalistic comments … on a plot of 10×30, 3 single-family houses each defined as follows, a semi level, a ground floor, a terrace, an intimate area and a terrace expansion at an urban scale. 190m2 built, exaggerated light, air, views, absolute relationship to the horizon and the city. Satisfied users, in typically Paraguayan spaces.

Sergio Fanego, Larissa Rojas, Mieguel Duarte, Adriana Moreno, Carlos Lara, Nestor Robelli, Federico Cairoli — 3xkb

Sergio Fanego, Larissa Rojas, Mieguel Duarte, Adriana Moreno, Carlos Lara, Nestor Robelli, Federico Cairoli — 3xkb

Sergio Fanego, Larissa Rojas, Mieguel Duarte, Adriana Moreno, Carlos Lara, Nestor Robelli, Federico Cairoli — 3xkb

Sergio Fanego, Larissa Rojas, Mieguel Duarte, Adriana Moreno, Carlos Lara, Nestor Robelli, Federico Cairoli — 3xkb

Sergio Fanego, Larissa Rojas, Mieguel Duarte, Adriana Moreno, Carlos Lara, Nestor Robelli, Federico Cairoli — 3xkb

Sergio Fanego, Larissa Rojas, Mieguel Duarte, Adriana Moreno, Carlos Lara, Nestor Robelli, Federico Cairoli — 3xkb

Sergio Fanego, Larissa Rojas, Mieguel Duarte, Adriana Moreno, Carlos Lara, Nestor Robelli, Federico Cairoli — 3xkb

Sergio Fanego, Larissa Rojas, Mieguel Duarte, Adriana Moreno, Carlos Lara, Nestor Robelli, Federico Cairoli — 3xkb

Sergio Fanego, Larissa Rojas, Mieguel Duarte, Adriana Moreno, Carlos Lara, Nestor Robelli, Federico Cairoli — 3xkb

Sergio Fanego, Larissa Rojas, Mieguel Duarte, Adriana Moreno, Carlos Lara, Nestor Robelli, Federico Cairoli — 3xkb

Sergio Fanego, Larissa Rojas, Mieguel Duarte, Adriana Moreno, Carlos Lara, Nestor Robelli, Federico Cairoli — 3xkb

Sergio Fanego, Larissa Rojas, Mieguel Duarte, Adriana Moreno, Carlos Lara, Nestor Robelli, Federico Cairoli — 3xkb

Guggenheim Helsinki - Oliviero Baldini - Studio O

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The designed object is an oblique pyramid . The shape is the link on the plan of the angles to the south and the vertex of the side parallel to the sea of the perimeter of the area assigned which rests on the one side, on a septum in reinforced concrete, and centrally by a structure of poles connected archaically and coated with titanium to ensure their protection, and covered with aluminum panels, anodized antique ,laser cut and folded brass. The system of four crossed ramps (8%) generates a path that leads naturally to the exhibition spaces and obligatory path through the retail areas, hence two escalators take visitors on the middle floor of the terrace used as an external exposure for sculptures. Two lateral spaces of 19 meters in height can accommodate vertical exposures (eg. Cattelan). The area of transition between the two upper ramps houses the auditorium, restaurant and bar. Safety of the works of art is ensured and the use of lifts offers the opportunity to enjoy the space even during the closing hours of the museum. The south prospectus is a large rectangle of 34 mt of height to 67 m wide entirely closed by a transparent structural glass wall behind which a system of curtains not only shields the light, butthe creates a highly theatrical image. The whole building is raised from zero from a wooden plate which is suitable for maritime climate. The entire perimeter of the area assigned reaches a height of six meters. All the functions required of the museum are concentrated below, such as the 365 mt of Annex building, the 1000 meters of the new Makasiini Port Terminal, roads, parking lots and access routes.

Oliviero Baldini - Studio O — Guggenheim Helsinki

Oliviero Baldini - Studio O — Guggenheim Helsinki

Oliviero Baldini - Studio O — Guggenheim Helsinki

Oliviero Baldini - Studio O — Guggenheim Helsinki

Mumbai City Museum - Studio Mumbai

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The gesture of the Mumbai City Museum is to create a calling, a sign, an invitation, a holler, a signal set out in the sky to be viewed as a beacon, barometer, language, an expression of our collective enterprise.

