The Hardt Located in Vermoim Portugal Igreja Velha Palace by Visioarq Aquitectos 1080x675 Located in Vermoim, Portugal, Igreja Velha Palace by Visioarq Aquitectos Architecture Art Classic Commercial Building Courtyard Decor Design Furniture Interior Design Landscape Modern museum patterns restoration stone  Visioarq Aquitectos portugal Fernando Guerra | FG+SG 2015   Image of Located in Vermoim Portugal Igreja Velha Palace by Visioarq Aquitectos 1080x675

Located in Vermoim, Portugal, Igreja Velha Palace by Visioarq Aquitectos

Asher 11:34 am 11:34 am

Located in Vermoim, Portugal, Igreja Velha Palace by Visioarq Aquitectos | The Hardt

 

Located in Vermoim, Portugal, Igreja Velha Palace by Visioarq Aquitectos. in 1881, in Vermoim – Vila Nova de Famalicão, the Igreja Velha Palace was for many decades the mansion of an important farm, baroque style with two castellated towers and an attached chapel, the neo-gothic style S. Francisco de Assis chapel.  With the introduction of many additions and volumetries that deprived the complex of its features, this project came across many challenges regarding the constructive and functional aspects.  The intervention asserted the valorization of the set through the volumetric and spatial recovering, the reparation of the degraded constructive elements and the asymmetries created throughout its history. The expansion, with a new volume built to host events, complementary to the use of the palace, was also a listed objective for this project. 

 

 

The preservation of this patrimony inserted in the local cultural landscape was possible due to demanding recovery criteria that integrated the new volume. Therefore, this arises embraced by the confining elements of the old structure, respecting the alignments, promoting and reinforcing the pedestrian axis that runs through the center of the palace and ending at a corbel protruding volume that welcomes the visitors of Igreja Velha Palace. The old/new counterpoint asserted itself through the mixture between local and more modern materials and original constructive processes, maintaining achromatic and volumetric harmony of the landscape. The COR-TEN steel that covers much of the building, the granite, the wood, and the concrete embody the concept inspired in the old local granaries. 

 

 

The granary is a traditional rural structure, normally made of stone and wood, with the function of drying the corn through the side cracks and at the same time protecting ir from being destroyed by rodents through the ground elevation. In mainland Portugal, they can be found particularly in the North region and are subject to ethnographic and tourist interest. The indoor/outdoor relationship is stated by large windows without compromising the energy efficiency of the building. It is in this context that the slatted wood was introduced – evoking the local granaries – as well as the asymmetric flap in two planes, which delimits the entrance of the event buildings in a transition between the interior and the exterior.  Finally, as to the landscaping, the existing vegetation variety was capitalized by the delimitation of paths and squares in granite, in a contemplative attitude towards the surrounding landscape.

 

© Fernando Guerra | FG+SG

 

 

Aesthetically and Geographically Related Projects:

The Hardt Fan Zeng Art Gallery Original Design Studio Hardt 1080x675 Located in Vermoim, Portugal, Igreja Velha Palace by Visioarq Aquitectos Architecture Art Classic Commercial Building Courtyard Decor Design Furniture Interior Design Landscape Modern museum patterns restoration stone  Visioarq Aquitectos portugal Fernando Guerra | FG+SG 2015   Image of Fan Zeng Art Gallery Original Design Studio Hardt 1080x675

Fan Zeng Art Gallery (2014) by Original Design Studio

Asher 3:24 pm 3:24 pm

Fan Zeng Art Gallery (2014) by Original Design Studio located in Nantong, Jiangsu, China | The Hardt

 

Fan Zeng Art Gallery (2014) by Original Design Studio located in Nantong, Jiangsu, China. The Fan Zeng Art Gallery is built for the exhibition, communication, research and collection of calligraphy, paintings and poetry, created by the teacher Fan Zeng and Family in the city of Nantong. The concept of the Fan Zeng Art Gallery started from the “patio”, an element of the traditional space. In order to create an atmosphere of “modern creations under the old rules”, the designers separate the playground from the physical circumstance and then combine the behavior of visiting together with that of thinking. Photos by © Yao li-Su Shengliang.

 


 

The “relationship patios” are a theme of the art gallery. It is reflected for the first time in the presentation of three different patios: “patio de bien” on the ground floor, “patio de agua” and “patio de piedra” going from north to south and “fenced patio” on the third floor. With these ratios, a three-dimensional frame of patios is established, where these courtyards play an important role. At first, the idea of “three-dimensional patio” aims to reduce the volume of the building. Therefore, a large and integral volume is transferred in three smaller volumes. Thus, the scale of the courtyards focuses on the scale of the human body, and then it can be more sensible and understandable. Designers move away from the grid system and make partial relationships a new beginning. The three apparently unrelated courtyards are assembled for their own reasons, and unexpectedly become dynamic spaces with diverse connections to each other.

