克拉夫斯科一座舊陶瓷廠改造項(xiàng)目的二期，將過(guò)去的石膏模具倉(cāng)庫(kù)打造成酒店，分揀車間則被改建為社區(qū)活動(dòng)會(huì)堂。

項(xiàng)目是克拉夫斯科前陶瓷廠改造的二期工程。巴洛克建筑群原是建于布拉格至維也納沿線的一家旅館，在19世紀(jì)下半葉被改造并擴(kuò)建成知名的陶瓷工廠。這里開展了長(zhǎng)達(dá)百年的生產(chǎn)歷程，并很快遭遇了與其他許多廢棄工廠相同的停產(chǎn)命運(yùn)，后幾經(jīng)易手、長(zhǎng)期失修。來(lái)自克拉夫斯科的現(xiàn)業(yè)主，對(duì)其進(jìn)行重新開發(fā)，用于舉辦社交活動(dòng)和探險(xiǎn)旅游。

真實(shí)感是設(shè)計(jì)的核心目標(biāo)。

遠(yuǎn)處可見(jiàn)的工廠煙囪是該地的重要地標(biāo)，并在頂部點(diǎn)綴著一個(gè)霓虹燈圈吸引來(lái)者。

舊工廠中煙囪旁邊的區(qū)域目前做接待和員工所用，建筑可通過(guò)彩色混凝土坡道進(jìn)入。最初場(chǎng)地軸線的朝向并不相同，但由于運(yùn)營(yíng)和權(quán)屬關(guān)系無(wú)法繼續(xù)沿用。目前的入口位于過(guò)去場(chǎng)地的后側(cè)，因此有必要打造獨(dú)特的新標(biāo)識(shí)，在一開始便吸引訪客的關(guān)注。坡道和樓梯非常自然地迎接人們進(jìn)入。

接待區(qū)曾用來(lái)攪拌陶土，退役的攪拌機(jī)遺棄后被擺放在原處。設(shè)計(jì)保留了整個(gè)空間的工業(yè)印記。建筑師沿著其中的一堵墻，將石膏模具打造為內(nèi)部鑄有花盆的裝置。在這里成列排放的模具，雖然失去了功能意義，但作為點(diǎn)綴仍然優(yōu)美。這是將它們保留在恰當(dāng)位置的最佳方法。

石膏模具倉(cāng)庫(kù)共三層，長(zhǎng)寬比為1:8。拱形地窖嵌入了南側(cè)的山坡。底層為磚結(jié)構(gòu)，二層為木結(jié)構(gòu)。磚石建筑的一部分由鑄造陶瓷的舊石膏模具所建，而這種材料并不適合建筑所用。這也表明在歷史上，人們會(huì)回收利用手邊可用的材料用于建造。

對(duì)既有建筑進(jìn)行功能性改造遠(yuǎn)比簡(jiǎn)單翻新更復(fù)雜。項(xiàng)目將過(guò)去的倉(cāng)庫(kù)改造成住宿空間，細(xì)長(zhǎng)的形態(tài)使得布局如薩拉米香腸一樣被劃分為一個(gè)個(gè)獨(dú)立的房間。不足6米的狹窄特點(diǎn)意味著無(wú)法建造內(nèi)部走廊，尤其在二樓會(huì)嚴(yán)重影響到保留下來(lái)的木制框架。因此，建筑師決議單獨(dú)打造一個(gè)長(zhǎng)廊作為樓上房間的走廊，并通過(guò)密集的板條在南側(cè)展現(xiàn)出一個(gè)理想的到達(dá)區(qū)域。長(zhǎng)廊的材質(zhì)使用了原本用作木柴的二等橡木。

底樓的客房可直接從門廊進(jìn)入。北面，舊工廠的窗戶鋼架被保留下來(lái)，與后方新的窗戶框架形成格柵，成為防止從低矮的窗臺(tái)墜落的屏障，同時(shí)開口保留了原來(lái)的位置和尺寸。由于地形起伏，整個(gè)建筑呈波浪形。北立面處增加了一些支撐柱進(jìn)行加固。然而在一樓的房間里，你可以看到墻壁明顯傾斜，直到人們必須扶住防止傾倒。

