Text description provided by the architects. The Sarv House dates back to the year 1970 before the reconstruction project began. The new owner of the house wanted us to give our opinion on whether he should keep the house or tear it down and replace it with an apartment.
While inspecting the house, we realized its capabilities and authenticity. The originality allows us to adapt it to the contemporary needs of modern man by reorganizing it. The geometric pattern of nine squares, which was popular in the Koushk of rural houses, became popular in the early 1920s in the development of Yazd city as the pattern of urban houses in the vicinity of its historical context with the pattern of the courtyard in line with new street development and expansion during its time.
The initial design of the Sarv House in the 1970s is an evolution of this pattern. Knowing the potential of this geometric pattern, we created a new organization for the Sarv house. In addition to meeting the client’s functional needs, this new organization creates a double quality between the interior and exterior spaces. In general, the reconstruction process consists of 3 parts: 1-Preservation and restoration 2-Volume Reduction 3-Addition to the volume of the building
In the preservation and restoration process, the main structure of the building was preserved and strengthened. The bricks in the project were cleaned and restored. It can be said that the most important aspect of the project in the direction of reorganizing and restoring the house according to the client’s needs is volume reduction. In such a way that by reducing and removing some of the walls, including the south facade walls, and some of the middle walls, and reducing the volume of the existing staircase, the building was restructured from a closed plan to a semi-open plan on the ground floor. This made it possible for the house to benefit from the view of the yard on the second and third layers and to maximize the communication between floors.
The volume reductions can be called the removal of the parapet roof and the reduction of the middle roof’s thickness. In the reconstruction process, it was tried to reuse the bricks from the destruction. To expand the development of the project, a part of the roof was added to the house. This section, which includes a closed and semi-open space, activates the roof because in the past the roof space was used for sleeping and summer night gatherings.
In order to prevent sunlight from this hot and dry climate, a two-shell facade project was implemented with the creation of movable wicker louvers. This movable shell with the possibility of seeing outside allows us to control the sunlight and also causes the play between light and shadow inside the project.
Landscape architecture firm SCAPE together with Bjarke Ingels Group have announced plans to transform Connecticut’s Manresa Island into a public-oriented development as a hub for learning, exploration, and community engagement. Originally slanted for private waterfront housing, the new scheme aims to open up the area as a public park with ample waterfront access, a project led by SCAPE. Additionally, the decommissioned coal-fired power plant is set to be converted by BIG into a community hub for multiple activities including swimming, small and large-scale events, research, and educational rooms. Supported by a private philanthropic investment from Austin McChord, the project is set to open in 2030 through a phased development.
led by landscape architecture firm SCAPE, the park transformation aims to activate the abandoned power plant site by integrating healthy public spaces, ecological restoration, and a wide range of activities. It includes a network of walking paths allowing visitors to explore natural habitats along the water’s edge. The plan also integrates remediation strategies to revive the island’s coastal ecosystems and preserve its post-industrial landscapes, incorporating living shorelines, added tree canopies to combat heat, and elevated areas to mitigate flooding. Through these interventions, the project aims to transform the space into an attractive destination for recreational and educational activities, while also restoring the local ecosystems.
The reimagining of the former power plant on Manresa Island is led by the Bjarke Ingels Group, with the purpose of converting the coal-fired and oil-powered facility into a dynamic community hub. This adaptive reuse project seeks to turn the dated fossil fuel infrastructure into modern social infrastructure. The repurposed plant, located at the heart of the 125-acre island, will host varied activities such as swimming, events, dining, and educational pursuits focusing on aquatic themes. Key historical elements such as the chimney and turbine halls will be preserved to maintain the history of the location.
Manresa Island, located on Long Island Sound in Southeast Connecticut, boasts a rich history dating back to the 1700s when it was known as Boutons. It later hosted the Jesuit-run Manresa Institute until 1911. Its identity shifted in 1953 when a coal-fired power plant was established. Despite past environmental concerns, the island is experiencing an ecological resurgence with increased biodiversity. The regeneration project involved local communities, collaborating with organizations such as The Maritime Aquarium to adapt the programming to the needs of the residents.
