More great stuff!
... Let´s talk about 21st CENTURY´s CHURCHES (XV)
CHURCH OF THE HOLY CROSS
... designed as a part of landscape ...
KHR Arkitekter AS
Client: Jyllinge Minighedsrad
Built surface: 800 square meters
... The body of the church was conceived as part of the landscape. From the outside, the volume of the building is experienced as two solid stones that form a composition with ecclesiastical overtones. A composition in which the emphasis is on the nave of the church with the choir in dialogue with the old church to the southeast.
... Let´s talk about 21st CENTURY´s CHURCHES (XVI)
... a church on a mountain or a mountain in a church ?...
Jensen & Skodvin Arkitektkontor
Architects:Jensen & Skodvin Arkitektkontor
Location: Mortensrud, Oslo
Design Period: 1998 - 1999
Construction period: 2000-2002
Client: Kirkelig Fellesråd i Oslo, Terje Oterholt
Project Artists: Gunnar Torvund (main altar piece & blue glass sculpture in chapel), Knut Wold (marble piece in chapel)
Interior Architect Furniture: Terje Hope
Structural Engineer: ICG ASA / Einar Johansen, Ola Bjørn Petteresen, Gunnar Fuglerudsveen
Ventilation & Sanitary: Andersen & Johnsen AS, Bjørn Andersen
Budget: €5.5 mill (US $8.42 millions)
Constructed Area: 2.200 sqm
... The church is situated on the top of a small crest with large pine trees and some exposed rock. Geometrically speaking the church is an addition to the existing ground, no blasting and excavation was necessary except carefully removing the thin layer of soil. This technique, among other things, makes it easier to preserve the existing vegetation and topography, thereby adding a dimension to the experience of the building.
... The main structure is a steel framework with a stone wall carrying the roof. A glass facade 90 - 160 cm off the stone wall defines a narrow gallery around the church room. The stone in this wall is built without mortar, thus letting light through, and has one even side, and one uneven as standard. The uneven outside of the internal stone wall is exposed to the outside through the glass facade on three sides of the church. The stonewall is stiffened horizontally by steel plates, 4mm x 250mm, that spans between the columns, inserted into the wall every meter. These plates can stiffen this wall only when the weight of the wall itself is added to this structure. The glass facades are stiffened with “propels” made from steel plates that are inserted into the vertical joints between the glass panes, and to the horizontal steel plates in the stonewall.
Techical information courtesy of jsa.no
Photos courtesy of Jan Olav Jensen and Per Bernsten
... Thanks again for your words. Ah!, ... and thanks too for open the last thread ('Architecture News'), I belive that it will be a new great forum.More great stuff!
THE SREBRNICE CEMETERY
Novo Mesto. Slovenia
... an 'architecture of silence' ...
Srebrnice’s new cemetery forms
the first phase of a larger project
for a forest graveyard which began
as an open competition in 1989.
The ensuing Balkans war and
Slovenia’s seccession from
Yugoslavia put the scheme on hold,
but it has at last been completed to
a design by Ales Vodopivec. The
brief for this first phase involved a
funerary hall with four smaller
attendant chapels, and a separate
ancillary building. Space for some
3000 graves has been carefully
created in the surrounding forest.
Comparisons with Asplund and
Lewerentz’s Woodland Cemetery
in Stockholm (1920) are
irresistible, but the project is also
part of a wider tradition of
restrained Modernism (Vodopivec
describes it as an ‘architecture of
silence’) that engages in a dialogue
with nature in the manner of Kahn
and Aalto and reflects concerns
with ritual and memory.
... Srebrnice cemetery is the first phase of a larger project for a forest cemetery which started as an open competition in 1989. The starting phase covers aprox. 8 hectares of existing forest in which two initial objects are built: an office building and a funeral hall with 4 chapels.
...The design concept was rather simple. That is, to follow the topographical conditions of the existing landscape, making adjustments in it for the establishment of the cemetery and add to it buildings which would relate to the special characteristics of the site. A final goal was to achieve a balanced between the project and the landscape with the architectural design of the future forest cemetery. For that reason several detailed measures were taken: modest and pure architectural forms with no additional ornaments or redundant architectural elements, clear and straight access along the main axis leading through the funeral hall to the forest and grassy burial-fields which follow the existing topography.
... The programme starts at the point where the service facilities are situated and continues toward the funeral hall. While proceeding along this slightly ascending access road, the visitor’s attention is focused on narrow, gradually unfolding views until the entrance complex of the funeral hall appears as a climax point in this visual sequence.
... A long linear concrete wall with a bench along the whole of its side marks the entrance into the cemetery. It acts as a protective screen against the service yard. Perpendicular to it is the service edifice, which begins with a large window of the flower shop and continues in an arrangement of service premises and offices.
... The funeral edifice is located on the optical line of the cemetery. It is composed of two parts: the funeral tract and the funeral edifice. The funeral tract is tripartite: in the line of the valley there is a covered portico. From the portico we enter a fully transparent funeral hall (the main chapel), opening out into the surroundings by means of a large window. The natural scenery forms the background. On the opposite side, the volume of the hall is repeated in a collonade, which offers an intimate shelter.
