148
A. Condello
Fig. 12 At Studio KO,
Marrakech. The architects
commissioned Atelier Misto
to craft the YSL museum
model using red porphyry.
Photo: A. Condello, 2019
to safeguard the textiles and preserve the items. The conservation rooms also comprise of a quarantine section where other items, an atelier for dust removal and laboratory for restoration work’ [36, pp. 146–147]. Strikingly, the museum’s open-air
drum courtyard presents a context of weaving in static action.
Apart from time being the essence of crafted luxury, visitors to the museum can
experience not only the creation process, but also observe the reuse of ancient or
forgotten crafts. For example, reusing marble off-cuts for the model and reconstituted marble and other stone chips into terrazzo products as in the museum’s new
pink facades are examples of sustainable crafted luxury. Based on the values of
craftsmanship and recognised for their creative solutions for sustainable constructions, Moroccan building company Bymaro, a subsidiary of Bouygues Construction,
managed the entire project. Bymaro’s tradesmen also comprehensively respected
the detailed technical requirements for the conservation of the Yves Saint Laurent
collection.
A number of more-ish qualities are apparent within the museum’s open-air drum
courtyard, which demonstrates the revelry juncture between the crafting of terrazzo
made with reused marble chips contrasted with the swathes of brick trickery. The exterior brick facades align strongly with aspects of Amazigh textiles as fixed looms. The
A. Condello
Fig. 12 At Studio KO,
Marrakech. The architects
commissioned Atelier Misto
to craft the YSL museum
model using red porphyry.
Photo: A. Condello, 2019
to safeguard the textiles and preserve the items. The conservation rooms also comprise of a quarantine section where other items, an atelier for dust removal and laboratory for restoration work’ [36, pp. 146–147]. Strikingly, the museum’s open-air
drum courtyard presents a context of weaving in static action.
Apart from time being the essence of crafted luxury, visitors to the museum can
experience not only the creation process, but also observe the reuse of ancient or
forgotten crafts. For example, reusing marble off-cuts for the model and reconstituted marble and other stone chips into terrazzo products as in the museum’s new
pink facades are examples of sustainable crafted luxury. Based on the values of
craftsmanship and recognised for their creative solutions for sustainable constructions, Moroccan building company Bymaro, a subsidiary of Bouygues Construction,
managed the entire project. Bymaro’s tradesmen also comprehensively respected
the detailed technical requirements for the conservation of the Yves Saint Laurent
collection.
A number of more-ish qualities are apparent within the museum’s open-air drum
courtyard, which demonstrates the revelry juncture between the crafting of terrazzo
made with reused marble chips contrasted with the swathes of brick trickery. The exterior brick facades align strongly with aspects of Amazigh textiles as fixed looms. The