Manresa Island is set to become a much-needed foothold for the public along the otherwise rather privatized Connecticut coastline. With our vision for the powerplant, we seek to rediscover and reanimate the majestic spaces hidden within the bones of the decommissioned piece of infrastructure. Boilers, silos, and turbine halls are postindustrial cathedrals awaiting exploration and reinterpretation. “As an extension of SCAPE’s resettlement of the island for the enjoyment of human life among many other forms of life, we seek to extend that resettlement into the cavernous spaces within. – Bjarke Ingels, Founder & Creative Director of BIG.
Aerial image of Manresa Island – current situation. Image Courtesy of SCAPE and Bjarke Ingels Group
The industrial heritage of a city represents a valuable resource for urban redevelopment, offering not only additional spaces within the economy of the city, but also contributing with unique architectural features ready to be rediscovered. In similar news, RSHP has proposed the redevelopment of a 150-year-old industrial Victorian gasholders site into a mixed-use residential center in the London Borough of Newham.
Text description provided by the architects. The Gerland swimming pool, built in 1932 by architect Tony Garnier, a Grand Prix de Rome winner in 1899, and listed by the French Monuments Historiques authority, just received a spectacular extensive renovation. Situated within the Matmut Stadium de Gerland complex in Lyon, the Gerland Aquatic and Sports Center reimagines the “Athletes’ Quarter”, initiated but left incomplete by Tony Garnier. This project now provides a sports complex open to the public, school students, and the professional rugby team, Lyon Olympique Universitaire (LOU Rugby). The project includes a training performance center, offices for LOU Rugby, and an aquatic wellness and fitness center, all redesigned to meet current expectations.
The site as a whole relies on the fundamentals envisioned in 1913, primarily the staging of the monumental entrance to the Gerland Stadium, known as the “Allée des Lions”. The project focuses on enhancing this entrance along with the existing pool, bleachers, and diving platform. To create this enhancement project, three main volumes are connected by intermediate blocks, resulting in graduated heights. The tallest volume acts as a backdrop to the pool and the historical diving platform, which is now transformed into a sculptural object. The two lower volumes frame the restored bleachers.
The new buildings, surrounding the exterior aquatic space delimited by the bleachers, create the ideal setting for the existing pool. Their design takes advantage of the 7.50 m grid applied by Tony Garnier to all the projects on the site. This grid is doubled and shifted to avoid the crushed concrete foundations of the former “Athletes’ quarter”, preserved as vestiges of the 20th century. The project aims to restore a presentation that matches the pool’s heritage value. The redevelopment plan includes restoring the bleachers, foundations, and existing diving platforms.
The use of concrete references Tony Garnier, a pioneer in its application. The project’s architecture adheres to the principles of concrete porticoes, outlining a regular grid on the two primary facades. These porticoes serve as support for the elongated girders, allowing flexibility and adaptability for various purposes such as offices, sports areas, and a pool. They provide visible uniformity in the foreground, while in the background, the portico depth varies between 40 cm and 1 m, accommodating diverse uses: a curtainwall facade adaptable to uses and orientations, sunshades on the southern side, and loggias on the north create visual separation between offices and bathers. South of the outdoor pool lies a building that serves as the headquarters office for LOU Rugby. Its bold architecture harmoniously aligns with the site’s history as well as from an urban and architectural brief standpoint. Monumental exposed concrete porticoes define the entrance to the stadium on Allée des Lions, which refers to the neoclassical style of the original project by Tony Garnier.
The West building, located on level 0, houses a learning swimming area. This includes a 25-meter pool with four lanes and dressing rooms. The hall opens onto the outdoor pool, surrounding beaches, and bleachers. The 45-meter, six-lane Nordic pool is constructed within the one designed by Tony Garnier, whose physical trace is still noticeable. It comprises a swimming area and an aquatic well-being zone. The original depth of 5.40 m has been reduced to 1.80 m to prevent excessive water, energy, and chlorinated product consumption. The 10-meter diving platform, no longer in use, has been decommissioned and repurposed into a sculpture. Level 1 features a wellness and fitness area that is open to the public. A partial technical basement level encompasses the pool. The East building is dedicated to professional sports. On level 0 are training areas, a running track, a synthetic indoor field, and physical therapy rooms; on level 1: are lounge areas, video viewing rooms, and offices. Its architecture is identical to that of the West building.