Studio Mumbai — Mumbai City Museum

A series of frames, a network of walkways, labyrinths, courtyards, gardens, fountains, rocks, birds, trees, rain, water, vistas, views, scents, sounds, city, sky, ground, earth, landscape, a window between our interior and exterior world. Mumbai, a city in constant flux, has its own ebb and flow. An expansion and contraction, cut and fill, a city continually constructed and dismantled, expressive and responsive to the culture of its time. Our aim is to collect this depth of field between past, present and future. In collecting the apparent debris we endeavor to reclaim, recuperate and synthesize an expression relevant to our time.

Studio Mumbai — Mumbai City Museum

For the museum extension we seek a strategy that , through its built form, carefully considers and engages the complex relationship of place and space between the museum, its ground, its relationship to the city, the people, its immediate environment, and to places near and far.

The Museum itself is an embodiment, an expression, an archive, an observation, of a city and its culture as it was once, is at present, and will be in time to come.

LITHUANIAN SEA MUSEUM AND OPEN ACCESS CENTRE OF THE MARINE CULTURAL HERITAGE - Aurimas Syrusas, Lijana Petrikėnė, Aurelija Krasauskaitė, Vytautas Lukoševičius

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WHY THIS OBJECT IS IMPORTANT? First of all, it is important that Lithuania is a maritime country, and fostering of the maritime culture, history and perspective should be among the priority areas. Another important thing is that it is not only an administrative building but also functions as a public object which already concerns the public interest in a broad sense. Object location and environment is also binding and very sensitive. The Curonian Spit itself is UNESCO world cultural heritage and unique piece of nature. Therefore, it is important to consider that this project is unique and must be given very careful attention in sense of architectural focus and quality of solutions.

Aurimas Syrusas, Lijana Petrikėnė, Aurelija Krasauskaitė, Vytautas Lukoševičius — LITHUANIAN SEA MUSEUM AND OPEN ACCESS CENTRE OF THE MARINE CULTURAL HERITAGE

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WHY IT IS RESOLVED TO REMOVE LARGE PART OF THE EXISTING BUILDING? Following a detailed examination of the existing building structure and careful evaluation taking in account the program envisaged for the new object, the resolution was adopted to demolish the upper floors of the building. This was due to the existing building structure complexity as it would not be easily used according to the new function. Different altitudes and narrow corridors of the building complicate its adaptation which should meet today’s standards and needs of different people, and full-scale comfortable use of the building. The building would be difficult to make a sustainable, economically operated object. Some basic walls of the basement will be left, and structure of the new building will be adapted to them. Foundation of the building will be preserved.

Aurimas Syrusas, Lijana Petrikėnė, Aurelija Krasauskaitė, Vytautas Lukoševičius — LITHUANIAN SEA MUSEUM AND OPEN ACCESS CENTRE OF THE MARINE CULTURAL HERITAGE

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WHY SUCH AN ARCHITECTURAL FORM? It is very important that the architectural form of the building responds to the function so two means of expression were selected, namely plastic and geometric considering public and administrative functions. This presents synergy of natural and constructed forms reminding of science situation where rational mind has to deal with sophisticated mysteries of the sea depths. Taking into account comments for the detailed plan regarding division of building according to its volumes, natural material qualities are used.

Aurimas Syrusas, Lijana Petrikėnė, Aurelija Krasauskaitė, Vytautas Lukoševičius — LITHUANIAN SEA MUSEUM AND OPEN ACCESS CENTRE OF THE MARINE CULTURAL HERITAGE

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WHY THE PARTICULAR FUNCTIONAL SCHEME IS USED? To create optimal object structure, positioning of particular functions and their interrelation as well relation with the environment is important, especially in buildings where several different functions are intertwined. This building is designed so that its different functions are developed in close mutual connection but can also function completely autonomously. Axis of the pier and building is created as perpendicular to the main pedestrian tract including ferry passing, the Sea Museum, and Dolphinarium. This covers the public space with attraction elements of the object. The planned nearest public part of the building presents the public access center with storage place, and the more distant part is for administration. Communal and technical premises are designed as the farthest space with an important link to parking (place included in the detailed plan).

