alejandrocabrera: renovation

Showing posts with label renovation. Show all posts

Thursday, December 29, 2011

Inverted Warehouse Townhouse - New York

This is not exactly a cozy home but its brutalist strength fits an old Manhattan warehouse well.

The Inverted Warehouse Townhouse has received numerous U.S. awards. It is the creation of Dean-Wolf Architects of New York, where architect Charles Wolf and designer Eunjeong Seong were in charge of the project.

We like the visible stairs that create a sense of lift and movement upward. We like the large surfaces of brick, steel and glass. We like the visibility between floors and from space to space that solves the potential problem of dark boxy rooms inside a windowless warehouse.

It is an impressive conversion of a loft (of 10,500 square feet) within a vast warehouse that covers the entire lot, leaving no room for outside space, garden or patio.

The main achievements of Dean-Wolf's work are cutting the roof open to let the natural light in and then using glass panels to let it shine into the dark centre of the expansive structure.

By doing this, they also created "outdoor" space inside, making the residence feel like it has a courtyard. They also created a large garden deck off the main living room.

To open up the key areas of the residence to this natural light, the main entry, via an elevator, is now on the fifth floor where public spaces and the bedrooms, playrooms and study are located. In a more typical townhouse, this "parlor" floor would be accessed through the front steps of the building. - Tuija Seipell http://www.thecoolhunter.net/

Thursday, February 24, 2011

A Visionary's Dream

This 1930 textile factory in the banks of the Rhine River (19 miles from Cologne, Germany) was brought to life, after almost disappearing in ruins, by visionary entrepreneur Tilman Paas. After falling in love with the property, he led the rehabilitation of the 300,000 square-feet complex. While the project was taking place, Paas installed an iron foundry and a carpentry shop in the smokestack to be able to tackle the larger jobs. Only 3,200 sq. ft. of the building was assigned for his living quarters, and the rest was allotted to offices, meeting rooms and a private space he rents to a friend. The access to the main house is through a polished iron gate that leads to the multilevel living space.

The ample living space is infused by natural light that comes through towering 20 feet-high windows. Instead of dividing the space with walls, Paas designed an oak module that houses both bathrooms —one downstairs and one upstairs— and also serves as a bookcase. He also designed some of the furniture pieces in the house, like the very cool coffee table he made using metal beams, industrial wheels and glass. The dreamy openness of the space is also perfect to display his art collection, which includes pieces by Picasso, Warhol and Calder.

As for the decor, Paas integrated contemporary pieces with antiques and, of course, his own creations in a very clean and streamlined manner. I really fancy how the raw industrial elements coexist beautifully with the natural wood and the original mix of furnishings — creating a very interesting and sophisticated look. There is no doubt that Paas' vision and passion for this old structure make this home a very special place.

Sunday, November 28, 2010

loft-access-by-tamir-addadi-architecture

London studio Tamir Addadi Architecture have inserted a tiny staircase to access a tiny loft in a London house.

The painted steel staircase has been slotted into a 140 cm x 90 cm space on the landing.

The self-supporting stairway is separated from the walls by a narrow gap while a free-standing steel pole serves as a handrail.

See more staircases in our Dezeen archive.

Here’s some more information from the architects:

Tamir Addadi Architecture

Loft access, London
Completed 2010

The client asked us to replace the ladder to the loft with permanent stairs in order to improve the connection of the loft to the rest of the house, as he decided to start using it as a study. The main challenge was to design a staircase for the narrow space of 140 cm x 90 cm.

We found it important to come up with a design solution that would help integrate the two differently designed floors – the wood-clad loft with its clean modern lines, and the carpeted Victorian lower floor with its engraved banisters – without disturbing each of their distinctive characters.

We aimed to achieve this by designing three minimal and separate elements that function together as a staircase but remain abstract in shape, and can be seen almost as pieces of furniture that have been placed in the space – rather then a fixed feature of either the lower or upper floor.