The Gerland Aquatic and Sports Center metamorphosis presents a unified architectural composition that seamlessly fits into its context, while also housing multiple nested programs. The project is a tribute to the building: its portico architecture, exposed concrete, roof terraces, and the sobriety of the ornamentation of the facades contribute to the formal architectural, constructive, and usage coherence with all the existing buildings already constructed on the site by Tony Garnier.
CRA-Carlo Ratti Associati, in partnership with real estate group IPI, has revealed plans to transform the iconic modernist Palazzo Micca in Turin, Italy. Originally the headquarters of RAI, Italy’s national broadcaster, the 19-story building will undergo a comprehensive adaptive reuse project. A significant feature of the redesign is the creation of an elevated public plaza at 26.5 meters, offering views of Turin’s Baroque rooftops, the surrounding hills, and the Alps. The project also integrates sustainable design principles by converting parts of the office spaces into residential units and reusing existing materials.
via Shutterstock | Alvaro German Vilela
Palazzo Micca, constructed between 1962 and 1968, was designed by renowned architects Aldo Morbelli and Domenico Morelli. It holds historical significance as Italy’s first steel-structured skyscraper, a hallmark of the International Style. CRA’s proposal aims to rejuvenate this vacant structure located near Porta Susa railway station, preserving its iconic prefabricated steel façade while modernizing it, and ensuring the building meets today’s safety standards with the removal of asbestos.
The project will introduce a new, permeable ground floor, integrating a contemporary arcade reminiscent of Turin’s famous gallerias. Extending upward, the elevated plaza will host public spaces, a viewing deck, and dining options, transforming the site into a vibrant public destination with unobstructed views of the UNESCO-listed Piedmont hills and the Alps.
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Carlo Ratti Associati Transforms Refinery Plant into Clean Battery Park in Italy
This project tackles two primary challenges in cities today. First, it revitalizes an existing structure through an adaptable, sustainable model to minimize emissions and land use. Second, it repurposes dormant office spaces into new, vibrant spaces for local communities. This adaptive reuse plan aims to showcase how we can reinvent much of mid-century office architecture by incorporating new functionalities and innovative approaches. — Carlo Ratti, founder of CRA and Curator of the next International Architecture Exhibition of La Biennale di Venezia (opening in May 2025).
Courtesy of Carlo Ratti Associati
Pending approval from the municipality of Turin, this project is one of several urban revitalization efforts led by CRA, including the redesign of the Agnelli Foundation headquarters in Turin, the MEET digital arts center in Milan, and the restoration of Oscar Niemeyer’s Palazzo Mondadori in Milan. In other similar news, The Transamerica Pyramid Center has just announced the completion of the long-awaited Foster + Partners led renovation in San Francisco, United States. Additionally, WilkinsonEyre has unveiled their proposal to revitalize the 1950s constructivist Belgrade Fair Hall 1, a landmark location overlooking the river Sava. Finally, following an international competition, Caruso St John Architects has been appointed to renovate the iconic Kunsthalle Bielefeld in Northwest Germany.
Text description provided by the architects. The small rum bar Campana del Rey is located in the heart of Munich’s old town on the second basement floor of a small residential building. The vaulted cellar probably dates back to the 16th century. The upper floors have undergone several phases of conversion.
As part of a restructuring of the building, the house was rebuilt from the second floor upwards and extended downwards to a third basement level. The vaulted cellar, which was only around 1.70 m high, was extended and excavated by hand and the brick supports and walls were gradually underpinned. During this process, the benches, bar and high table were also concreted directly onto the underpinnings. The benches and bar thus simultaneously form the foundations and furniture of the building. Guests and the building thus sit on the new foundations, which carry and support the building. This also creates a clear separation between the downward extension and the historic building fabric. The existing brick structures themselves were not interfered with. Various layers of plaster were removed and their original appearance was exposed. Only the areas at risk of splashing water were clad and protected with a red natural stone. The visible broken edges of the stone block meant that there were no offcuts and the entire stone block could be processed without loss.
The necessary building services were installed under the concrete ceiling in the bar area – heating and ventilation are located on the floor. The vault itself was kept free of installations except for lighting and sound. Two- and three-seater bar stools made of solid aluminum were manufactured as counterparts to the metal piping systems. The chairs and concrete surfaces are upholstered in black leather. A leather curtain also forms the front end of the bar. Half of this was made from leftovers and offcuts from upholstery production and conceals passageways and a shelf. Only bench-like seating was deliberately provided in the entire bar area. When arranging their height and distance from each other, great care was taken to create different seating positions and thus different communicative seating areas.
