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

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

By Zarkon Group,

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.

Roof and lookout at Žiče Charterhouse church by Medprostor in SloveniaRoof and lookout at Žiče Charterhouse church by Medprostor in Slovenia
Medprostor has topped a 12th-century church with a folding roof in Slovenia

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 SloveniaBlackened 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 SloveniaOpen 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 SloveniaRepaired 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

Totem-pole colonnade encloses Kaimakk restaurant at Istanbul Airport
CategoriesInterior Design

Totem-pole colonnade encloses Kaimakk restaurant at Istanbul Airport

By Zarkon Group,

A stone and glass fountain, totem pole-like columns and gilded arches characterise the Kaimakk bar and dining space by local studio Sanayi313 inside Istanbul Airport.

The 600-square-metre space was created by Sanayi313 as a place of refuge from the bustle of the airport.

“The challenge of this project was to create a place where people would feel secluded and relaxed in the hectic environment of one of Europe’s busiest airport terminals,” Sanayi313 founder Enis Karavil told Dezeen.

Arched metal gates leading to fountain Kaimakk Istanbul Airport designed by Sanayi313Arched metal gates leading to fountain Kaimakk Istanbul Airport designed by Sanayi313
Kaimakk is an Istanbul Airport restaurant designed by Sanayi313

Two large, L-shaped serving counters with canopies above enclose the seating space inside. Between the counters, an archway with intricate metalwork gates leads to a “frozen” fountain at the centre of the project.

The fountain was made from traditional travertine stone with individually made, mouth-blown glass pieces.

Kaimakk bar and dining area by Sanyayi313Kaimakk bar and dining area by Sanyayi313
A fountain made of stone and glass sits at the centre of the space

Completed in two stages, the fountain was first carved and assembled before contemporary Turkish glass artist Derya Geylani crafted the glass pieces to create the “frozen” expression.

According to Kaimakk’s Lian Beraha, the fountain “took shape from the idea of life, joy, abundance and the eruption of cream”.

Mouth-blown glass pieces in fountain by Derya GeylaniMouth-blown glass pieces in fountain by Derya Geylani
Mouth-blown glass pieces were made by Turkish glass artist Derya Geylani

Surrounding the fountain, a series of tall archways are supported on sculptural, totem-pole-like  columns that form a colonnade enclosing the restaurant.

“The studio stacked a variety of recurring forms into totem-like pillars with gold discs between them and placed arched blocks on top, as if playing with Lego,” Karavil explained.

“Each arched unit is equipped with built-in blinds made of translucent material to diffuse the light transmitted into the space at different times during the day,” he continued.

“Coated in micro-topping, the four-metre-high structure pays homage to the architecture and stoneworks in the Turkish city of Mardin.”

Tall totem pole-like columns throughout Kaimakk by Sanayi313Tall totem pole-like columns throughout Kaimakk by Sanayi313
Large sculptural columns and arches are a recurring motif throughout the project

This idea of drawing upon heritage was central to the concept behind the project, which, according to Beraha, “draws inspiration from the traditional Mesopotamian culture” of places in southeastern Turkey like Mardin, Diyarbakır and Gaziantep.

“One of the key features of the project is the handcrafted mosaic floors incorporating an intricate geometrical pattern with stars,” Karavil described.

“It draws inspiration from the One Thousand and One Nights – a collection of Middle Eastern folktales also known as Arabian Nights.”

Columns and benches in dining area by Sanyayi313Columns and benches in dining area by Sanyayi313
Sanayi313 used a colour palette of beige, cream and gold

Built-in booth seating is positioned alongside barstools and a mixture of both round and rectangular marble-topped tables, with views out over the airport runway.

Other projects in Istanbul include Renzo Piano’s Istanbul Modern museum wrapped in a facade of “evocative fish scales” and an Apple Store by Foster + Partners that is characterised by two travertine walls.

The photography is by İbrahim Özbunar.

Reference