Arts & Culture

SALT GALATA

MIMARLAR VE HAN TÜMERTEKİN

Photos courtesy of Iwan Baan, Cemal Emden

SALT GALATA

MIMARLAR VE HAN TÜMERTEKİNarchmarathonMIMARLAR VE HAN TÜMERTEKİN
Çınarlı Çesme sokak, Günluk Cıkmazı No:1, 34345, Kuruçeşme- Beşiktaş, Istanbul, Turkey
www.mimarlar.com
Category:
Arts & Culture
Project selected:
SALT GALATA
Location:
Istanbul, Turkey
Year:
2011

SALT Galata was previously known as the Ottoman Bank. With the idea of a newer identity, main purpose of the restoration was to redefine this building for its future function.
One of the main goals of the design process with no doubts was to raise awareness to the additional building in which no visitors knew about. Measures were taken to strengthen the relation between main and the additional building.
The additional building was built totally out of the characteristic features of the main building for extra office space for Ottoman Bank before restoration works. With the change of purpose, additional building’s façade was kept intact while interior got build from the scratch.
Technical spaces of both buildings were built with additional space gained with foundation techniques below the additional building. An auditorium, shared foyer which expands over second basements of both of the buildings and an archive was built. With visitor service space, an independent service entrance and service elevators were built on second basement for additional support for upper floor functions such as restaurant and exhibition halls.
One of the main ideas of design was manipulation of daylight. During the times of Ottoman Bank daylight and glass ceiling was blocked. These blocking elements got replaced with decorative glass panels by Jan van Lierde, which can rotate on an aisle offering variety of lighting features.


DOSHMA CAFE GALLERY

LIBYA DESIGN CULTURAL CENTRE

Photos courtesy of Mark Keville & Sasi Harib

DOSHMA CAFE GALLERY

LIBYA DESIGN CULTURAL CENTREarchmarathonLIBYA DESIGN CULTURAL CENTRE
Abdel Rahman Al Kawakebi, 80997 Tripoli, Libya
www.libya-design.com
Category:
Arts & Culture
Project selected:
DOSHMA CAFE GALLERY
Location:
Tripoli, Libya
Year:
2013

Doshma, built as Tripoli first independent art/cafe gallery takes inspiration from the 2011 Libyan revolution and response to both cultural and social change.
Traditional, Doshma means to protect heavily, used mainly in protection against enemy line and to house important weapons. it’s usually a wall or a heavily reinforced vaulted structure. For the architecture intervention of Doshma, the form is a very light weight structure but with the same vaulted shape, instead of housing weapons, it gives a node point within the city to thoughts and ideas expressed in the form of art, sculpture and so on, expressing that this is what is important for social and cultural future.
Doshma uses materials and workmanship existing within the Libyan market brought together in a very simple and constructive way.
The glass facade is reflective during the day, this helps to reflect the reality of people’s lives and at night it is completely transformed where the viewer can see deep into the space, seeing the art work which expresses the freedom of human expression.
Doshma with concrete, steel, glass, a shipping container and local labour has given people something to think off. A space that is simple and within it contains different spatial experiences, different heights, different forms and an open and transparent facade looking out only to trees and sky. The space and form is a metaphor and reminder to the changes upon the country.


THE FIRE STATION ARTIST IN RESIDENCE

ARAB ENGINEERING BUREAU

Photos courtesy of AEB

THE FIRE STATION ARTIST IN RESIDENCE

ARAB ENGINEERING BUREAUarchmarathonARAB ENGINEERING BUREAU
ibn Seena street, Al Muntazah, Doha, Qatar
www.aeb-qatar.com
Category:
Arts & Culture
Project selected:
THE FIRE STATION ARTIST IN RESIDENCE
Location:
Doha, Qatar
Year:
2012