In some cases, the spacing and arrangement were chosen so that people could withdraw into an intimate space. Others, on the other hand, were arranged to make it easy to strike up a conversation with the other person. The spaces in between are used for placing drinks and as a distance between the individual situational zones. The bar itself was also planned as a large, solid and central element without barriers. A large, flat table is intended to promote immediacy and communication as well as interaction with one another.
Old SJ-series Jeep models are some of the most iconic American things there are. At Vigilante 4×4 in Texas, however, adding rubber-burning muscle and a whole lot of engineering makes them even more.
My day started in a motel lobby in Austin, Texas. I was looking for coffee. There was no coffee service in the room, which I should have researched before booking. That oversight on my part meant I was in reception hoping to score a java fix. They had a pot, but it was fresh out. By the time the front counter lady had made another and set it up for me, I was hearing the glorious sound of Mopar cylinders and beautifully-tuned stainless steel pipes. With no to-go lid for the coffee, I had to choose between drinking the bean juice or getting into a blue beauty of an early model Jeep Cherokee.
I chose the latter, dumping my coffee and jumping in.
Driving the rig was Daniel Van Doveren, co-founder of Vigilante and JeepHeritage.com. Originally from Belgium, Van Doveren transplanted to the German-belt region of Texas for love. Talking with him as we drove from Austin to his company headquarters in Johnson City, it became clear that for Daniel, the love of SJ Jeeps and his wife Rachel share his heart. Long love story short, he moved from Belgium to Texas for her, but he brought the #Jeepthing with him.
The clean portion of the Vigilante and JeepHeritage shop begins with some of Daniel’s personal projects like this Jeepster, alongside frames meant for classic Jeep restorations
Aaron Turpen / New Atlas
Arriving at the Vigilante shop, crunching gravel in front of a nondescript warehouse of a building, we walked to the door. There’s little to greet anyone here beyond the smell of old grease and rust and the sound of the breeze on metal buildings.
Directly inside the door is what one would find at any repair or disassembly space. A currently empty bay surrounded by shelves of removed parts of all descriptions: engine blocks, transmissions, a stray door, a couple of radiators awaiting further work, etc. Above, in a cramped, but surprisingly well-organized storage area, shelves and drawers of genuine Jeep parts from 1964-1991 models are stored by type. Window regulators, wheel caps, air intakes, chrome pieces, door handles.. You name it, it’s probably got a shelf here.
This is where the donor vehicles, all full-sized Jeep models from that magic SJ era, come to get torn down to their constituent parts. Pieces are cleaned, categorized, stored or restored here. The Van Doveren operation carefully catalogs and inventories them. This is the only dirty part of Vigilante and JeepHeritage, because it’s where the old is stripped away before being renewed.
The Vigilante Background
Before starting Vigilante, Daniel was in information technology working in Belgium. Jeeps were his passion, but not his career. He restored them as a hobby and still owns most of his personal fleet. This is evidenced in the shop, beyond the dirty parts. “I liked restoration work and it was popular enough [in Belgium] to have clubs where friends would get together to help each other restore them,” Daniel said. Vehicles like the Cherokee, Grand Wagoneer, Comanche, and original Gladiators are popular in some European circles. “Great care is taken in restoring them,” he said.
In America, however, they are only recently popular as classic restorations. “I would come here as part of my work,” Daniel explained, “and see them rusting or only partially restored. I learned that the enthusiasm for them here was small.” Everyone seemed more interested in Corvettes and Mustangs and old Detroit pickup trucks instead. Those who did do SJ restores were often doing it for love alone. In that, Daniel could relate.
During one of those trips, he met Rachel. “I was in a hotel bar thinking about my career,” Daniel mused. “Then she sat next to me. It was the only stool left. She was on her way to a concert. We talked.” The spark happened, but didn’t flame until later. Heading across the globe to his home, Daniel nevertheless got Rachel’s number before she left to see Blue Oyster Cult and he got on a plane.
Not long after, he returned to Texas, having decided to move and start a new business. He began what would become JeepHeritage.com and learned that someone was selling an operational Jeep Wagoneer in Georgia. He called Rachel and asked if she wanted to road trip.
