This article is part of our series "Material in Focus", where we ask architects to share with us their creative process through the choice of materials that define important parts of the construction of their buildings.
Alagoas House used neutral colors and furnishings in order to let local craftsmanship stand out. Some of the strategies that guided the projects included using works by regional artists and decorating with repurposed everyday objects. We spoke with architect João Duayer of Tavares Duayer Arquitetura to learn more about the choice of materials and the determining role that they played in his concept for this project.
http://www.archdaily.com/873160/restoration-using-simple-regional-techniques-enhances-local-cultureEquipe ArchDaily Brasil
The object of this architectural restoration is the Church of the Sacred Heart of Jesus, in Vistabella, the work of Catalan architect Josep Maria Jujol (16 September 1879 – 1 May 1949). The original design dates from 1917 with the construction completed in 1923. The building is a magnificent and personal work of Catalan architecture.
The simplicity of the materials used—basically brick, mortar, and stone—contrasts with the spectacular formal richness of the structural solutions: columns, arches, and vaults that generate a complex, rich, and surreal interior space typical of the mysticism of Jujol.
Antoni Gaudí’s first ever house, Casa Vicens, is set to open to the public this autumn following a major restoration effort. Located in the Barcelona neighborhood of Gràcia, the house was originally built for broker Manuel Vicens from 1883 to 1885 – helping to define Gaudí’s signature style and helping to usher in the era of Art Nouveau architecture in Catalonia.
In the city of Belén, Chile, as a part of the second phase of a Training Program for the Restoration of Facades in Belén, two historically important structures were recently completely restored. The project was financed by the Regional Government of Arica and Parinacota and SUBDERE (Undersecretariat of Regional and Administrative Development), in partnership with the Altiplano Foundation.
In both houses, the foundations and, where necessary, the walls were reinforced, and the traditional Andean roof and existing carpentry was restored. Notably, the structural reinforcement of the adobe walls used a rope mesh system, which was first seen in Chile in 2014 as part of the restoration of a church in San Pedro de Atacama.
Mecanoo has unveiled its design to transform The Soestdijk Estate into Eden Soestdijk, “an experimental garden for a sustainable society and a paradise destination for all” in The Netherlands. In an effort to become an educational tool for environmental awareness, the project aims to make a significant contribution to meeting the UN’s Sustainable Development Goals.
“The world is facing pressure from increasingly larger and more complex problems when it comes to water, food, climate and energy,” said Anton Valk, chairman of the Eden Soestdijk foundation. “Eden Soestdijk wants to tackle these problems and contribute to a more sustainable society by stimulating and inspiring visitors to change their behaviour in a positive way.”
An architectural greenhouse behind the palace gardens will be the centerpiece of the project, and will house an interactive exhibition focusing on topics like circularity, ecological balance, and social aspects of sustainability.
Due to a fire in 1988, the Chiado district of Lisbon had many of its buildings damaged or partially destroyed by the flames, and an intense restoration and recovery project led by Álvaro Siza has been going on for over a decade.
Among the strategies employed by the Portuguese architect (and winner of the 1989 Pritzker Prize) is the reorganization of routes and walkways, creating elevated walkways to facilitate access to the area and the flow of locals and visitors. According to the Municipal Council of Lisbon, Siza has recently completed the connection between one of the courtyards of the Carmo Convent (Patio B) to the Largo do Carmo square and the Carmo Terraces with a pedestrian path.
In 2011, after the partial collapse of the Matrera Castle in Cádiz, Spain (dating back to the 9th century) the city decided to restore the remaining tower, with the aim of preventing its collapse and protecting the few elements that were still standing.
The challenge fell into the hands of Spanish architect Carlos Quevedo Rojas, whose design received the approval of the Regional Government of Andalucía, in compliance with the Historical Heritage law 13/2007, which prohibits mimetic reconstructions and requires the use of materials that are distinct from the originals.
In the words of the architect: “This intervention sought to achieve three basic objectives: to structurally consolidate the elements that were at risk; to differentiate the additions from the original structure (avoiding the mimetic reconstructions that our law prohibits) and to recover the volume, texture and tonality that the tower originally had. The essence of the project is not intended to be, therefore, an image of the future, but rather a reflection of its own past, its own origin.”
Why has a restoration based on the anastylosis technique – which exists around the world – caused so much controversy? It is it really a “heritage massacre” as the media has said? Do you think it could have been carried out in a better way?
Join the debate and leave your comments after the break.
Now, thanks to a restoration led by New York City firm Beyer Blinder Belle, the iconic building has been transformed into the Met Breuer—the bold new showcase for the Metropolitan Museum of Art's renewed embrace of modernist and contemporary art. It will open to the public on March 18, 2016, and as the crowds ready to descend, the curators and architects are no doubt anxious to see whether, by faithfully adhering to Breuer's original vision, the restored building will succeed in both delighting museum-goers and helping redefine the Met's public image.
Throughout Syria’s four-year war, many of the country’s ancient monuments and artifacts have been demolished by ISIS and Syrian bombs targeted at Islamic militants. In August, ISIS destroyed Palmyra, one of the most important cultural centers in the world.