為了盡可能保留建筑物的原貌，建筑師必須在建筑物內(nèi)部的二層打造保溫措施。因此原來(lái)布滿灰塵的木質(zhì)外墻仍維持原狀，令人驚訝的是它們的現(xiàn)狀保存良好。因此，建筑在展現(xiàn)方式上沒(méi)有做太大改變。設(shè)計(jì)保留了桁架的結(jié)構(gòu)組成。建筑的東山墻改造程度最大，整面的玻璃實(shí)現(xiàn)了直達(dá)遠(yuǎn)方的視野。

底層的空間簡(jiǎn)單明亮，由帶磨砂玻璃的鋼架隔開的洗手間光線充足。

樓上裸露的橫梁和原有的木梁帶來(lái)了真實(shí)感，原木板已被拆除用于打造新的地板。

所有這一切由于石膏模具的加入變得更加完整，這些模具被用作桌子、燈罩或單純作為裝飾。因此，過(guò)去存放的模具仍保留在此，只是數(shù)量有所減少。

原分揀車間是整個(gè)建筑群中最新的一座，落成于上世紀(jì)中葉。雖然歷史價(jià)值不如其他建筑，但它在當(dāng)時(shí)為特定功能而建的工業(yè)建筑中堪稱典范。建筑師們遵循了傳統(tǒng)的設(shè)計(jì)方法，并在施工過(guò)程中對(duì)建筑材料進(jìn)行回收利用。

改造后的工業(yè)建筑是理想的社交活動(dòng)空間，并由于開放式的布局，成為了適合舉辦各種活動(dòng)的多功能空間。

建筑底層設(shè)有鮮廚餐廳，緊鄰餐廳的溫室為簡(jiǎn)約的鋼結(jié)構(gòu)，屋頂則被拆除更換為玻璃材質(zhì)。通過(guò)重型鋼焊接樓梯可進(jìn)入閣樓空間，樓梯自身便是一件藝術(shù)品。閣樓的大廳被盡量保留了原貌，所有的原始結(jié)構(gòu)呈現(xiàn)出久遠(yuǎn)的磨損痕跡。

ORA意為原創(chuàng)的地區(qū)性建筑，事務(wù)所的大多數(shù)作品都是對(duì)既有結(jié)構(gòu)的改造，而這并非刻意為之。設(shè)計(jì)師樂(lè)于研究注定消亡的結(jié)構(gòu)和部分，并在新的語(yǔ)境下進(jìn)行激活。ORA的設(shè)計(jì)范疇涵蓋環(huán)境、房屋和小的物件。

事務(wù)所位于茲諾伊莫和庫(kù)特納霍拉，項(xiàng)目主要分布于周邊區(qū)域。

The project deals with the second stage of the conversion of the former ceramics factory in Kravsko. It is the original utilitarian plaster mould warehouse, which we are transforming into accommodation, and the former sorting plant, which we are converting into a community hall.

The project deals with the second stage of the conversion of the former ceramics factory in Kravsko. The original Baroque complex was built as an inn on the Prague-Vienna route. In the second half of the 19th century, it was transformed into a famous ceramics factory and expanded with new buildings. The production operated here for a hundred years. Soon, however, it met the fate of many other obsolete industrial plants - production was closed down, the area changed hands and fell into long-term disrepair. The current owners, who come from Kravsko, are redeveloping the site for social events and adventure tourism.

This is what we strive for.

The main landmark of the site, visible from a great distance, is the factory chimney. A neon circle is placed on the chimney, crowning it and naturally drawing the visitor towards it.

The part of the original factory next to the chimney is now used as a reception area and staff facilities. The building is entered via a ramp made of coloured concrete. The axes of the site originally faced in a different direction, but for operational and ownership reasons it was no longer possible to follow them. The current entrance is the former back of the site, so it was necessary to create a new distinctive attractor that catches the visitor's attention at first sight. The ramp and staircase welcome visitors and naturally guide them to enter.

