The Hardt Musealization of the Archaeological Area of %E2%80%8B%E2%80%8BPrac%CC%A7a Nova do Castelo de S. Jorge Carrilho da Grac%CC%A7a Architects The Hardt 22 1080x675 Musealization of the Archaeological Area of Praça Nova do Castelo by João Luís Jorge Carrilho da Graça Architects Architecture Commercial Building Concrete Courtyard Minimal Modern restoration Travel  ruins London João Luís Jorge Carrilho da Graça Architects Fernando Guerra | FG + SG England   Image of Musealization of the Archaeological Area of %E2%80%8B%E2%80%8BPrac%CC%A7a Nova do Castelo de S. Jorge Carrilho da Grac%CC%A7a Architects The Hardt 22 1080x675

Musealization of the Archaeological Area of Praça Nova do Castelo by João Luís Jorge Carrilho da Graça Architects

Asher 3:41 pm 3:41 pm

Musealization of the Archaeological Area of Praça Nova do Castelo by João Luís Jorge Carrilho da Graça Architects located in London, England | The Hardt

 

The hill now occupied by the Castle of St. George is the first site of human occupation – dating from the Iron Age – that would transfigure in place the strategic elevation over the Tagus estuary and its interior territory that gave birth to the city of Lisbon. In the walled area, the Praça Nova do Castelo occupies an intramural promontory, delimited by defensive structures to the north and west, and by the Santa Cruz Church to the south, a promontory with a visual domain that extends over the walls to the East, from the city at your feet to the horizon of the estuary. An extensive archaeological excavation of this site, begun in 1986, exhibited traces of its successive occupation periods – settlement of the Iron Age, medieval Muslim dwellings and a 15th century palace – with the most relevant artifacts being removed and exhibited at the Castle Museum, the excavation being open to the intervention of protection and musealization.

 

This intervention addressed the themes of the protection, revelation, and reading of the palimpsest that any archaeological excavation represents, with a pragmatic intention to clarify the palindromic character that the exposed structures suggest in their spatial distribution. Thus, the first action was the clear delimitation of the archaeological site with a precise incision, comparable to the surgical incision in a living body. A corten steel membrane was inserted to contain the raised perimeter topography, allowing either access or a panoramic view of the site, evolving the materiality of this incision slowly and inexorably as a living tissue. The same precision of cut characterizes the elements inscribed in the site that allow the comfortable drift of the visitor – steps, skates, and benches, marmoreal and perennial – distinguishing them from the rough texture of exposed walls and foundations.

 

 

Descending to the excavated surface, to its simultaneous first spatial level and last level of occupation – the vestiges of a pavement of the Palace of the Bishops of Lisbon -, a console structure protects the mosaics, structure whose obverse is a black mirrored surface that returns to the visitor the vertical perspective on the pavement, this perspective that the elevated location of the pavement does not allow it to be direct. Moving forward on the site and in its timeline, the necessary cover for the protection of the eleventh-century Muslim domestic structures and the frescoes on which they subsist was taken as an opportunity to reproduce, through a conjectural interpretation, their spatial experience as a sequence of independent spaces organized around courtyards that introduced light and ventilation to dwellings otherwise enclosed outside. Declared abstract and scenographic, the white walls that enact the domestic spatiality of the two excavated dwellings float on the visible wall sections, anchoring themselves on the ground at the mere six points where these sections permit, while their translucent polycarbonate and slats of wood, filters the sunlight.

 

Underlying the entire archaeological site, the vestiges of the occupation of the Iron Age are exposed and protected by a compact volume that, in a spiraling movement, detaches itself from the bordering corten steel walls to embrace the well needed for its revelation. Massive and dramatic, this volume is punctually fenestrated by horizontal features that invite the curiosity of the observation of its interior, leading the visitor around the excavation pit to the point the view is unobstructed and both the physical and temporal distances of the exposed structures are made evident. The palimpsest of the site’s history is thus decoded and the possibility of its clarified temporal and spatial palindromic reading not only through the reading of the written information accompanying the visit, but above all, and significantly, through the experience built by the materialization of its protection and musealization.

 

© FG + SG – Fernando Guerra, Sergio Guerra

 

Architects: Carrilho da Graça Architects – João Luís Carrilho da Graça

Year: 2010
Built area: 3500 m²
Type of project: Cultural
Project Operation: Intervention
Status: Built
Materiality: Metal
Structure: Steel
Location: London, England, United Kingdom
Detached 4 floors: Detache

 


 

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Shelter For Roman Ruins by Peter Zumthor

Asher 3:42 pm 3:50 pm

 

 

 

Shelter For Roman Ruins by Peter Zumthor located in Chur, Switzerland | The Hardt

 

Shelter For Roman Ruins by Peter Zumthor located in Chur, Switzerland. Peter Zumthor is a Swiss architect I put right up there with Tadao Ando as my all time favorite. Mr. Zumthor is responsible for designing a piece of architecture so stunning, it made me rethink the entire concept of what a building actually is, from a very rudimentary basis. The building is the Kunsthaus Bregenz in Austria by Peter Zumthor. I’ll do a post here and a full post on the site this week. But I digress, one of the first big projects for the 2009 Pritzker Prize-winning architect Peter Zumthor was this protective pavilion built to cover the remains of two Roman buildings. Built in 1985-86 and located in the capital of the Swiss canton of Graubünden.       