Yet a group of Syrian refugee artists in Jordan, with the support of the United Nations and Internal Relief and Development, have been salvaging some memories of their country’s destroyed artifacts. Since November 2014, these artists have been constructing miniature models of Syria’s ancient architecture through a project called Syria History and Civilization, according to a reporty by Buzzfeed News.
The Prize conceived and promoted by the Department of Architecture at Ferrara University and Fassa Bortolo company gives visibility to contemporary restoration and recovery projects (in this fifth edition of the competition only for professionals) of interest with a total prize money of 13.000 euros.
Built between 1883 and 1889, Casa Vicens was the first house designed by Gaudí. The building’s current owner, a subsidiary of the financial group Mora Banc Grup, is currently working on its restoration and the museum planning. “The mission of Casa Vicens as a house museum is to present the first Gaudí house, presenting it as an essential work to understand his unique architectural language and the development of Art Nouveau in Barcelona,” explained the executive manager of the project, Mercedes Mora, in a recent interview with Iconic Houses.
The comprehensive overhaul is going beyond restoring the building's to its original beauty; a geothermal heating system and air conditioning will be integrated into the building and site for the first time, allowing the uninterrupted services year-round.
At long last, after over a decade of project mismanagement and controversial repairs that ignited concerns over historical integrity, restorations have been completed on E-1027, Eileen Gray’s 1929 masterpiece on France’s Côte d’Azur. The house, which heavily influenced the work of Le Corbusier and became an object of his jealous fixation, has a traumatic past that nearly resulted in its loss to history.
The controversial renovation of Eileen Gray's E1027 on the Côte d’Azur is complete. Once a "lost legend of 20th-century architecture," the quaint holiday home has been brought back to life and is now open to the public. Announcing the news, The Guardian author Rowan Moore has recounted the cliffside project's turbulent past, reciting its significance as Gray's first architectural project.
For almost a century, one of the largest buildings in the Southeastern United States has maintained a dominating street presence in Atlanta, Georgia. Now the Ponce City Market, the building was originally designed by Nimmons, Carr and Wright Architects and built in 1925 as a Sears, Roebuck & Co. distribution and retail center, operating until 1989. In 1991, the City of Atlanta purchased the building, renamed it City Hall East and housed several public works departments, storing countless items among its 2.1 million square feet of space. As the city’s utilization of the building dwindled, Jamestown Properties stepped in and acquired the building in 2010. Five years later, Ponce City Market is poised to become one of the greatest historic rehabilitation projects in the country.
Prisons are often seen as problematic for their local communities. After centuries of correctional facilities discouraging economic growth and occupying valuable real estate as a necessary component of towns and cities, many of these institutions have been relocated away from city centers and their abandoned vestiges are left as unpleasant reminders of their former use. In fact, the majority of prisons built in the United States since 1980 have been placed in non-metropolitan areas and once served as a substantial economic development strategy in depressed rural communities.  However, a new pressure is about to emerge on the US prison systems: beginning in 2010, America's prison population declined for the first time in decades, suggesting that in the near future repurposing these structures will become a particularly relevant endeavor for both community development and economic sustainability. These abandoned shells offer architects valuable opportunities to reimagine programmatic functions and transform an otherwise problematic location into an integral neighborhood space.
Why repurpose prisons rather than starting fresh? The answer to this question lies in the inherent architectural features of the prison typology, namely the fact that these structures are built to last. People also often forget that prison buildings are not limited to low-rise secure housing units - in fact, prisons feature an array of spaces that have great potential for reuse including buildings for light industrial activity, training or office buildings, low-security housing, and large outdoor spaces. These elements offer a wide variety of real estate for new programmatic uses, and cities around the world have begun to discover their potential. What could the US learn from these examples, at home and overseas?
Highlighting Page\Park’s “extensive track record in both restoring and reinvigoration major historic buildings” and previous work on the Mac, GSA director Prof Tom Inns said: “The team assembled by Page\Park Architects impressed us not only with their deep knowledge of the building, but of the wider work of Charles Rennie Mackintosh… Page\Park have ongoing relationships with key crafts specialists and artists in Scotland and wider afield, and presented exciting proposals for expanding the legacy of the restoration by working with a new generation of creative talent.”
UPDATE: Within 24-hours after the Battersea Arts Centre's March 13th fire, the building re-opened and reconstruction efforts began. A fundraising campaign has been launched, aiming to help the rebuild the center's Grand Hall and Lower Hall - both destroyed by the fire. Learn how you can donate, here.
A major fire has broken out at the Battersea Arts Centre. The tower of the Grade-II listed building, known as a leading independent theater and arts venue in South London, has reportedly collapsed. Thankfully no one has been injured.
Firefighters are working tirelessly to save the building. A cause is unknown, though it seems the blaze started in the building’s roof above its main hall in an area that is currently undergoing a 10-year-long, £13 million refurbishment led by Stirling Prize laureate Haworth Tompkins.