As part of an initiative to preserve important historic buildings in Qatar, the former Civil Defense Building has been renovated and converted into 24 artists’ studios and art gallery to accommodate the Qatar Museums Artists in Residence Program.
The building’s original and well known bronze honeycomb façade has been substantially retained and restored to its original condition. The building’s interiors, while maintaining the main structural elements, have had much of the internal walls removed and new studios created with twice the glass areas as before. The former fire engine garage houses a new art gallery of 700m2.
The existing building is extended with a new “u-shaped” annex containing facilities for artists and the public. Workshops, a foundry and a small cinema will operate alongside a restaurant, art supplies shop, bookshop and a café. The Plaza enveloped by old and new buildings will be used for a large-scale sculpture exhibitions. Renovated areas and the new Annex building materials are stripped back to the minimum layers, with the structural concrete elements being left unfinished.
The former fireman’s tower is to be clad in a stainless mesh and LED lighting modules which will be available for artists to program art works and moving graphics. The tower is visible from the area of the future Grand Park and can be seen from as far away as the Museum of Islamic Art Park.


VOLUBILIS

OUALALOU + CHOI

Photos courtesy of Elio Germani, Luc Boegly

VOLUBILIS

OUALALOU + CHOIarchmarathonOUALALOU + CHOI
2 rue de Palestro 75002 Paris, France
www.kilospace.com
Category:
Arts & Culture
Project selected:
VOLUBILIS
Location:
Volubilis, Morocco
Year:
2013

Set within the most visited archaeological site in the Kingdom of Morocco, this project seeks to enhance the historical and symbolic significance of this unique UNESCO World Heritage site. The site is an exceptionally well-preserved example of an ancient Roman colonial town and one of several antique sites in Morocco. Due to the lack of urban development in the immediate surroundings, the site today closely resembles what the Romans saw in their time. In order to highlight the dramatic visual impact of the antique ruins upon entry to the site, the volume of the museum is embedded into the hillside so that visitors do not initially perceive its presence.
The project is conceived as a narrow imprint on the perimeter of the ancient territory, eight meters wide by two hundred meters long. The building consists of a succession of wooden volumes along an extended retaining wall, simultaneously buried and suspended in relationship to the rolling landscape. The project behaves much like the ruins it houses, and the tectonics of its construction and the lifespan of its materials inherently propose a strategy for the building’s eventual disappearance.


ÍLHAVO MARITIME MUSEUM EXTENSION

ARX PORTUGAL

Photos courtesy of Fernando and Sérgio Guerra

ÍLHAVO MARITIME MUSEUM EXTENSION

ARX PORTUGALarchmarathonARX PORTUGAL
Largo de Santos, 4 - 1º
1200-808 Lisboa, Portugal
www.arx.pt
Category:
Arts & Culture
Project selected:
ÍLHAVO MARITIME MUSEUM EXTENSION
Location:
Ílhavo, Portugal
Year:
2012

The codfish aquarium connects two other buildings and a complex built ensemble, united around the subjects of the sea and fishing. In this unusual structure, the Maritime Museum is the place of memory, the Aquarium the space for marine life and CIEMAR, installed in the old renovated school, the research center for the activities of man linked to the sea.
In articulating these three units the building is both an autonomous urban equipment that relates to the context and defines a public space, but it is also a building-path, which develops in a spiral around the tank as it connects the Museum to the old school.
The building is shaped by the interstices of the urban domestic fabric and establishes a new public domain. But in doing so it breaks into two horizontally overlapping bodies searching for a scale of transition. In its proposed matter duality, the white concrete body emerges from the ground and sets the basis for defining a square. The floating black body of metal scales sets the height of the square, in a public urbanity redefined into three dimensions.
At the heart of the building we find the fish and the sea. The visitor’s path is a spiraling ramp, a journey that begins in suspension over the tank, to turn into a diving mode of gradual discovery, an experience of immersion in the cod habitat. The informal auditorium, with extensive visibility into the aquarium, marks a pause in the visit for contemplation and information about the life of this species.