Daniel’s Honcho sits behind two recently-arrived custom frames for Vigilante retomods
Aaron Turpen / New Atlas
“I barely knew this guy and he wanted me to take a multi-day road trip to buy an old Jeep.” Of course she said yes. “He had (and still has) a beautiful yellow Honcho. I love classics and grew up around them.” Very soon, she was all-in. Now the two run JeepHeritage.com and Vigilante4x4.com together. It was a definite match and even now, years later, their love is obvious. For each other and the Jeeps.
The Process at Vigilante
The bulk of the Vigilante shop is clean concrete and white walls with black steel girding. Arrayed throughout are Jeep models in various stages of restoration, upgrade, and detail. Daniel’s Honcho as well as a work-in-progress Jeepster and a Wrangler Renegade occupy one corner; all personal projects of his.
The rest are client vehicles or vehicles getting prepared for sale. Restoration work via JeepHeritage is done meticulously, carefully keeping every part as original as possible. Restomod work for Vigilante is a more complex engineering process.
Near Daniel’s personal projects are bare frames on wheels. This is where everything begins. These frames are custom-designed by the Vigilante team, made to handle the added power output of the modern muscle they’ll receive. The design is modular and can be changed to match the slight changes required of one body versus another – or one engine versus another.
This JeepHeritage Golden Hawk is complete and ready for delivery
Aaron Turpen / New Atlas
The engines to be used are Mopar crate engines. Generally 6.4- and 6.2-liter V8s such as those found in SRT and Hellcat models. There has been one V10 Viper engine used as a custom one-off for a client, but Daniel says that’s not something he makes a habit of. “That was a good challenge,” he said, “but not what most people really want. These are factory crate engines with warranties and electronics and no modifications. Any Dodge dealership can do maintenance for them.”
Bodies from donor vehicles are disassembled and cleaned in the dirty room. Then packed into crates, on rolling sleds, and shipped to Italy. “I have a long relationship with a family there who do excellent work. All metal, no filler or resin.” Three vehicles can fit into one cargo container and the cost to ship is surprisingly low. The Italian family will repair, clean, straighten, and nickel plate the bodywork. Then custom paint according to Vigilante’s specifications, usually dictated by the client or Daniel’s design team. Then they are shipped back.
As the bodywork and paint is being done, the frames are made and painted. In the shop, the Vigilante team begins installing the engine, fuel system, and mechanicals in preparation for the body’s return. Outside of the bodywork and frame build, most everything else is done in-house.
Each station has a lift and is currently occupied by a vehicle in process. A nearly finished Wagoneer, whose upholstery is complete and whose audio and other interior components have been installed, undergoes final tuning and programming. It will road test soon. Across from that, a Cherokee Chief awaits interior finish and details as its seats and carpeting are prepared for install. Not far away, a newly-restored body has been bolted to its new frame and chrome and other pieces are being added, along with some custom detail paneling. The upholstery is currently in process.
Vigilante and JeepHeritage have a master upholsterer on site, doing beautiful work
Aaron Turpen / New Atlas
Upstairs from the shop, in a clean room segregated by clear plastic, is an upholstery room. A tattooed English woman named Liz works an industrial sewing machine and upholstery tools, taking the original seats and remaking them into clean, new, and often custom units for reinstall once the vehicles are ready. She does both restoration and restomod models. Restorations for JeepHeritage often use original 1980s and 1990s upholstery scored at auction when old dealerships or inventory are sold. Restomods usually get new, sometimes custom upholstery, including one recently finished using sheepskin and wool.
Straight below Liz’s upholstery is a station where both wiring harness and CAD work is done. Boxes of completed wiring harness sections sit on shelves to one side and a computer and 3D printer for modeling sit atop a desk nearby.
Details Are Key at Vigilante
The real work, though, is in the details. Daniel and his team have 3D-scanned and designed parts of every description. Old-style radios with new-tech insides are used. Dashboards and center consoles are remade and replaced in Vigilante vehicles to accommodate the needs of the unmodified Mopar power units they’re to work around. Gauge displays are completely new, but you’d never know it looking at them. Careful attention to keeping the old-style look and feel has been made in all of these tangibles.
Underneath the dashboards, ductwork and heater core housings have been designed to work with modern HVAC. Other changes such as the swapping of a cigarette ashtray for an air duct help improve comfort in the vehicle are standard. Even the chrome strips that used to hold down the carpeting in the cargo space are replaced. This time with authentic-looking, but much sturdier aluminum strips. Speaker covers, seatbelt guides, door handles.. Everything is made to be perfect.
