Reuse the architectural ruins

The IDEA

The ruined objects are those remnants that keep the link between generations and, remained on the border of time once they hit in the “horizon of destruction events”. The problem of preserving a ruined object is not a new task for architects, because it is the most fragile part of the architectural heritage that requires constant care.

Renovation can be considered a method of working with ruins, in which their preservation and transformation by means of modern architecture takes place. So, speaking of renovation as a qualitative change of the ruins as a whole, we can talk about renovation due to mass and form, and renovation due to aesthetics and material. Renovation through mass and form implies working with the dimensions of a new object: from the minimum, in the form of installations, to the maximum, outgoing beyond the historical dimensions of the ruin. This type of renovation includes: Installation, the parasite architecture, working with a fragment, contrast architecture, architecture increment (one building and complex). Renovation through aesthetics and material is linked with renovation through form; they cannot work separately, because each direction of work with the mass can be performed in a different material. This type of renovation includes: form-building contrast, Palimpsest, Devizualization and Dematerialization.

The project shows three examples of renovation method in different countries and explores ways to interact with ruins and emphasizes renovation through mass and form and aesthetics and material. Project presents examples of renovation of the ruins.

            CHIESA DIRUTA – MATERA, GROTTOLE, ITALY. CONCERT HALL IN AN ABANDONED CHURCH.

The safety of the ruins is 50-60%. The ruin is located in the central part of the city and is its architectural dominant. Historically, this object served as one of the main Catholic churches in southern Italy.

The idea consists of regenerating the space and preserving the spirit of the place. The method of devizualization of the new architecture was chosen, using translucent and reflective planars. Thus, the new construction become а “ghost building” because of using glass tо create the effect of dissolving into space, and filling the pause in the context of the urban space. All the main ruined parts – the roof, the walls, vaults, and arches became visible again but now only in the glass and сорреr tо show the contrast of old and new but in the same time о save the essence of “genius loci”.

The interior design aligns with an exterior, by using glass as а main material we tried to avoid conglomeration of the constructions and gangways. The main feature of the redevelopment was а radical change in the orientation of functional spaces.

          THE LAKE CHAPEL – VAL DI LAGO, VITERBO, ITALY. PILGRIM CENTER.

The safety of the ruin is 60-70%. The ruin exists in a natural context and doesn’t affect the surrounding buildings with its historical value. Historically, this chapel was one of the main points on the way of pilgrims to New Land. In the current context of the lack of a city, we decided to work with Increment, where new architecture is larger than the historical dimensions of the object. The structure of the centre is divided into two buildings, the first is a hostel for pilgrims, the second is for lectures and an open archive.

The main idea of the interior design of the chapel is to create the illusion of dissolution in space-time. Thin threads with teardrop-shaped metal and glass pendants hang from the walls and internal metal support structures of the tower. The light is evenly shed through translucent frosted glass planars.

         GREENHOUSE AND WINE WAREHOUSE OF THE MANOR “KARABIKHA” – YAROSLAVL REGION, RUSSIA.

The safety of the ruins is about 50%. These ruined objects are located within the boundaries of the object of cultural heritage – the estate “Karabikha”, the only estate complex in the Yaroslavl region of the second half of the 18th – 20th centuries. We decided to work in the historical dimensions of the object while maintaining its original silhouette.

The greenhouse is dressed in translucent frosted glass to create neutral background. The main feature is re-creation of the belvedere from a strong steel mesh. This step is necessary to restore the balance of visual communications of the composition of the estate. The western wing of the greenhouse is reserved for a cafe house, and the eastern for a greenhouse.

The wine warehouse, uses the method of palimpsest, layering multiple layers to create a contrasting neutral backdrop. Smooth grey concrete was chosen as the wall material, which, in contrast to the red torn brick of the warehouse, will reveal and expose the ruin. The wine warehouse now becomes a museum visitor centre at the entrance to the estate and an open archive, with the possibility of arranging lectures.