Aurimas Syrusas, Lijana Petrikėnė, Aurelija Krasauskaitė, Vytautas Lukoševičius — LITHUANIAN SEA MUSEUM AND OPEN ACCESS CENTRE OF THE MARINE CULTURAL HERITAGE

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WHY SO MUCH IMPORTANCE TO THE PUBLIC SPACE? Contemporary public architecture is developed is an integral part of public spaces. Each new building and each reconstructed object should harmoniously form a network of public spaces or supplement it. This is the only way to give meaning to the quality architecture, create added value, and meet issues of the public interest. Therefore, this project in particular focuses on the public space. Necessary accents are used, which ensure object attractiveness. The kind of object environment perfectly allows to use water, namely of the Curonian Lagoon. It is necessary to develop such links as the visual, which means to orient the main sightseeing spots of the building towards the lagoon, and expose the best perspectives at the lagoon side; functional, which means to develop the embankment included into a scheme of the building public spaces, and to intensify water transportation to the object. The proposal considered the alternative option to develop the existing pier in front of the building, and in the future provide there some outdoor exhibits, public meeting places, and arrival-departure area.

Aurimas Syrusas, Lijana Petrikėnė, Aurelija Krasauskaitė, Vytautas Lukoševičius — LITHUANIAN SEA MUSEUM AND OPEN ACCESS CENTRE OF THE MARINE CULTURAL HERITAGE

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WHY ALTERNATIVE ENERGY? Design of the modern new buildings as well as their reconstruction is not limited to the construction and installation issues of the present moment. The future prospects are becoming increasingly important and not only operating costs but also the impact on the environment is calculated, which is particularly relevant in case of this object reconstruction where green energy solutions are encouraged by such an environment as the Curonian Spit protected by UNESCO. The proposed solutions provide cost-effective and sustainable, environmentally friendly building life.

Aurimas Syrusas, Lijana Petrikėnė, Aurelija Krasauskaitė, Vytautas Lukoševičius — LITHUANIAN SEA MUSEUM AND OPEN ACCESS CENTRE OF THE MARINE CULTURAL HERITAGE

Model_02

Aurimas Syrusas, Lijana Petrikėnė, Aurelija Krasauskaitė, Vytautas Lukoševičius — LITHUANIAN SEA MUSEUM AND OPEN ACCESS CENTRE OF THE MARINE CULTURAL HERITAGE

Model_03

Aurimas Syrusas, Lijana Petrikėnė, Aurelija Krasauskaitė, Vytautas Lukoševičius — LITHUANIAN SEA MUSEUM AND OPEN ACCESS CENTRE OF THE MARINE CULTURAL HERITAGE

Scheme_01

Aurimas Syrusas, Lijana Petrikėnė, Aurelija Krasauskaitė, Vytautas Lukoševičius — LITHUANIAN SEA MUSEUM AND OPEN ACCESS CENTRE OF THE MARINE CULTURAL HERITAGE

Site_plan

Aurimas Syrusas, Lijana Petrikėnė, Aurelija Krasauskaitė, Vytautas Lukoševičius — LITHUANIAN SEA MUSEUM AND OPEN ACCESS CENTRE OF THE MARINE CULTURAL HERITAGE

Diagram_01

Aurimas Syrusas, Lijana Petrikėnė, Aurelija Krasauskaitė, Vytautas Lukoševičius — LITHUANIAN SEA MUSEUM AND OPEN ACCESS CENTRE OF THE MARINE CULTURAL HERITAGE

Diagram_02

Aurimas Syrusas, Lijana Petrikėnė, Aurelija Krasauskaitė, Vytautas Lukoševičius — LITHUANIAN SEA MUSEUM AND OPEN ACCESS CENTRE OF THE MARINE CULTURAL HERITAGE

Basement_plan

Aurimas Syrusas, Lijana Petrikėnė, Aurelija Krasauskaitė, Vytautas Lukoševičius — LITHUANIAN SEA MUSEUM AND OPEN ACCESS CENTRE OF THE MARINE CULTURAL HERITAGE

Ground_floor_plan

Aurimas Syrusas, Lijana Petrikėnė, Aurelija Krasauskaitė, Vytautas Lukoševičius — LITHUANIAN SEA MUSEUM AND OPEN ACCESS CENTRE OF THE MARINE CULTURAL HERITAGE

First_floor_plan

Aurimas Syrusas, Lijana Petrikėnė, Aurelija Krasauskaitė, Vytautas Lukoševičius — LITHUANIAN SEA MUSEUM AND OPEN ACCESS CENTRE OF THE MARINE CULTURAL HERITAGE