... The tract of the funeral edifice is an independent building whole. The funeral chapels, placed in a line, are divided by sky-lit patios, which provides the only reference to the outside world. They are planted with greenery.
... The lattice (timber screen), already announced in the facade of the service edifice acts as a barrier. This barrier between the intimate groves of the chapels and the main alley is a thin, translucent line, whose importance is shown not so much in its volume as in its shadows. The lattice ends with a kind of a contemporary death-bell, a sound mobile or tubular bells.
... Nothing new, surprising or exciting is in the buildings; the world of the surrounding nature is reach enough. Architecture seeks a dialogue with its environment, through contrast between the forms of living nature and the strict geometrical order of architecture; between the material and spiritual; between the spontaneous and the rational; between the animate and inanimate. It is a place of tranquillity and peace. In contrast to the world in which we live. This is why the architecture is completely bare, mute, freed of all images and illusions. It is what it is: a haven for the last farewell.
... The materials are as simple and sparse as the organisation of spaces: fairfaced concrete bearing the imprint of timber shuttering, untreated oak panelling used externally and internally, stone on floors, glass in Jansen sections.
Photo courtesy of Miran Kambic
© All rights reserved. www.mirankambic.com
Technical information courtesy of Aleš Vodopivec
Washington DC, USA
... perhaps williamson/williamsom´s proposal was better ...
... The Pentagon memorial will be inaugurated last September 11th, 7 years after of the tragic day. This memorial is the result of a competition won by KBAS Studio, who worked closely with the familiars of the victims. Pre fabrication and computer modelling where vital on the design and construction process of this memorial.
... Adjacent to the point of impact of American Airlines Flight 77, the Pentagon Memorial is a place like no other. Inviting personal interpretation on the part of the visitor, the Memorial provokes thought yet does not prescribe what to think or how to feel. Both individual and collective in nature, the Memorial intends to record the sheer magnitude of that tragic day by embedding layers of specificity that begin to tell the story of those whose lives were taken.
... Organized by a timeline based on the ages of these individuals, 184 Memorial Units are uniquely placed along Age Lines parallel with the trajectory of Flight 77– each marking a birth-year, ranging from 1998 to 1930. Highly articulate in its form and placement, the Memorial Unit is the heart of the project, as each Unit demarcates a special place dedicated to each individual. As such, directional orientation inherent to the cantilevered Unit provides specificity to whether an individual was aboard Flight 77 or in the Pentagon at the time of impact. Each individual’s name is engraved at the end of the cantilever, hovering above a pool of water that glows with light at night. Fully designed in a 3-dimensional computer modeling environment, the Memorial Unit will be produced through Computer Numerically Controlled (CNC) technologies and cast in a highly specialized Stainless Steel.
The Washigton Post
... Let´s talk about 21st CENTURY´s CHURCHES (XVII)
Almadenejos, Ciudad Real. Castilla-La Mancha Community. Spain
... crease-box church ...
Madridejos & Sancho Architecture Office
... The piece of the Chapel develops about the study and manipulation of a "crease - box", tensed focalmente. It is located on top of a light hillock, turning exactly of reference into the scenery that controls itself from the access to the farm - to a lower level and to two kilometers of distance - showing different visions from the whole trip.
... On having come to the area of contiguous residence, the Chapel surrounds itself, turning this one into piece of draft of the access. The Chapel faces, with a light displacement, according to the axis west. The entry realizes in ascent for the front west, up to coming, already internally, to the focal point, in frontalidad not symmetrical. In this trip interval the variable scale of the crease does that the volume, although compact in a certain moment, it breaks offering a spaces succession closed - compact, open - fragmented, in constant change of times.
... The chapel is thought naked, without artificial light, like a place where the spatial relation exterior - interior determines his attention, his sense: only a cross and an image in the focal point reinforce the symbolic aspects that the project bears.
... On having raised a crease in the box - in the "boite" lecorbusierana - a material only one arises: golden concrete, capable of capturing all the tones demanded from the volume: from catching the direct light, which pops in like one more plane in the composition of the space, up to transmitting the unstable and colored aroma of the dawn. The light surrenders this way to the role of the second material of the Chapel: a material, in contrast to the concrete, fragile, changeable, mobile and unstable, that dominates or disappears.
Photos by arqa.com/Hisao Suzuki
Last edited by Dr.T; September 23rd, 2008 at 08:50 PM.
... Let´s talk about 21st CENTURY´s CHURCHES (XVIII)
... wedding rings ...
... Built like a floating house between huge buildings in Osaka’s harbor, the White Chapel has been designed by Jun Aoki. Countless series of interlinked wrought iron steel rings constitute the walls of this sanctuary.