 

 


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The “viewing patio” is another topic. The partial relationships are juxtaposed so that they can be presented in sequence, and therefore make it possible for people to visit and visualize. In the fragment of the scenes, relationships emerge one after the other. Although they are juxtaposed, there is still contact between them. They connect with each other in our mind, so that the whole can be visualized. The art gallery advocates the “diffuse border” in order to break the usual separation in the exhibition by a dispersed display mode. This helps to build a miraculous space with several possible paths. His narrative mode is never formed by the central exhibition, but is led by the route and experience. Change the original concept of obstruction and communication in an interesting way, It brings smoothly and smoothly an exploratory way for visitors, but it still refuses to be boring or shallow. This is the beauty of the so-called Eastern tortuosity.

 


 

“Patios of artistic conception” stand out, too. The Fan Zeng Art Gallery realizes the conception of “less is more”, the detailed control of existence, and the vision of abundance within a soft appearance. Instead of a strong general framework that carries the whole story with a clear norm, it produces a relatively flexible and spontaneous partial relationship of the three different courtyards. The theme of the “evolutionary relationship” means that the evolution of the relationship itself plays a more important role than the evolution of each unit. Thus, the design reconstructs the relationship of three patios, but it does not make any great change in either. Three courtyards in a simple prototype that are not far from the traditional way, but in reality, they express an extraordinary possibility of communication and intermediation among themselves. Today, we usually call the modern spirit under a traditional cover, the so-called modernity and tradition not only depend on formality but also require a thinking spirit.

 


 

The Fan Zeng Art Gallery is an ethereal camera that lets water and ink mix, making it possible to make light of the strong. It represents an attitude that pays tribute to the Chinese brush painting of having the universe within an inch, realizing all the complexity in each simple part, and showing the full charm with a pure spirit.

 

 

© Yao li-Su Shengliang

 


 

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The Hardt Zhou Chunya Art Academy Jiading District Shanghai3 Located in Vermoim, Portugal, Igreja Velha Palace by Visioarq Aquitectos Architecture Art Classic Commercial Building Courtyard Decor Design Furniture Interior Design Landscape Modern museum patterns restoration stone  Visioarq Aquitectos portugal Fernando Guerra | FG+SG 2015   Image of Zhou Chunya Art Academy Jiading District Shanghai3

Zhou Chunya Art Academy (2008) by TM Studio

Asher 11:01 am 11:01 am

Zhou Chunya Art Academy (2008) by TM Studio located in Jiading District, Shanghai | The Hardt

 

Zhou Chunya Art Academy (2008) by TM Studio located in Jiading District, Shanghai. The Background for the construction of Zhou Chunya Art Studio is the actively promoted process of New Rural Movement in the suburban of Jiading District, Shanghai. By introducing celebrated artists to set up bases in the villages, the remote and segregated country areas were expected to share the dynamics of development from the city, and a marriage between the emerging culture industry and scenic country landscape could be achieved. Three sides of the site are surrounded by rivers which were attached with the typical south-eastern country landscape. A concrete structure and appearance were chosen for this building in order to cope with this natural and wild environment, and hopefully, in this way, the quality and atmosphere of the artistic space would be illustrated.

 

The design was started with the working and living requirements from the artist himself, and also with a careful consideration of the features of the site. Generally, the studio was distinguished into two parts. The eastern part is two-stories high, mainly a private space for the artist to paint, study and sleep. Therefore, this linear volume is more solid and exclusive to the outside in order to keep privacy. On the western part the side, there was an existing rebuilt traditional wooden frame building at the very beginning. It was preserved and used as the main axis to organize the layout of the newly developed area. The courtyard system, presenting a classical meaning in space, provided stages for the frequent public activities of the artist.

 

 


 

The height difference between the two parts was used to make the roof of western part a beautiful terrace with an open view into the surrounding country landscape. The terrace was connected with the other working and living spaces by various paths, and it would expand the public space of the ground floor, provided multiple usages in form of different combination with the best part of the building. To accommodate the rainy season, the drainage system of the roof has been designed in an open way integrating the structure of the skylights. In order to adapt to the raining season, the drainage system of the roof was designed in an open way and to be integrated with the structure of the skylight window in details.

