sugar babe

The Znin sugar factory in Warsaw, Poland, was built in the late 19th century. Until 2004, it operated producing sugar from beets. As a result of industrial restructuring, it was closed down and the buildings of the complex were designated for demolition.

The architect Bulak Projekt and the interior designers of Arche jumped in and transformed the project in a hotel.

Arche purchased the complex with the goal of renovating the factory and reviving the valuable, but collapsing buildings, while endeavoring to respect their historical value, the changes made to them over generations, and their aesthetic and technical diversity. The main authors of the project included the President of Arche, Władysław Grochowski, who saw the potential of the condemned buildings, as well as architect Marek Bulak, and Chief Designer and architect Piotr Grochowski.

From the onset of the project, Arche and the architects of Bulak Projekt, Marek Bulak and Piotr Grochowski, focused on preserving the history of the building by retaining almost all elements of the old factory, right down to its screws and sheet scraps.

Although large elements of the old sugar factory now interact with new functions, they are still quite visible. Smaller elements were also incorporated into the interior design and, collectively, the whole project has retained its natural authenticity.

Mastering the form of such a complex building proved to be a design challenge, and creating a layout of functions and communication within the vast space was time consuming. Nevertheless, the architects approached that complexity as a unique asset.

Construction required load transfer calculations of the new structures, while reinforcing the old parts. The installation inside the building was incorporated into the interior design, and the firm ensured the conservation of the site's industrial heritage.

The complex consists of 27 buildings. None of the existing structures were demolished, and all were assigned new functions. The approach to the interiors embraced connections to the surrounding landscape, with old stone pavement being restored, and trucks, pipes, masts, and other equipment remaining where they were.

Upon entering the main building, the first impression is that it still serves as a factory, with a saturation of stimuli ranging from rough simplicity to emotional characteristics of intimacy and warmth. That tied the whole project together, infusing recognizable character into the site.

The sugar factory is located near the historical center of Znin, in close proximity to a lake which once provided the factory with water.

Th e en t ran ce o f th e Zn i n p ro jec t gi ve s th e firs t i mp re ssio n t h at t h e p ro jec t is still serves as a f actory, wit h a sat uration of stim uli ran ging from rough simplici ty t o emo tion al characterist ics o f int imacy an d warmth.

Architects: Bulak ProjektMarek Bulak and Piotr Grochowski

Interior designers: ArcheKatarzyna Grochowska, Wojciech Koleda, Jagoda Dyszkiewicz and Elzbieta Laszczka.

MML ArchitekciPrzemysław Nowak, Paulina Masternak, Lech Moczulski

MIXD - Piotr Kalinowski, Katarzyna Majer-Hola, Joanna Mazurek, and Dominika Niewczas-Januszek.

Bulak Projekt - Magdalena

Mika, Katarzyna Saniewska, Tatsiana Zarembiuk, and Karolina Opałczynska

Photos: Oni Studio and nalewajk.pl.

The spacious entrance of the 17th-century Renaissance palace at 167 Via Giulia, Rome is enlightened by a striking reflective installation by Fabio Mazzeo, art director of Fabio Mazzeo Architects.

At the headquarters of his multidisciplinary firm, he created a mirror of wonders: like Alice’s trip down the rabbit hole, it makes the visitor believe in the impossible.

The large, mirrored wall surface, 4.5 meters wide by 4 meters high, is broken down into several sections, all of which move under their own power. The structure catalyzes the many angles and perspectives of the space in an interplay of constant reflections, re-situating unexpected fragments of the scene in a kaleidoscopic, shimmering image.

Fabio Mazzeo : “As in all our projects, we worked with a tailor’s approach, starting from the specifics of the setting to create a piece that could bring out the unique character of a space with such a strong identity. In the large 60-square-meter hall, empty space prevails over solidity.

The hand-decorated walls depict a forest of Roman pine trees painted white on a silver leaf base, like a kind of virtual winter garden. We wanted to avoid overabundance and excess. That led to the idea of an installation that is neither authoritarian nor imposing, but rather a modern piece that can find a harmonious balance with its historic surroundings. It was designed and built to create a dialogue with the interior and to orient the gaze in space, rather than capture it.”