Energy_detail

Aurimas Syrusas, Lijana Petrikėnė, Aurelija Krasauskaitė, Vytautas Lukoševičius — LITHUANIAN SEA MUSEUM AND OPEN ACCESS CENTRE OF THE MARINE CULTURAL HERITAGE

Elevation_Section

Mumbai City Museum - wHY Architecture and Design

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Water, Cultural Weavers

Concept
An ecological oasis and a vibrant cultural hub This expansion unites the Museum site with the entire park and provides the most vibrant cultural programs indoor and outdoor. Not just buildings, but the entire Site is the new Museum.

wHY Architecture and Design — Mumbai City Museum

Planning
Respecting the height of the Historical Building, the new building is designed as weaved groundscapes intertwining with the gardens while maintaining an open, multi-level flow of activities surrounding the central Rain Gardens. The galleries are planned with full flexibilities while the Mumbai Gallery provides the elevated art experience in the panoramic view of Mumbai.

wHY Architecture and Design — Mumbai City Museum

Design
Local craft heritages inspire the design; weaved handicraft informs concrete roof structure, Indian textiles the roof panels, Indian stepped wells inspire the water-harvesting Rain Gardens. Merging local knowledge with global innovation, key design elements are unique sustainable features; water harvesting and passive cooling, ventilation and large projecting roof.
Sustainability, Uniquely Mumbai.

Mumbai City Museum - Zaha Hadid Architects

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The new North Wing to the Dr. Bhau Daji Lad Museum offers a unique architectural opportunity – to juxtapose the built legacy of Mumbai’s colonial past with a contemporary annexe representing the pulse of a multicultural and rapidly changing global city.

Zaha Hadid Architects — Mumbai City Museum

As two physically and programmatically distinct buildings, they have the potential to initiate a dialogue between the contemporary and traditional history of the region. The new wing emerges from this discourse as a bold, modern civic building wrapped in a highly textured veil of traditional building blocks – respectful of the existing building and yet defining its own area of influence.

Zaha Hadid Architects — Mumbai City Museum

The fluid landscape initiates the dialogue by putting in its centre the People’s Plaza. It forms the core public place of the museum grounds and as the main entrance welcomes people and creates a forum for the exchange of ideas – a centre of interaction for Mumbai’s citizens and visitors. The Sculpture Gardens and Seasonal Reflecting Pool allow the space to maintain its role within the city as a quiet place of reflection and contemplation.


LITHUANIAN SEA MUSEUM AND OPEN ACCESS CENTRE OF THE MARINE CULTURAL HERITAGE - Aurimas Syrusas, Lijana Petrikėnė, Aurelija Krasauskaitė, Vytautas Lukoševičius, Aušrinė Bredulytė

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SITUATION AND INITIAL DATA The designed building is located in Smiltynė at the Curonian Spit. The area is protected by UNESCO. At present, there is a two-storey building with a basement at the site where the Sea Museum administration is located. The building is of quite good physical condition but old fashioned and not appropriate regarding the new function of the museum administration and public access center. The project is prepared in accordance with the tender conditions, the detailed plan of the area, the management plan for the Curonian Spit National Park, Law on the protected areas, and other relevant documents.

Aurimas Syrusas, Lijana Petrikėnė, Aurelija Krasauskaitė, Vytautas Lukoševičius, Aušrinė Bredulytė— LITHUANIAN SEA MUSEUM AND OPEN ACCESS CENTRE OF THE MARINE CULTURAL HERITAGE

Render_1

THE AIM IS IMPLEMENTATION OF IDEA The aim is to create a modern object reflecting expectations of museum and public, which would be a signpost for seeking a deeper knowledge of the marine world, convenient and creative place to work, attractive public space to meet, interact and share. The project also aims to present an example of a particularly sensitive (both in physical and contemporary values sense) modern architecture interpreting historically developed elements.