“The engine swap and simple restomod changes most shops make are not hard to do. Our clients come to us because we go beyond that. It’s these details that make us what we are,” the Vigilante co-owner stated as he showed me a swatch of vinyl woodside prints he’d had made. These were his guide as he looked for the perfect replacement for the usually degraded or missing woody panels of old. It’s that kind of attention to detail in JeepHeritage restoration work that led to Vigilante’s attention to detail in its modifications.
And throughout the shop, that’s what most everyone was doing. Looking at and working with details. Dropping an engine onto an open frame is relatively simple. Aligning and balancing a drive shaft requires a little more attention to detail. Each build is unique because each customer is unique. Superficial things like color or motif are one thing, but some of Vigilante’s clients are very specific about interiors, audio systems, or even tuning specifications.
The graveyard of donor vehicles behind the Vigilante shop is a testament to the work being done here. Jeeps in various conditions line up in the weeds. Some are missing major components, some are only partial vehicles, others have no drivetrain or axles. Individually, many were likely headed for the crusher if they didn’t just rust away wherever they were sitting before. Here, they get new life. Some are good enough to become JeepHeritage restorations. Some will be parted off to make Vigilante4x4 restomods. All of them are going to be something again.
This Wagon, fully restored and tuned, is ready for a new home
Aaron Turpen / New Atlas
The work being done in Johnson City is not your average hot rod shop’s builds. These are six-digit machines and it shows. Love, details, and teamwork. That’s what Vigilante 4×4, JeepHeritage, and the Van Doverens are all about. It’s a beautiful thing.
Text description provided by the architects. An IWAN is a sitting place that is higher than its surroundings, which is usually built in the outer part of a building. An IWAN usually consists of a single arch, enclosed on three sides, and open to the nave. The most famous example of an IWAN in Iran’s past architecture is TAQ KASRA. This project is an exercise and experience that serves as a connection to a period of Iran’s glorious history. It’s an attempt to connect one of the most prominent architectural archetypes of the past, the IWAN, to a dilapidated villa, which itself belongs to the period of the introduction of modernism before the Islamic revolution; 50 years have passed since the construction of this villa.
In order to be able to provide an interpretation of our era in the continuous flow of Iranian architecture, we have tried to move the boundary between historical references, and belonging to the post-modern era. The archetype of | IWAN | regardless of its charismatic and impressive form, has created a unique space for the prevailing climate of this land, which is unparalleled in the delectation of space.
Our first visit to this old one-storey building reminded us of an extremely depressing shelter, with a roof that was so short that even the pleasant trees in the yard could hardly be seen, in combination with the thick walls and small windows.
The roof of the entire building could not be raised, but if we could raise the living room facing the courtyard, it would be a great gain. Because in this small building, it was the living room that made the heart of the space and into a place for events. Therefore we built a big arch with a span of 7 meters. The arch extends from the south side and our | IWAN | and faces the main courtyard, creating a new sitting room on the roof level from the north side.
After that, we decided to build a similar alternative in the heart of the courtyard and establish a strong connection with the surrounding nature with the path we created between these two arches. It is here that the IWAN, which has always been open from one side to the outside, opens on both sides and stands on the border between the modern pergola and the old archetype KOOSHK. Between that big arch, | IWAN |, and the small arch, | KOOSHK |, we also put a pool that is attached to the conjunction that spreads its freshness and coolness between them.
Another thing we considered was to somehow add a | game | element to the space. The | swing | is one of the most ancient games in IRAN. An uplifting game that has been mentioned in the poetry of many Persian poets to date. The presence of bricks and dealing with the details and symbols of past architecture is such that it is not an exact recreation of the past, but it shows off its original roots. Also, in order to increase the effect of our time on the details, we have mixed the light with the arch; Luminous bricks that sit layer by layer on the brick fabric of the arches and spread a gentle light on the space.
Text description provided by the architects. Located in Moganshan Town, Zhejiang Province, the site consists of a historic Chinese residence and a courtyard. The residence is a typical five-bay Jiangnan dwelling with an elevated beam structure and double eaves. Before restoration, the building has fallen into disrepair due to long-time negligence. The client wants to convert this 100-year-old residence into a chic, commercial teahouse, while retaining the authentic vibe and craftsmanship of the historic building.