 


 

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The Hardt UNIVERSITY OF TELEVISION AND FILM BY PETER BO%CC%88HM ARCHITEKTEN1 1080x675 Located in Vermoim, Portugal, Igreja Velha Palace by Visioarq Aquitectos Architecture Art Classic Commercial Building Courtyard Decor Design Furniture Interior Design Landscape Modern museum patterns restoration stone  Visioarq Aquitectos portugal Fernando Guerra | FG+SG 2015   Image of UNIVERSITY OF TELEVISION AND FILM BY PETER BO%CC%88HM ARCHITEKTEN1 1080x675

The State Museum of Egyptian Art and The University of Film and Television (2011) by Peter Böhm Architekten

Asher 10:59 am 3:40 am

The State Museum of Egyptian Art and The University of Film and Television (2011) by Peter Böhm Architekten located in Gabelsbergerstraße, München, Germany | The Hardt

 

The State Museum of Egyptian Art and The University of Film and Television (2011) by Peter Böhm Architekten located in Gabelsbergerstraße, München, Germany. The extraordinary urban development with the large free square in front of the Old Pinakothek made it possible to close this square with a generous, quiet building in the south, which takes up approximately the proportion of the Old Pinakothek, vis-à-vis in the north, where the new building lies. In accordance with the lateral emphasis of the Old Pinakothek with its space-limiting risalits and avenue, is the entrance to the University of Film and Television located in the east of the new building and in the west the entrance to the State Museum of Egyptian Art, which is buried like an archaeological excavation underneath the green forecourt.

 

The public is invited to use the numerous facilities and events like the library, movie screenings, lectures and festivals by the Foyer of the University- a large opening in the stone pedestal of the building. The public space continues inside the building, where it is surrounded by cinemas, seminar rooms, the cafeteria and a library. In contrast to the extroverted foyer, the studios are located in the protected concrete base to ensure a concentrated and protected work. In the glass upper floors, smaller offices and office-like uses are accommodated.

 

“In the museum, my aim was to create a place for the precious exhibits, in which the atmosphere of ancient temple complexes, from which they are largely derived, is translated into a modern architectural language.” Peter Böhm
 

 

 

The large walls of the pedestal are executed in a light, slightly ocher-colored concrete, while the wall of the Egyptian Museum is kept in a darker, red granite-like shade – a coloring game which is found in the Old Pinakothek (with the addition of Döllgast). The double skin of the glass body of the upper floors is a chirping, flickering band with the light play of rotatable glass discs and sun protection lamellae in varying positions. The entrance to the Egyptian Museum, which is marked by a large wall slab, is reached via a separate forecourt, which is designed as a flat inclined ramp. The museum is based in the underground and its rooms are grouped around the atrium, which is cut into the lawn area and is also used for exhibition purposes.

 

© DIETER LEISTNER

 

 

The Hardt Mimesis Museum Castanheira Bastai Associated Architects Jun Sung Kim A%CC%81lvaro Siza Vieira 7 1080x731 Located in Vermoim, Portugal, Igreja Velha Palace by Visioarq Aquitectos Architecture Art Classic Commercial Building Courtyard Decor Design Furniture Interior Design Landscape Modern museum patterns restoration stone  Visioarq Aquitectos portugal Fernando Guerra | FG+SG 2015   Image of Mimesis Museum Castanheira Bastai Associated Architects Jun Sung Kim A%CC%81lvaro Siza Vieira 7 1080x731

Mimesis Museum (2009) by Castanheira & Bastai Associated Architects

Asher 10:45 am 11:20 am

Located in Paju Book City, Republic of Korea, Mimesis Museum (2009) by Castanheira & Bastai Associated Architects + Jun Sung Kim + Álvaro Siza Vieira | The Hardt

 

Located in Paju Book City, Republic of Korea, Mimesis Museum (2009) by Castanheira & Bastai Associated Architects + Jun Sung Kim + Álvaro Siza Vieira. There once was a Chinese emperor who liked cats a lot, and one day he called upon the most famous painter in the Empire and asked him to paint him a cat. The artist liked the idea and promised that he would work on it. A year passed and the Emperor remembered that the painter still had not given him the painting of the cat. He called him: What of the cat? It is nearly ready, answered the artist. Another year went by, and another and another. The scene kept repeating itself. After seven years, the Emperor’s patience came to an end and he sent for the painter. What of the cat? Seven years have gone by. You have promised and promised but I still haven’t seen one! The painter grabs a sheet of rice paper, an ink well, one of those brushes like you can only get in the East and… in an elegant and sublime gesture he draws a cat, which was not just a cat but only the most beautiful cat ever seen. The Emperor was ecstatic, overwhelmed with such beauty. He did not neglect (which is no longer the case nowadays) to ask the artist how much he would charge for such beautiful drawing. The painter asked for a sum which surprised the Emperor. So much money for a drawing that you did in two seconds, in front of me? said the Emperor. Yes Excellency, that is true, but I have been drawing cats for seven years now, replied the poor painter.