Aurimas Syrusas, Lijana Petrikėnė, Aurelija Krasauskaitė, Vytautas Lukoševičius, Aušrinė Bredulytė— LITHUANIAN SEA MUSEUM AND OPEN ACCESS CENTRE OF THE MARINE CULTURAL HERITAGE

Diagram_1

ARCHITECTURE OF THE BUILDING Volume of the building was formed analyzing character and scale of the former Kopgalis village, and also in response to the requirement of the detailed plan to divide the building in accordance to the volumes. Irregularly spaced three volumes make an allusion to the homestead forming a courtyard; they acquire reminding traditional but not typical form of a pitched roof. Volumes are situated so that looking from the main sightseeing spots it would create impression that building remains – like buildings of the former village – one floor construction with a loft as the two-storey office building is made distant at the side of the forest while single-storey buildings are exposed in front. Most importantly, the building should be a part of the panorama, but not a dominant.

Aurimas Syrusas, Lijana Petrikėnė, Aurelija Krasauskaitė, Vytautas Lukoševičius, Aušrinė Bredulytė— LITHUANIAN SEA MUSEUM AND OPEN ACCESS CENTRE OF THE MARINE CULTURAL HERITAGE

Diagram_2

FUNCTIONAL SCHEME The building is divided into three separate functional areas: public, administrative and communal. The public part of the building comprises the library, reading room and a repository oriented towards the lagoon side (closer to visitors); communal part is designed at the forest [parking] side, and the administration pavilion combines these two functions. This ensures comfortable use of the building, flow distribution and exploitation convenience. Building volumes should surround the entrance area forming a patio. At the building premises a public space oriented towards the lagoon should be crated, and a thematic sculpture park in the northern part of the plot. In the future, the public space should be finalized together with artists filling it with art works completing the theme. Parking lot and entrance to the building are designed in accordance to the detailed plan solutions.

Aurimas Syrusas, Lijana Petrikėnė, Aurelija Krasauskaitė, Vytautas Lukoševičius, Aušrinė Bredulytė— LITHUANIAN SEA MUSEUM AND OPEN ACCESS CENTRE OF THE MARINE CULTURAL HERITAGE

Render_2

MATERIAL QUALITIES USED FOR FACADES Focusing on the building material qualities is needed in response to the sensitive natural environment, building typology and environmental requirement. Natural materials considering durability and resistance in local climate are used. Superstructure of the building is made of wooden structures. Wood is used for facades and roofs. The public part of the building, library-reading room, and facades are adjustable. Wooden blinds can be wide open thus connecting the inside to the outside, inviting passers-by to visit while in the direct sunlight the facades can be partly closed. Vertical splitting of the administrative building also offers protection from the direct sunlight. Roof of the ground floor is identified with the current area relief in accordance to roof exploitation principle).

Aurimas Syrusas, Lijana Petrikėnė, Aurelija Krasauskaitė, Vytautas Lukoševičius, Aušrinė Bredulytė— LITHUANIAN SEA MUSEUM AND OPEN ACCESS CENTRE OF THE MARINE CULTURAL HERITAGE

Scheme_1

BUILDING CONSTRUCTIONS The ground floor level of the building is close to the groundwater level and in order to make credible waterproofing barrier such a foundation construction as monolithic reinforced concrete foundation panel under the whole house with external bentonite waterproofing shall be installed. The ground construction is made of columns, and the inner and outer walls of monolithic reinforced concrete. External, underground, and ground constructions shall be made waterproof using bentonite waterproofing, and reliably adhering it to the foundation waterproofing. The ceiling construction shall be beamless monolithic reinforced concrete ceiling with altitude subdivisions to form terrain corresponding to the fire resistance requirements. Superstructure constructions shall be made of lightweight structure frame walls filled with thermal insulation, and with the wood trim; the roof shall be pitched, and made of lightweight structures with roller PVC roofing, with the exterior wood trim, and insulated with a thermal insulation layer. Water external gutters shall be hidden under a ventilated layer of decorated planks.

Aurimas Syrusas, Lijana Petrikėnė, Aurelija Krasauskaitė, Vytautas Lukoševičius, Aušrinė Bredulytė— LITHUANIAN SEA MUSEUM AND OPEN ACCESS CENTRE OF THE MARINE CULTURAL HERITAGE

Site_plan

ENGINEERING SYSTEMS For building exploitation solutions of sustainable energy use are proposed including renewable resources, solar energy, rain water and geothermal energy. Water collecting system for watering of the plot and WC is envisaged, and also solar energy collection may serve the plot and building facade lighting needs. For air conditioning energy of the boreholes shall be used, which means that they shall be conditioned in the natural way without the use of energy of the heat pumps. For heating of the building, the most rational would be the geothermal heat pump system, which may provide 100% of the building heat needs, and for ventilation the centralized recuperation system shall be installed.

