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Roof and lookout at Žiče Charterhouse church by Medprostor in Slovenia

Local studio Medprostor has covered and partially repaired a 900-year-old Romanesque church in Slovenia, placing an operable roof on top of the open structure to create a space “between a ruin and a reconstruction”.

Medprostor crafted a series of modest interventions alongside the folding roof that aim to protect the significant monastic building, located inside the fortified grounds of the historic Žiče Charterhouse.

The repairs and alterations were also intended to improve its functionality for tourism and events.

According to the studio, the project was conceived to protect the church’s immaterial qualities as an ancient and sacred place, in addition to preserving its physical remains.

“The construction and restoration interventions were carried out in such a way that they enable a chronological reading of the 900-year-old sacral space,” Medprostor cofounder Jerneja Fischer Knap told Dezeen.

“[The design] fully conforms to the requirements of heritage protection for reversibility, with less invasive and less intense interventions,” he continued.

Blackened wood and steel roof over church in Žiče Charterhouse by Medprostor in Slovenia — The half-gable roof structure spans the length of the church and can be opened to the sky

“The largest intervention was the covering of the existing building with a semi-movable, folding roof,” Knap said.

“When lowered, it enables the smooth running of events in the church regardless of the season and weather, while when raised, it preserves one of the most important intangible moments of the ruin: contact with the open sky.”

Lightweight black steel, blackened wood and dark slate tiles make up the half-gable roof system, distinguishing the gesture from the church’s original masonry architecture.

Medprostor also chose restrained and rectilinear geometries for its interventions, seeking to establish a low-tech aesthetic language that could sit harmoniously against the heritage structures.

“The roof, together with its details and proportions is related to the key architectural elements of the whole church,” Knap explained. “And yet, it can also act as an illusion – a spectre in harmony with the open, ephemeral character of the ruin… [a] space between a ruin and a reconstruction.”

Open roof and ruins of the church at Žiče Charterhouse by Medprostor in Slovenia — A dark, uniform material palette defines the interventions across the church

The studio reconstructed a demolished portion of the church’s walls and flooring, while spiral staircases were placed into existing vertical shafts to reconnect visitors to an upper-level viewing platform.

“Two staircases are connected to a new lookout point with a narrow, slightly sloping corridor leading up to it, framed by the outer faces of the [reconstructed] north wall,” Knap explained.

“The lookout point offers an essential view from above of the northern part of the monastery complex and its ruined character.”

Repaired wall and raised flooring in church at the Žiče Charterhouse by Medprostor in Slovenia — The studio made limited repairs to the ruins, including reconstructing its partially collapsed northern wall

Slovenian architecture studio Medprostor was established by Knap, Rok Žnidaršič and Samo Mlakar in 2011, with projects spanning across the public and private sectors.

Medprostor’s interventions at Žiče Charterhouse were shortlisted for the 2024 European Mies van der Rohe Award, which has previously been won by Grafton Architects for its colonnaded teaching building for Kingston University in London.

The seven finalists for the 2024 Mies van der Rohe Award were recently revealed to include The Reggio School by Andrés Jaque, a copper-clad convent in France and a library by SUMA Arquitectura in Spain.

The photography is by Miran Kambič.

Reference

Architecture

Atelier-r refreshes neo-gothic church with angular black extension

By Zarkon Group,10/07/2023

Czech studio Atelier-r has refreshed the Red Church in Olomouc, the Czech Republic, adding an angular matte-black extension and public spaces informed by neo-gothic design.

The renovated church, along with the added black volume, holds an information centre and cafe as well as an events venue designed to host small concerts and exhibitions.

Built in 1902, the original church was closed to the public and has been used as a private storage space for the library next to the site for the past sixty years.

Despite its poor condition, Atelier-r aimed to open up the listed building for public use, opting to partially reconstruct the church and add an extension that reflects the existing structure’s neo-gothic style.

Exterior photo of Cerveny Kostel — The extension is an angular structure

“The building itself was preserved as a whole but in a very poor condition,” studio founder Miroslav Pospíšil told Dezeen. “We had to do a complete makeover with maximum effort to retain the original elements.”

“We designed the renovation with deep respect to the neo-gothic atmosphere of the place,” he added. “First, it was necessary to strengthen the foundations, mend the damp and salty masonry, repair the stucco and plaster, and tidy up and fill the gaps in the facade cladding,

“The floors were a complete redo, including the layers all the way down to the terrain base.”

Photo of the library at Cerveny Kostel — The extension contains a library

Due to damaged trusses, the studio entirely reconstructed the roof of the church, cladding it in copper squares that resemble the concrete tiles of the original roof.

Modern decorative elements created by local sculptor Jan Dostal were added to the roof to replace the original damaged features.

Photo of the church — The extension connects directly to the 20th-century church

“The original roof was clad in asbestos cement tiles, but it is a very fragile material and most of them were damaged by falling ice from the church tower,” said Pospíšil.

“So we decided to use copper tiles of the same size as the original ones,” he continued. “Copper’s colour changes gradually to a dark grey colour, which will be very similar to asbestos cement tiles in a couple of years.”

Inside the church, exposed brick structural elements stand out against white walls, while a large ring-shaped lighting fixture is suspended over rows of chairs. A raised platform at the end of the building holds a sculptural arrangement of staggered bookshelves.

To hold additional spaces, including a reception and a cafe, Atelier-r added a new structure between the church and library, connecting it to both existing buildings with glazed walkways.