 


 

The project for the Museum Mimesis, in the new town of Paju Book City in South Korea, is a cat. The client didn’t have to wait for seven years for his drawing of a cat, but Álvaro Siza has been drawing cats for over seven years now. He has never seen a Korean cat because he has never been there. In one day I briefed him on the site, and brought along a small site model, showing the boundaries and the immediate context. In one single gesture, a cat was drawn. The Mimesis is a cat. A cat all curled up and also open, that stretches and yawns. It’s all there. All you need to do is look and look again. At first, the design team members could not understand how that sketch of a cat could be a building. I have in my days seen many sketches of cats, and am always overwhelmed by them, can’t get tired of them. I want to see more cats, more sketches of cats, for several seven years have gone by.

 

 


 

In architecture, after an initial sketch comes the torment. The initial design, models, drawings, corrections to these, doubts, new drawings, new models, a presentation to the client, who had already seen other projects but could not conceal his surprise at this one. Once approved, we progressed the project on through the usual steps, which in Korea are shorter and less bureaucratic. The brief has not been altered, but it is necessary to make some adjustments as part of the evolution process. To think of materials, techniques, infrastructure, representational conventions, so that everyone understands, in an attempt to make everything work out. In the basement, we will have the archives, the service area, maybe an extension to the exhibition area, as is becoming a habit in museums designed by Álvaro Siza. The ground floor is a space for arrival and distribution, areas for temporary exhibitions and a café/restaurant with all necessary back up. Administration areas, staff circulation, area for the administrative archive and staff toilets are located in the mezzanines. The top floor is for exhibition space.

 

 


 

Light, always light, so carefully studied. Both natural and artificial is seen as essential. Allowing to see without being seen. Models and more models were constructed, some of which you could enter into. Also 3D images. The form will be given by cast concrete, light grey, the color of a cat. Inside, the white of the walls and ceilings, of the marble, which we hope will be from Estremoz and also the honey color of Oak. Timber for the internal frames, and glass. As for the external windows, timber, painted steel and crystalline glass. The building progresses, so do we, as it is in Korea. It is a technically difficult job; we were concerned at the quality of the contractor and sub-contractors involved. Our friends and partners are enthusiastic and reassure us.

 

© Fernando Guerra | FG + SG

 


 

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The Hardt Site Museum of Paracas Culture Barclay Crousse 1121 1080x853 Located in Vermoim, Portugal, Igreja Velha Palace by Visioarq Aquitectos Architecture Art Classic Commercial Building Courtyard Decor Design Furniture Interior Design Landscape Modern museum patterns restoration stone  Visioarq Aquitectos portugal Fernando Guerra | FG+SG 2015   Image of Site Museum of Paracas Culture Barclay Crousse 1121 1080x853

Site Museum of Paracas Culture (2016) by Barclay & Crousse

Asher 7:13 am 11:55 am

Located in Ica, Peru, Site Museum of Paracas Culture (2016) by Barclay & Crousse | The Hardt

 

Located in Ica, Peru, Site Museum of Paracas Culture (2016) by Barclay & Crousse. An archaeological museum must find the delicate balance between heritage conservation exposed and release to the public. A site museum, as the Paracas, acquires the additional challenge of having to integrate into the landscape that was the cradle of this culture, which is now part of the most important biological and landscaping reserve of the Peruvian coastal desert. The project is implemented practically on the ruins of what was its predecessor, destroyed by an earthquake in 2006. It retakes its rectangular geometry and compactness. A crack or flaw breaks in this volume, separating the functions of disclosure of the museum as workshops, meeting rooms and services dedicated to the conservation of archaeological heritage. The access to the different spaces of the museum is done by this “crack”: open spaces that frame portions of the landscape and create the necessary privacy to live in the vast desert.

 

 


 

Inside the museum, is explored a seemingly contradictory hybridization between the labyrinthine spatiality and spiral path used by the ancient Peruvians and contemporary spatiality, smooth and transparent. Environmental requirements of the Paracas Desert and the museological collection requirements are solved with a “device environmental correction”, that defines the architectural and museum party. The device consists of a lamppost run, under which are the transition spaces between exhibition halls or circulation spaces, according to the needs and his position in the project. This device allows controlling natural light, artificial light, natural ventilation and cooling of the different environments. Its geometry reinterprets the series and the gap characteristic of the Paracas textiles, which were his most outstanding technological and artistic expressions. The building is constructed entirely with pozzolan cement, resistant to the salt desert. The exposed concrete and cement grinding that constitute its materiality, acquire a natural reddish color that blends with the neighboring hills. The patina left by builders in the polished concrete that surrounds the museum rooms give to the museum a ceramic look that resembles the pre-Columbian ceramics (huacos) that are exposed inside.

 

© Erieta Attali

 


 

 

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