Aurimas Syrusas, Lijana Petrikėnė, Aurelija Krasauskaitė, Vytautas Lukoševičius, Aušrinė Bredulytė— LITHUANIAN SEA MUSEUM AND OPEN ACCESS CENTRE OF THE MARINE CULTURAL HERITAGE

Plan_1

Aurimas Syrusas, Lijana Petrikėnė, Aurelija Krasauskaitė, Vytautas Lukoševičius, Aušrinė Bredulytė— LITHUANIAN SEA MUSEUM AND OPEN ACCESS CENTRE OF THE MARINE CULTURAL HERITAGE

Plan_1

Aurimas Syrusas, Lijana Petrikėnė, Aurelija Krasauskaitė, Vytautas Lukoševičius, Aušrinė Bredulytė— LITHUANIAN SEA MUSEUM AND OPEN ACCESS CENTRE OF THE MARINE CULTURAL HERITAGE

Plan_2

Aurimas Syrusas, Lijana Petrikėnė, Aurelija Krasauskaitė, Vytautas Lukoševičius, Aušrinė Bredulytė— LITHUANIAN SEA MUSEUM AND OPEN ACCESS CENTRE OF THE MARINE CULTURAL HERITAGE

Plan_3

Aurimas Syrusas, Lijana Petrikėnė, Aurelija Krasauskaitė, Vytautas Lukoševičius, Aušrinė Bredulytė— LITHUANIAN SEA MUSEUM AND OPEN ACCESS CENTRE OF THE MARINE CULTURAL HERITAGE

Render_3

Aurimas Syrusas, Lijana Petrikėnė, Aurelija Krasauskaitė, Vytautas Lukoševičius, Aušrinė Bredulytė— LITHUANIAN SEA MUSEUM AND OPEN ACCESS CENTRE OF THE MARINE CULTURAL HERITAGE

Section_Elevation_1

Aurimas Syrusas, Lijana Petrikėnė, Aurelija Krasauskaitė, Vytautas Lukoševičius, Aušrinė Bredulytė— LITHUANIAN SEA MUSEUM AND OPEN ACCESS CENTRE OF THE MARINE CULTURAL HERITAGE

Section_Elevation_2

Lottersberger House - Eduardo Navarro, Miguel Irigoyen, Federico Cairoli

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The project is located on a lot 20 by 40 meters, with excellent views to the rear lagoon of the Ubajay Yacht Club. In the last third of its depth, it has a level difference of three meters towards the floodplain. The adjoining buildings had two unfavorable situations for the project: to the west. a house that mistakenly invades almost a meter, exactly in the middle of the lot, and eastward a service area, somewhat degraded, housed almost to the party wall. We considered the existing trees, especially three pines at the start of the slope towards the pond, a jacaranda on one side and medium-sized tipa in front. The land is virtually unique in the region, as part of a typical bank of the coastal system of Paraná River in Santa Fe, but at a safe altitude, i.e. in a non floodplain according to known records. Also, while the place belongs to a private neighborhood, there were some dilemmas as to how to solve a frank contact with the natural landscape without loss of privacy. Somehow the idyllic world of “countries” inevitably also faces the tension between the open and closed, the transparent and the opaque, or privacy and exposure. The preponderance of the landscape constituted the basis from which to explore the dialectic relationship between nature and culture, understanding that each opportunity is an occasion to rethink and conceive architecture in this context, here and now… Rethinking should also include certain typological speculations that would consider all the variables, limitations, and conditions of the site. This way, the configuration of the volumes and their links procured to stay away from stereotypes and preconceived ideas, so fashionable lately, to recognize the place and solve its spatial organization exclusively from the existing trees, the party walls, the landscape and the topography. This results in a project with contrasts, like the two sides of a coin, that doesn’t hide, and even exacerbates, the tensions that still exist in these urban/suburban localities. The project is structured through two volumes on the ground floor and one on the upper floor. The first two are offset longitudinally, one to the street and the other to the lagoon. One houses services and a bedroom for the daughters, it establishes a visual barrier to the party wall and frees up the pine area. The other contains the social areas and approaches the rear boundary to introduce the landscape into the house. It also allows to elude the invasion of the other party wall and keeps the jacaranda. A small area between both generates the main access. Perpendicularly to these is the upper level, a box with opaque sides that concludes the resolution of privacy intended, closed to the sides. To the street, a wall extends and overhangs to delimit an access courtyard and to close, at least partially, the views to the interior of the house. The use of minimal openings on the entirety of the facade contributes to this. In contrast, even sacrificing the best sunlight, at the back the project opens entirely to the landscape, extending as much as possible through an expansion comprised by a deck that cantilevers over the slope. We used few materials – concrete, white finishes, wood, glass, and aluminum – and the exposed structure acquires relevance in the spatial and expressive configuration of the whole. In short, the project intends to denote its contemporary character without overlooking, in the first place, those permanent preoccupations of architecture: a place, a time, material, weather, and a specific way of inhabiting it.