 

 


 

Chur is no less than the oldest town in Switzerland: the first settlements found at the site date to 3.500BC. In 15BC the Roman Empire conquered the village and designated Chur (Curia Raetorum) to be the capital of their new funded Roman province of Curia – hence the name Chur.  In those days the location at the right shore of the Rhine River was a strategic crossroad where several of the major Alpine transit routes came together before continuing down river. The Romans inhabited the area that is nowadays called Welschdörfli, just off the historic town center of Chur. In modern days archaeological excavations uncovered a complete Roman quarter. The authorities decided to preserve the excavations and to open them for public exhibition. Local Swiss architect Peter Zumthor was chosen as responsible for the design.

 


 

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Tea Room by João Mendes Ribeiro

Asher 6:49 am 9:39 pm

Tea Room (2000-2002) erected in castle ruin complex, Montemor-o-Velho, João Mendes Ribeiro, located in Paço das Infantas, Portugal | The Hardt

 

Tea Room erected in castle ruin complex, Montemor-o-Velho, João Mendes Ribeiro, Paço das Infantas, Portugal. It is believed that the paço (palace) of Montemor-o-Velho was first built in the 12th century. It is now well established that the paço was the object of a dispute, at the beginning of the 13th century, between Dom Afonso III and his sisters, Infantas Dona Teresa, Dona S, ncha and Dona Mafalda. The current name of the place – Paço das Infantas – originates from this quarrel. Its ruins rise well above the southeast walls of the castle, overlooking the river Mondego’s valley. The proposal for the construction of a Tea House in the surrounding areas of the Paço das Infantas is the result of the analysis of the monument, attempting to clarify its historical significance by means of a contemporary use. By creating a novel pathway along the walls, the former entrance of the castle is evoked. The inner space of the ruins is occupied by a virtually weightless building, made innocuous by its geometry and the way it stands free from the surrounding ruins, which are perceived as its actual walls. The construction consists of a glass box confined by two horizontal planes – a metal roof and a wooden floor – joined together by a volume comprising the service areas. The pavement extends southeast in a platform that doubles as a terrace elevated above ground, thereby detaching the construction from its surroundings. Ultimately, this approach creates an autonomous construction, which is valued by a strong geometric and material language, simultaneously ascribing a new and coherent meaning to the ruins.

 

 


Photos by Edgar Martins, João Mendes Ribeiro

Tea House, Paço das Infantas, Montemor-o-Velho Castle, Portugal
Project year: 1997
Construction year: 1999-2000
Client: Instituto Português do Património Arquitectónico, Montemor-o-Velho City Hall
Location: Montemor-o-Velho Castle, Portugal
Author: João Mendes Ribeiro
Collaboration: Carlos Antunes, Cidália Silva, Desirée Pedro, José António Bandeirinha, Manuela Nogueira, Pedro Grandão

Total area – 90 m2 m2

Cost – 250 000€ €/m2

 


 

 

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E/C House by SAMI-Arquitectos

Asher 8:04 am 8:48 pm

E/C House by SAMI-Arquitectos located on the volcanic island of Pico in the Azores, Portugal | The Hardt

 

E/C House by SAMI-Arquitectos located on the volcanic island of Pico in the Azores, Portugal. Overlooking the Atlantic, the house spans two levels and occupies the ruin of a former house. But what is particularly interesting with this specific project, is the way the architects have treated the remains of the older house: rather than ‘renovating’ the site, or incorporating the old walls in a decorative way, instead they decided to create a spatial choreography between the old and the new, and place the new house inside the old one, reminiscent of how Matryoshka dolls are placed with one another. With the old stone walls left intact, the new concrete house seems to emerge mysteriously like a spectre of the old one, a gesture that can also be read as a metaphor of regeneration and regrowth, with the whole concept brings to mind how a young tree sprouts from the roots of an old tree that has fallen. As the E/C House’s openings are not always aligned with the old doors and windows, an interesting dialogue is created between the interior, the old stone walls and the view outside. Designed mainly as a dwelling with which to rest and contemplate, the house is minimally furnished, with each space treated as a ‘deck’ that opens generously to the outside and can accommodate multiple uses.

 

 


 

© Paulo Catrica

 

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Bacoc Hacienda (2009) by Reyes Ríos + Larraín Arquitectos

Asher 11:21 pm 9:42 am

Bacoc Hacienda (2009) by Reyes Ríos + Larraín Arquitectos situated in Seye, Mexico | The Hardt

 

Bacoc Hacienda (2009) by Reyes Ríos + Larraín Arquitectos situated in Seye, Mexico. The shell of hacienda Bacoc was built between 1880 and 1910 for the production of sisal fiber. The decline of this activity in Yucatan led to the abandonment of this hacienda. It was then converted into a modest rustic ranch dedicated to livestock and beekeeping. After losing its original use, the property deteriorated. In 2006, when it was bought by its present owners, the main house was ruined, preserving an old building of stone masonry and no roof. The architectural design concept arises from preserving and strengthening the historical preexistence without recycling it as a built space. We proposed a treatment of isolated object-space, surrounded by water gardens and the new building that contains it. It also functions as an open lobby that links to the new construction, articulating the reading of the project, as a hinge between the new and the old.

 

 
 

 


 

The proposal rescues and updates the use of traditional finish techniques. The facades were covered in stucco with a resin base from the endemic tree “Chukum” in a natural color. The concrete walls are cast on-site and use the red earth “Cancab” from the south of Yucatan as aggregate. Both have unique characteristics of identity with the site. The new volume – space dimensions, ceiling heights, the proportion of openings, orientation, and window layout – are a contemporary recreation of the architecture of old Yucatan henequen haciendas. The project is also a modern reinterpretation of the architectural typology that characterizes these estates.

 

 

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https://thehardt.com/design/12840-2/

 


 

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