Photo of the interior — The shape of the extension was informed by the form of the church

Surrounded by a patio area with outdoor seating, the building features a roof and walls made from black aluminium and has an angular form informed by the geometry of the church.

“The crystal-like mass of the annex responds to the neo-Gothic form of the church; it derives from its geometric shape, volume, and layout, ” said Pospíšil. “The floor plan is a cut-out of the part of the church floor plan, only moved outside of the original platform.”

Interior image of the library — The interior has a pink concrete floor

Entering through a glass door set within walls of full-height glazing, guests are met by a double-height cafe and reception space finished with a pastel pink concrete floor.

To one side of the room, a tall accent wall featuring shelves filled with old books acts as the centrepiece of the space, while a glass lighting fixture by Lambert & Fils hangs over the dining tables.

Photo of a reception desk — A reception desk was constructed from pink concrete

“The elegant and minimalist glass elements float in the air, suspended on the nylon ropes high above the visitors’ heads,” said the studio. “If you look at them from specific angles, they reflect the houses in the street or the church.”

At the back of the space, a pink concrete reception desk reflects the angular form of the building and sits beneath a bespoke lighting feature that follows the shape of the desk.

Designed in collaboration with local interior design practice Denisa Strmiskova Studio, the interior spaces across the new and existing building feature chairs made from walnut wood, as well as coffee tables that draw upon the traditional design of the church.

A storage space branches from the main hall, featuring a wall of black lockers and a cloakroom set behind a blocky pink counter.

An additional accent wall of shelves is arranged around the large opening to the space, providing further storage for the old books from the library.

Other renovated churches recently featured on Dezeen include a cathedral in Manhattan that Ennead Architects has refreshed with a copper dome and a community hub added to a 19th-century church.

The photography is by BoysPlayNice.

Reference

Interior Design

Fiandre covers Armenian church in slabs printed with 1.5 million motifs

By Zarkon Group,17/10/2022

Promotion: Fiandre Architectural Surfaces porcelain slabs, digitally printed with 1.5 million icons, cover the facade of an Armenian church in Texas designed by New York-based architect David Hotson.

For the facade of Saint Sarkis Armenian Church in Carrollton, Texas, architect David Hotson and Yerevan-trained architectural designer Ani Sahakyan worked closely with Italian architectural surface manufacturer Fiandre to create a facade that works at a series of visual scales.

The church’s western facade that surrounds its entrance is clad with porcelain slabs depicting a traditional Armenian cross or “tree of life” with distinctive floral branching arms. This Armenian symbol of faith in the face of suffering and of resurrection and redemption serves as a memorial to the victims of the Armenian genocide.

Viewed more closely, as the visitor approaches the church, the cross is composed of interwoven botanical and geometrical motifs drawn from Armenian art. These motifs represent the bonds of ancestry and tradition that have bound the Armenian community together across centuries of challenge and upheaval.

Examined from even closer proximity, visitors will be able to see that the slabs are covered with individual icons or pixels, each one centimetre in diameter.

Printed at a high resolution using Fiandre’s “Design Your Slab” or DYS printed porcelain slab system, the tiny icons – 1.5 million in total – cover the entire church facade. All of the icons are unique and derived from the circular emblems that recur throughout Armenian decorative arts.

The close up facade of the Armenian church in Texas — The ceramic slabs are printed with 1.5 million icons based on ancient Armenian motifs

The 1.5 million unique icons are designed to symbolise the individuals who were murdered in the Armenian genocide. The scale of the individual icons that are spread across the entire building facade is intended to make tangible the scale of this historical atrocity.

To create the facade design, a computer script was developed by architectural designer Ben Elmer to generate the icons based on ancient Armenian ornamental motifs.

These icons were scaled to fit a total of 1.5 million on the facade and were distributed according to density to form larger-scale patterns when viewed from a distance.

The ceramic surfaces are also UV-resistant

The motifs were printed to the exact pixel modules required onto Fiandre’s large-format, exterior-grade, UV-resistant porcelain rain screen slabs.

“The facade is believed to be the first use of this technology to optically engage the viewer in a series of visual scales nested inside each other, from the scale of an entire architectural facade to the scale of individual pixels each rendered in high-resolution at the threshold of visual perception,” said Fiandre.

In addition to the memorial facade, Fiandre supplied the full range of porcelain interior and exterior floor, wall and soffit finishes used throughout the Saint Sarkis Campus.

A photograph of the inside of the Armenian church — The Armenian church in Texas is designed by New York-based architect David Hotson

New York-based Hotson’s design for the new church building is modelled on the ancient church of Saint Hripsime, which stands near Armenia’s modern capital of Yerevan.

Having withstood fourteen centuries of upheaval, Saint Hripsime serves as a symbol of the endurance, perseverance, and resilience of the Armenian people. The cornerstone of Saint Sarkis was laid in 2018, fourteen centuries after Saint Hripsime was completed in 618 AD.

“From this brief, Hotson developed a design that looks forward as well as backward, marrying ancient architectural and artistic traditions reflecting Armenia’s cultural legacy as the world’s first Christian nation with contemporary digitally-driven design and fabrication technologies,” explained the manufacturer.

To learn more about Fiandre Architectural Surfaces, visit the brand’s website.

Partnership content

This article was written by Dezeen for Fiandre as part of a partnership. Find out more about Dezeen partnership content here.

Reference

church

Medprostor encloses 12th-century church with folding roof in Slovenia

Atelier-r refreshes neo-gothic church with angular black extension

Fiandre covers Armenian church in slabs printed with 1.5 million motifs

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