One result of widening the opening to the loft was an increase in the amount of natural light coming in from the loft’s skylight into the originally quite dark landing of the lower floor.

The narrowness of the stairs and the fact that they are slightly removed from the wall contribute to this effect, as they let some light in all around them.

Improving the flow of light was also another way of strengthening the connection between the floors and making it more inviting to use the staircase and climb up into the loft.

Materials: 6mm welded and painted steel sheet, 50mm painted steel post, 20mm toughened glass.

Thursday, January 14, 2010

KETTNER's by studioilse

THE STUDIO
For private hire: seated - 40 or split into 20/20
photo © Paul Raeside

KETTNER's by studioilse // Reinventing a Legend
text by Tina Komninou for Yatzer

With the reopening of KETTNER’s one of London’s most precious & nostalgic hang out / lounge, old world prime spots,Ilse Crawford has shown us that a body of excellence is required along with design in order to perfect the acquired ambience. This body of work is clearly accomplished with the combination of two successful companies Studioilse & Ilse Crawford Ltd.

Ilse Crawford Ltd. is a consultancy company - design thinking – which is responsible for the brand, the strategic design and what the project will stand for. Finalize this level and then move on to Studioilse - the bring to reality part - the interior architecture and product design firm. When you have such a high level of perfection and understand that there is more to a space than design and go through all the phases you get the successful outcome that we callKETNNER’s.

exterior view
photo © Paul Raeside

This space located in what was the French Quarter of London’s Soho, housed in four Georgian houses running up to five floors and accommodating spaces such us, lounge nooks, pudding bar, champagne bar, brasserie & private living was founded in 1867 by Napoleon III former chef, August Kettner and has been the gem of many centuries and a secret passageway in the basement running to the Palace Theatre. It was the rendez vous point for majestic and bohemian celebrities such as Oscar Wilde, King Edward VII and mistress Lillie Langtry, Agatha Christie and Bing Crosby. Reminiscent of these figures suave, elegance, scandal, drama and aristocracy the successful revamp took place.

THE BRASSERIE
photo © Paul Raeside

The ambience has an elite French language which makes you feel that you are in a Pâtisserie at first glance. Then moving along the pathways and looking at the cornered sofas, feeling the velvet drapery and smelling the combination of strawberries and puddings you get the frazzle dazzle in your senses and know that you are part of something unique.

THE BRASSERIE
photo © Paul Raeside

Firstly upon arrival you notice the French retro aesthetic which is present through the mosaic monogram on the floor, typical of French brasseries. The brasserie is in a beautiful classical space with a warm wooden floor consisting of glorious details such as table lamps on the marble island tables and aristocratic candlesticks with the comfortable padded velvet sofas. The identity of this interior is strongly apparent and we can easily visualize a typical French bohemian Lady with a beret on her head seating on the couch sipping champagne and smoking a cigarette with her cigarette holder. The achievment of this strong identity is that we want to be apart of this picture and this lifestyle.

The Kettner’s mosaic monogram on the entrance's floor //
photo © Paul Raeside

THE PUDDING BAR //
photo © Paul Raeside

A day at KETTNER’s would be glorious. It would commence with Breakfast at the brasserie followed by deserts at the Pudding Bar. A bar that looks like it has just come out of Alice in Wonderland. The detail of the subtle different sweet colored leather upholstery on the chairs together with the uniforms jolie of all staff is an example of the perfect merging of all concepts when we say the word branding.

CHAMPAGNE BAR
photo © Paul Raeside

Not wanting to forget the delightful sweet taste of the Pudding Bar we would then proceed to the champagne bar to select from a wide range of brands assorted by strawberries. All this in a more sexy masculine space containing a wooden bar with a gold mirrored surface top and a mosaic floor to counter balance the seriousness of it all. This interior is decorated with free standing viewing cabinets and mirrors on the walls giving the essence of a bar in a residence. A design that makes you relax and enjoy the company and alcohol.