Eduardo Navarro, Miguel Irigoyen, Federico Cairoli — Lottersberger House

Eduardo Navarro, Miguel Irigoyen, Federico Cairoli — Lottersberger House

Eduardo Navarro, Miguel Irigoyen, Federico Cairoli — Lottersberger House

Eduardo Navarro, Miguel Irigoyen, Federico Cairoli — Lottersberger House

Eduardo Navarro, Miguel Irigoyen, Federico Cairoli — Lottersberger House

Eduardo Navarro, Miguel Irigoyen, Federico Cairoli — Lottersberger House

Eduardo Navarro, Miguel Irigoyen, Federico Cairoli — Lottersberger House

Eduardo Navarro, Miguel Irigoyen, Federico Cairoli — Lottersberger House

Eduardo Navarro, Miguel Irigoyen, Federico Cairoli — Lottersberger House

Eduardo Navarro, Miguel Irigoyen, Federico Cairoli — Lottersberger House

Eduardo Navarro, Miguel Irigoyen, Federico Cairoli — Lottersberger House

Eduardo Navarro, Miguel Irigoyen, Federico Cairoli — Lottersberger House

Eduardo Navarro, Miguel Irigoyen, Federico Cairoli — Lottersberger House

Eduardo Navarro, Miguel Irigoyen, Federico Cairoli — Lottersberger House

Eduardo Navarro, Miguel Irigoyen, Federico Cairoli — Lottersberger House

Eduardo Navarro, Miguel Irigoyen, Federico Cairoli — Lottersberger House

Eduardo Navarro, Miguel Irigoyen, Federico Cairoli — Lottersberger House

Eduardo Navarro, Miguel Irigoyen, Federico Cairoli — Lottersberger House

The End of Sitting - RAAAF, Barbara Visser

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The End of Sitting is an installation at the crossroads of visual art, architecture, philosophy and empirical science. In our society almost the entirety of our surroundings have been designed for sitting, while evidence from medical research suggests that too much sitting has adverse health effects. RAAAF [Rietveld Architecture-Art Affordances] and visual artist Barbara Visser have developed a concept wherein the chair and desk are no longer unquestionable starting points. Instead, the installation’s various affordances solicit visitors to explore different standing positions in an experimental work landscape. The End of Sitting marks the beginning of an experimental trial phase, exploring the possibilities of radical change for the working environment. This project is a spatial follow-up of the recently released mute animation ‘Sitting Kills’ by RAAAF | Barbara Visser, developed for the Chief Government Architect of the Netherlands.

The End of Sitting is a collaboration with Looiersgracht 60 (Soraya Notoadikusumo and Nadine Snijders), a new space for art and science in Amsterdam.

RAAAF, Barbara Visser — The End of Sitting

Client installation: RAAAF i.c.w. Looiersgracht 60
Design installation: Ronald Rietveld, Erik Rietveld, Arna Mackic
RAAAF studio support: Clemens Karlhuber, Bastiaan Bervoets, Elke van Waalwijk van Doorn, David Habets, Mees van Rijckevorsel, Marius Gottlieb, Janno Martens
Production: Landstra & de Vries supported by Schaart Adventures
Made with support by: Mondriaan Fund, Stichting DOEN, The Amsterdam Fund for the Arts (AFK), Looiersgracht 60, The Netherlands Organisation for Scientific Research (NWO)
Status: completion 2014