The reception area is where the mixing of the clay used to take place. The discontinued mixers are being left in their original positions as they were once abandoned. We leave the whole space with its industrial character. Along one of the walls, we are creating an installation from plaster moulds into which pots were cast. Here the moulds are stacked in columns and left only as aesthetic objects that have lost their meaning but are still beautiful. It's a way of keeping them in place and not getting rid of them.

It is an original utilitarian warehouse of plaster molds. The building has a 1:8 elongated floor plan on three floors. The vaulted cellars are recessed into the hillside to the south. The ground floor is brick, the second floor is timber-framed. The masonry is partly built from old plaster moulds that were used for casting ceramics. This material is not suitable for building at all. It is proof that throughout history people recycled and built with whatever was at hand.

Conversion of buildings for a new purpose requires a greater degree of intervention than simple refurbishment. The project addresses the conversion of a former warehouse into an accommodation facility. The elongated shape allowed the layout to be chopped up into individual rooms like a salami. Due to the narrowness of the house of less than 6 metres, it was not possible to build a corridor inside. Particularly on the second floor, this would have meant a significant impact on the preserved wooden frames. Therefore, we decided to design a separate gallery that serves as a corridor for the upper rooms and creates a desirable threshold on the south side thanks to the dense lathing. The gallery/porch is constructed of second-quality oak lumber, which was originally intended to serve as firewood.

The rooms on the ground floor are accessible directly from the porch. To the north, the steel frames of the former factory windows have been retained. The new windows are behind them. The frames form a grille that acts as a barrier against falling, as the windows have a low sill. At the same time, the openings retain their original divisions. The whole building is wavy due to the pressure of the earth. We have added some support pillars to the north fa?ade to stabilise it. However, in the rooms on the ground floor, you can read a significant leaning of the walls until one has to hold on to keep from tipping.

We were keen to preserve the authenticity of the building as much as possible, which forced us to insulate the inside of the building on the second floor. This left the original wooden, dusty fa?ade in place, which, surprisingly, is still in good shape. The house has therefore not changed much in terms of expression. We kept the trusses in their structural logic. The eastern gable of the building has undergone the most significant transformation, as it is entirely glazed and thus provides distant views over the landscape.

The rooms on the ground floor are simple bright spaces. The bathrooms are separated by steel frames with frosted glazing, making them well lit.

The upstairs rooms are given authenticity by the exposed beams and original boards, which have been dismantled and used as new flooring.

All this is complemented bylaster moulds which are used as tables, lampshades or purely as objects of aesthetic interest. The moulds that were originally stored here, therefore, remain in place in reduced numbers.

The building of the former sorting plant is the youngest of the whole complex. It dates back to the middle of the last century. Historically, it is the least valuable building, but it is still a fine example of industrial construction at that time, which was purely purpose-built. Even then, building materials were recycled during construction. Here we have followed a conventional design approach.

Industrial buildings are ideally transformed for holding social events. With their open layout, they offer a versatile space that can be filled with events.

The building now houses a restaurant with a kitchen on the ground floor. Adjacent to the restaurant is the greenhouse, which is a simple steel structure that we removed and replaced the roofing with glass. The attic space is accessed by a heavy steel welded staircase, which in turn functions as an art object in its own right. In the attic, there is a large hall to which we have retained its authenticity. All the structures are original with traces of age-old wear and tear.

ORA stands for Original Regional Architecture. Most of the studio's work consists of modifying existing structures, which was not a conscious choice. The authors like to work with constructions and fragments that were doomed to perish, to revive them in a new context. We design environment, houses, even small objects.

The studio is based in Znojmo and Kutná Hora and operates mainly on the periphery.

Project name:?Kocanda Kravsko II

Studio:?ORA (original regional architecture)

Author:?Barbora Hora, Jan Hora, Jan Veisser, Maro? Drobňák

Website:?www.o-r-a.cz

Social media:

www.facebook.com/originalniregionalniarchitektura
www.instagram.com/originalregionalarchitecture

Project location:?Kravsko

Project country:?Czech Republic

Project year:?2019-2022

Completion year:?2022

Plot size:?6850?m2

Client:?ITVV www.kocandakravsko.cz

Photographer:?BoysPlayNice, www.boysplaynice.com

Collaborator

Landscaping: Klára Jordánová, www.my-flowers.cz

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