For historic preservation, we conducted a detailed survey and structural integrity test of the historic building. All the wooden beams and columns were preserved in-situ after insecticidal treatments, leaving the original structural system completely intact. Per our request, the replacement and restoration of damaged purlins, flooring, rammed earth façade, rooftiles were carried out with traditional building techniques and locally sourced, traditional materials. All the decorative components, include paintings on the wall, carving on the beams, window lattices, corbels were preserved as they showcase the vernacular building culture in Moganshan town.
For spatial quality enhancements, we conducted a ‘pruning’ of the historic building. We removed a portion of the building envelope (ground floor façades and a section of the roof) to introduce natural light and air much needed for contemporary commercial space. The exposed columns and overhanging eaves form two porches each facing the courtyard and a mini-Zen Garden (with the original stone wall) to the front and rear of the house. The partial removal of the front and rear facades also resulted in a north-south, through-ventilation corridor. And by removing a section of the second-floor slab, while extending the water feature from the courtyard to the interior, we created a scenic, double-height space under the large eaves. Consequently, the visual and psychological boundaries between indoor and outdoor became blurry and ambiguous, generating a novel and vibrant spatial experience.
For performance and functionality enhancements, we introduced two glass pavilions into the site. Within the historic structure, a double-layered, self-supporting glass structure was inserted into the old house, providing air-conditioned tea drinking spaces. The integration between old and new was seamless, because the new glass roof aligns with the historic roof, while the steel frame structure supporting the glass pavilion interlaces with the historic wooden beams and purlins. This way, the integrity and authenticity of the historic residence was well-preserved for the building’s historic wooden structural system was left completely intact. To the far end of the courtyard, we constructed a separate glass pavilion. Inside the stand-alone, steel-framed pavilion, we used bamboo-steel composite material to build a tea bar, restrooms, and a shading canopy. The arrangement of the composite bamboo louvers under the glass roof duplicates, by means of its rising curvilinear profile, that of the eaves of the historic dwellings across the courtyard.
Facing one another from across the courtyard in a head-to-head manner, the bold juxtaposition of the historic residence and its contemporary annex creates a sophisticated dialogue between the two. Inside the historic residence, glass pavilion no.1 serves thermal function as an inner liner. Outside the historic residence, glass pavilion no.2 serves visual function as an outer shell. The composite bamboo structure in the interior of glass pavilion no.2 is a revision, translation and quotation of the historic timber work in the exterior of glass pavilion no.1. The interplay of the modern and the historic hence generates a dynamic, engaging and thought-provoking spatial experience for the visitors.
WilkinsonEyre has unveiled their proposal to revitalize the 1950s constructivist Belgrade Fair Hall 1, a landmark location overlooking the river Sava. The project is set to transform the exhibition hall into a mixed-use destination comprising three cultural venues and retail spaces, in addition to redesigning the waterfront park. WilkinsonEyre’s design incorporates light-touch interventions to the existing building, as it strives to respect and highlight the architectural qualities of the existing structure, such as the exposed concrete soffit or the unique shape of the building.
Constructed between 1954 and 1957 by architects Branko Žeželj and Milorad Pantović, the Belgrade Fair Hall 1 has a distinctive circular shape covered by a dome spanning 109 meters. This represents the largest dome in the world, built out of prestressed concrete. Glass walls are used for the external exhibiting spaces, connecting the floor level to the dome.
To achieve a minimal and respectful intervention, the design proposal is centered on the ‘box-in-a-box’ concept, introducing structures that are detached from the main roof. The three new venues to be introduced, a lyric theatre, an opera theatre, and a flexible ‘black box’ theatre, are surrounded by open flexible space on the ground floor, a space that can accommodate seasonal markets, events, and pop-up stalls to provide 24/7 activation.
The architectural design emphasizes a radial layout on the first and second floors, integrating retail, dining, and various amenities. The third floor features theater-like rooftops that create event spaces and dining venues with breathtaking views of the historic concrete dome. Connecting these areas are lightweight escalators, bridges, and walkways, enhancing accessibility. The building prioritizes green park spaces and visual connections to the River Sava, culminating at one entrance and featuring terraced designs for ease of access. The adaptable landscaping supports everyday activities and cultural events, while an outdoor amphitheater by the river boosts year-round engagement.