Client vision Sitting Kills: Chief Government Architect of the Netherlands
Vison Sitting Kills + The End of Sitting: RAAAF | Barbara Visser Animation: Olivier Campagne, ArtefactoryLab

RAAAF, Barbara Visser — The End of Sitting

RAAAF, Barbara Visser — The End of Sitting

RAAAF, Barbara Visser — The End of Sitting

RAAAF, Barbara Visser — The End of Sitting

RAAAF, Barbara Visser — The End of Sitting

RAAAF, Barbara Visser — The End of Sitting

RAAAF, Barbara Visser — The End of Sitting

RAAAF, Barbara Visser — The End of Sitting

RAAAF, Barbara Visser — The End of Sitting

LOFT in Bratislava - gutgut

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In the spring of 2013 we started working on the refurbishment of an apartment within a functionalist building designed by the architect Clement Šilinger in 1928, located in the city centre of Bratislava. We were working with a simple brief, to transform a four-room apartment into a multi functional space for art, working and a good turntable with sound system.

gutgut — LOFT in Bratislava

This relatively loose brief allowed us to take a different approach to the refurbishment. We decided to work with the original plan of the apartment as one layer of our new design. We kept wooden doors and parts of floors from the original layout, combining them with a new simple arrangement that works according to the traditional split into day and night zones. The overlap of the two created a new rich loft-like interior plan.

gutgut — LOFT in Bratislava

The only new dividing element of the apartment is a “functional” wall working as a closet, utility room, laundry and kitchen at the same time. The wall, built as a simple timber frame, stretches across the whole apartment, dividing it into a day and night zone. Its surface is formed by alternating surfaces of white perforated steel sheets, and natural and white spray-painted plywood. The original white wooden doors are simply set into this new wall, defining the new bathroom.

gutgut — LOFT in Bratislava

One half of the apartment floor is finished with the original oak parquet. The other half is unified through red rubber flooring flowing smoothly from the foyer through the kitchen with a large round table into the shower room.

gutgut — LOFT in Bratislava

The apartment interior concept is about bringing together several small details. The combination of white perforated metal on a timber construction of the dividing wall creates a visual game of materiality and light penetration.

gutgut — LOFT in Bratislava

A cupboard is created by inserting a simple white metal sheet into the original double-door frame onto the balcony, accessible from outside, as well as from the entrance hall. A new coat hanger has been created from an old door. One of the striking new interior features is the dining table (designed in collaboration with sculptors Richard Seneši and Jakub Trajter) – a mahogany stump made of glued concentric veneer circles with a hole in the middle, resting on a metal construction. The living room is defined through a cross shaped sofa.

gutgut — LOFT in Bratislava

In the process of the apartment refurbishment, the space has become a studio occupied by several craftsmen and artists. While the mahogany veneer table was made using kilometres of veneer, old windows and doors were gradually repaired, the construction elements were cleaned, the ribbed concrete ceilings that have been covered for many years have been stripped, and concrete was cast to create a tv unit and a bookshelf.

gutgut — LOFT in Bratislava

gutgut — LOFT in Bratislava

gutgut — LOFT in Bratislava

gutgut — LOFT in Bratislava

gutgut — LOFT in Bratislava

gutgut — LOFT in Bratislava

gutgut — LOFT in Bratislava

gutgut — LOFT in Bratislava

gutgut — LOFT in Bratislava

gutgut — LOFT in Bratislava

gutgut — LOFT in Bratislava

gutgut — LOFT in Bratislava

gutgut — LOFT in Bratislava

gutgut — LOFT in Bratislava

gutgut — LOFT in Bratislava

gutgut — LOFT in Bratislava

Graffito design - Piero Speranza, Corinne Piera Speranza, sas&a - Studio di Architettura Speranza Associati

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il segno inciso su pietra, legno , ferro, rappresenta la forma di un’impronta.Il tratto scavato, la traccia lasciata a testimoniare l’idea.

Piero Speranza, Corinne Piera Speranza, sas&a - Studio di Architettura Speranza Associati — Graffito design

Piero Speranza, Corinne Piera Speranza, sas&a - Studio di Architettura Speranza Associati — Graffito design

Piero Speranza, Corinne Piera Speranza, sas&a - Studio di Architettura Speranza Associati — Graffito design

Piero Speranza, Corinne Piera Speranza, sas&a - Studio di Architettura Speranza Associati — Graffito design

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