CHAMPAGNE BAR
photo © Paul Raeside

THE BOUDOIR
"A place to powder your cheeks"
photo © Paul Raeside

Following the happy buzz from the champagne and the care freeness of being yourself we would then move to a bookable nook for a private conversation of gossip and scandal always followed by laughter and alcohol. These nooks invite scandal just by their heavy curtain shaped drapery and the warm and comfortable velvet padded upholstery. It is almost a reason on its own for going to KETTNER’s. This experience makes you liberate your hidden character as you are in a space within a space solely you and the rest of the world a fabric away.

SALLE DE FETE
For private hire: seated 50
photo © Paul Raeside

After the personal nook we would proceed to one of the private hire rooms for a private dinner amongst friends. Whether it is the Attic Den or the Cabinet Particular or the Salle de Fette or the studio all these spaces are all designed to have the ambience of a residential feeling. Through the warm wall painted colors, the furniture and the lighting you perceive the space as welcoming and relaxed. The structural elements have remained neutral and the atmospheric feel is brought forward. All rooms are boutique/ unique, each different from one another but all have the same language. Some of these private hire spaces have also been designed to act as conference spaces, giving you the feeling of having a meeting at home and then going downstairs for lunch.

ATTIC DEN
For private hire: seated 12
and ATTIC BAR (right)
photo © Paul Raeside

CABINET PARTICULIER
For private hire: seated - 16
photo © Paul Raeside

Following dinner we would move along to the Attic Bar for drinking and dancing and the night will end in the apartment.

THE APARTMENT
private hire: seated - 60 // standing - 100
photo © Paul Raeside

THE APARTMENT is a private hire space and our favorite part of it. It is a residential heaven re-introducing the original concept of the wooden wall paneling, which was a prime importance of Kettner’s along with the decorative geometric ceiling. Once more an open space with private corners to lounge, play chess, discuss and have cocktails. All individual furniture of each corner is different to each other creating this custom residential feel. Nothing is large and grand. Even the bar itself is just of exposed bottles and glasses on a mirrored back. The light pendants throughout are extremely discreet and simplistic letting you admire the ceiling.

THE APARTMENT
private hire: seated - 60 // standing - 100
photo © Paul Raeside

“What’s Kettners, anyway?” queried Mrs Tota: and I told her of the snug little restaurant buried away in Church st, which was first discovered by two well-known journalists, a restaurant of such individuality that when is was necessary to rebuild is a few years ago it was rebuilt as nearly as possible on the old lines, with its three or four pubic dining rooms below, and its network of passages and warren of little rooms above.

Diners and Dinners, by Lieutenant-Colonel Newnham-Davis, 1899

THE APARTMENT
private hire: seated - 60 // standing - 100
photo © Paul Raeside

All in all it was a fantastically glamorous and glorious day at KETTNER's.

Classic French onion soup (left)
Kettner’s champagne jelly and lemon tart (right)
photo © Paul Raeside

Tuesday, November 17, 2009

Water Pumping Plant Renovation / Wenk und Wiese

Architects: Wenk and Wiese Architects
Location: Berlin, Germany
Client: Michael Elmgreen & Ingar Dragset
Project year: 2008
Photographs: Udo Meinel & Nils Wenk

History

The building was erected 1925/26 as an extension to the first pumping station in Berlin´s Neukoelln district (then called Rixdorf) dating from 1893. In 1993 new facilities were built on the adjoining premises and the old pumping station was decommissioned. Subsequently most of the machinery that had already been replaced in the 1950s was dismantled, only an old air vessel was retained as a relic from times of steam-powered technology. In 1989 the former pumping station was placed under preservation order.