As a practice, we are really interested in reimagining our stock of modern or industrial heritage buildings in a way that retains their magic whilst also securing their financial longevity. The transformation of this magnificent structure, which is so emblematic of 1950s design, offers a huge opportunity to create something of lasting value for Belgrade. Sebastien Ricard, Director of WilkinsonEyre
On a similar note, London-based architecture studio AL_A has revealed the design of the new Belgrade Philharmonic Concert Hall, set to become a landmark for the Serbian capital. The Brutalist legacy of the city of Belgrade is explored by photographer Alexey Kozhenkov in a photo series titled “Spaces for Winds“, while photographer Inês d’Orey takes this exploration further to reveal the interior qualities of these Brutalist structures.
The National Park Service (NPS) announced $25.7 million in funding for the cultural and historic preservation of 59 nationally significant sites and collections. Among the buildings and sites receiving money for renovation and restoration projects are a Spanish colonial residence in Santa Barbara, a church by Frank Lloyd Wright, and a project to repair the steps at a Christopher Wren–designed building at the College of William and Mary.
For 25 years, the Save America’s Treasures program has provided over $405 million from the Historic Preservation Fund (HPF) to the preservation and conservation of notable sites, collections, artifacts, and structures. National Park Service Director Chuck Sams noted in a statement, “It’s fitting to celebrate this milestone anniversary through a wide range of projects that help to pass the full history of America and its people down to future generations.”
The funding will be distributed to 28 historical sites in need of preservation or repair work. Money will also be allocated for over two dozen cultural institutions seeking to safeguard or digitize their collections and archives. Among the list of buildings and landscapes with prominent historical legacies, are the Longue Vue House and Gardens in New Orleans. The residence will receive funds to further recognize the work of Ellen Biddle Shipman, a landscape designer. Through the restoration and conservation of Shipman’s design, these funds carve the path for education and public awareness of Shipman’s influence and her emergence within the male-dominated field.
Other notable sites on the list include the Vizcaya Museum and Gardens’ swimming pool grotto. The Mediterranean-style villa was once a center of entertainment. The house oft-referred to as the “Hearst Castle” of the East houses a collection of decorative furnishings and objects from Europe. Also notable is the Louisiana State University (LSU) Campus Mounds Preservation Project. The mounds, now part of the LSU Campus, were once sacred structures, constructed at least 6,000 years ago by Indigenous people. The grant will aid in preserving the stability of the mounds’ surface and stop ongoing damage to the site.
The full list of historic sites receiving funding for preservation projects is reproduced below. A brief description of the scope for each project can be found here.
California Missions Foundation | California Telluride Council for the Arts and Humanities | Colorado Vizcaya Museum and Gardens Trust | Florida Foundation for Homan Square | Illinois
Funds will prevent erosion from continuing and add denser drought-resistant grass to stabilize the mounds’ surface. (Spatms/Wikimedia Commons/CC BY-SA 3.0)
Louisiana State University | Louisiana Longue Vue House and Gardens Corporation | Louisiana Mount Vernon Place Conservancy | Maryland Captain Robert Bennet Forbes House Museum | Massachusetts Oakland University | Michigan The Durham Museum | Nebraska Dover Friends Meeting | New Hampshire Inlet Public/Private Association | New Jersey
St. Bartholomew’s Conservancy | New York Historic Hudson Valley | New York Basilica Preservation Fund | North Carolina Rivers of Steel Heritage Corporation | Pennsylvania Pennsylvania Academy of the Fine Arts | Pennsylvania Arch Street Meeting House Preservation Trust | Pennsylvania Quintessence Theater Group | Pennsylvania Cathedral of St. Luke and St. Paul | South Carolina City of Dallas | Texas The Landmark Trust USA | Vermont
Funding will rebuild the steps of the Christopher Wren building at the College of William and Mary. Skilled stonemasons, historic brick masons, and other specialized craftspeople will execute the work using Portland limestone. (MiguelYerena/Wikimedia Commons/CC BY-SA 4.0)
College of William & Mary | Virginia Coalfield Development Corporation | West Virginia State Historical Society of Wisconsin | Wisconsin Center for Veterans Issues | Wisconsin Annunciation Greek Orthodox Church Foundation |Wisconsin