In more then 13 years following the closedown it was not possible to find a use for the building, mainly because of it´s location, the exceptional size of the hall and the lack of a second escape route for the upper storeys. There had been a surevy commissioned by the preservation authorities in 2002 that included major concessions such as new staircases within the hall and big dormers on the roof, but still no one could be found to buy it. It was only in early 2006, when berlin based artists Michael Elmgreen and Ingar Dragset caught sight of the house through an online real estate service and spontaneously decided to make it their new headquarters.

Existing structure

The structure generally consists of three sections: The main hall, measuring over 13m in height, that had originally provided space for the vast pumping equipment, with sliding cranes above the machinery for maintenance. Four smaller storeys in the northern part of the building, that had contained a workshop, secondary rooms and the staircase, and the attic which had not been used before the conversion and which only provided basic lighting by a few small dormers. The roof rests upon an impressive Polonceau-structure from which the main hall´s ceiling is also suspended allowing for a column free span over the hall.

Conversion

The former machine shop in the hall serves as atelier space and gallery now. Together with the historic dark tiles the new asphalt flooring establishes a clearly defined horizontal space for the artists´ mainly three dimensional work, contrasting the vertical windows opening the hall towards the mature chestnut trees surrounding the building. To adapt the house to the artist´s needs the cranes were amplified to wide platforms on which their employee´s desks are now located, providing good lighting conditions and a nice view of the artwork in the hall at any time. The platforms could be retained mobile and can be moved above the hall, allowing to adjust the room´s appearance and lighting according to different occasions. The railings of the new catwalks can be opened as to allow access to the platforms at any position.

The thickness of the hall´s backwall was enough to shape an opening that connects the workspace on the former cranes to the conference room on the third storey as a stairway within the wall. The small secondary rooms on the upper storeys were merged by removing a loadbearing wall. By this it was possible to provide large rooms alongside the north façade. The new concrete beams are blended into the existing structure without emphasising the intervention. Some big ventilation ducts of the new pumping station that run through the storeys are hidden behind the bathrooms, by which – together with the staircase - the rooms get a symmetrical shape analogue to the other spaces in the house. The rooms above and underneath the conference room are Michael Elmgreen´s and Ingar Dragset´s private spaces.

section 04

The attic was made usable by reinforcing the floor above the hall with a tier of wooden beams. The steel construction could be retained by applying a fire-protection coating. Horizontal tensile members of the trusses were removed and replaced by new ones that are now hidden within the tier of beams. By this the room was opened up to the apex with the steel construction now forming a long and tall room that runs from the northern to the southern hip of the roof. On the south side a big skylight of 2,80 by 6,00m was implemented that can be slid open vertically, converting the lounge into an internal roof terrace.

The number of materials used for the conversion is very low. All floors up to the fourth storey were covered by asphalt linking the surface to the industrial history of the building. In the hall it was kept rather rough and coated transparently. On the upper storeys it was sanded with very fine siliceous sand and the coating is pigmented black to adjust the surface to the smaller size of the rooms and have it finer and smoother for the more private use here. In the attic there is a black oak flooring according to the more homely atmosphere of the living spaces. All walls and ceilings are painted white except the staircase, where the walls got a deep black coating. The white surfaces support the open structure of the slender windows and create a bright and open ambiance whilst the black floorings embed a massive base into the rooms that clearly sets the boundaries of the inside. The staircase was converted into a vertical gallery, highlighting the artists´ personal collection of artwork by contrasting it with a black background.

Methodology

The methodology for the conversion approaches the existing building in an analogical manner, the intention was to perpetuate the building´s original design according to the new use and contemporary perception. Hence the interventions had to be implemented cautiously, yet confidently. Rather than contrasting the existing architecture with a trendy concept, the design seeks the fine line between the familiar and the unfamiliar. Many new elements in the house don´t appear to be new at first sight – without pretending to be historical. The building´s identity was retained and underlined. Yet by only few singular means the industrial interactiveness is broken up and the longitudinal axis is accorded an emphasis, that creates a solemn atmosphere regarding the new use as an art space.