... The mesh of white rings is simultaneously a structural skeleton and lattice in the chapel. The rings are constructed in section steel block of 25mm of side. The plot is solved welding the rings. The minimal unit is formed by 4 pieces, mounted formed a pyramid of triangular base, with the written circles.
Pictures courtesy of Jun AOKI
Jewish Meditation House
Bosque de las Lomas. Mexico D.F.
... when the only ornament is the light and shades ...
... Religious rules and buildings codes in the Jewish religion are very strict for this kind of places, and a group of schoolars assessed trough all of the process.
... A proyect of this nature must encourage introspection and peaceful visual harmony through a discrete of materials and lighting. The construction is located in a residential area being planned as an isolated construction from the surroundings, an indoor iluminated yard was built. The building facade, interior walls and floors are cladded with Grissal flamed granite.
... The building welcomes the visitor with a 6'4'' wide and 30'high triangular shaped wooden door which leads to an access tunnel in the same shape, creating a solem atmosphere as you enter. This darkening experience at the entrance ends when the hallway opens to a large, double height granite hall iluminated by northern light coming from the indoor courtyard with a tall Dracaena the center and a symbolical abstract sculpture by artist Saul Kaminer as the only piece for decoration.
... No furniture was used inside this place, only a floating bench surrounding the room that is made out of the same wood used in all the building. It also serves to hide all of the air conditioning, speakers and recessed lighting, which adss a dramatical touch. The ceiling is made of dark Cumaru wood and floats without touching any wall and a skylight puts a highlight on this detail.
Technical information courtesy of
Plans and Pictures courtesy of
Last edited by Dr.T; September 26th, 2008 at 02:49 PM.
MAUSOLEUM and TRIBUTE PARK to
JUAN and EVA PERÓN
Museo Quinta 17 de octubre, San Vicente.
Province of Buenos Aires.
... 'no llores por mí Argentina' ...
FERNÁNDEZ PRIETO & Asociados arquitectos
... The project grew out of a National Competition of Ideas by invitation. The jury considered it appropriate to highlight three of the proposals as being carriers of the two values that the final draft should express. In those original papers were present as elaborations and citations: the square as a place of myth originating from October 17, as a stage for dialogue between the people and their leaders; the journey as a historic building standing, as marked path of progress and setbacks, the pantheon as a protective enclosure, as an area of tribute. Thus the three selected studies formed a single team working under the supervision of the National Tribute addressed the final draft.
Insertion into the landscape and monuments
... Traditional forms of the monument are object, exclusive, imposed by scale and distance to a territory to which subordinate. The architecture we propose instead aspires to be, cover, insert. As the movement that inspires, is not a dogma, a priori, is a steady build from the very circumstances. May only be on that site, understood in that landscape. Therein lies its originality.
... Its language may not be that of modernity. It was the first Peronist party which introduced modern architecture as a language of the state public works project, through countless examples and skilled around the country. Low-cost housing, hospitals, educational centers, post offices, headquarters of public companies, airports, etc.. Are concrete examples of this work. The languages are carriers of meaning. Faced with a monumental classical aesthetics, the agenda of the nineteenth century whose values Peronism came to supplant, the work will be proposed as a contemporary construction of new meanings. Do not try to copy beyond aesthetics but to propose their own.
... The project is located in the Quinta 17 de octubre Museum, in the town of San Vicente, Province of Buenos Aires. On the whole, circumscribed by a low brick wall polychrome emerged from the inspiration of Benito Quinquela Martin, has two distinctly different areas.
...The first we can call heritage, is the original nucleus La Quinta, organized with a trace organic garden and, typical of suburban buildings pintoresquistas for a second home in the 40s.
... The other area we call the interpretation or theme, an area built on a relatively recent for public use after the construction of the museum, with its exhibition halls and auditorium, retrieval and display of the president's train, and close to access the introduction of the sculptures rescued, originally designed for the monument to Descamisado. They represent one of the most emotional moments of the route, where the same pieces of marble can be seen that the commemoration aimed to make the Peronist party of social rights and destructive reaction to them during the dictatorship of'55. The largest area of this second area is occupied by a lush forest in which rainwater pipes up a small stream of water and mirror, forming an area of high landscape value.
Tribute Park and Mausoleum
... Bordering the museum and with the backdrop of the forest is the site chosen for the Tribute Park, preceded by a row of two major mountain ash and eucalyptus
... The mausoleum, which is traditionally understood, is a grand funeral monument, which imposes distance and subordination to the observer. The proposal by contrast materializes in a large public space travel, appropriable, in which the visitor is an active, vital part of the ceremony.
... The geometry of the new park is a regular route, a new imprint coupled with the territory. Is inserted reorganizing the area of interpretation, where the new presence becomes focus of the composition finally ordering the property. From the entrance, after crossing the line in the mountains of ash and eucalyptus trees, you reach the central square and the town square, where soil and minerals and plantation characteristics of each of the provinces representing the federal presence.
... In contiguity follow various scenarios: the memorial, the line of life, the square of encounter, the pantheon itself, and the return to the forest and the lake or the return to the circuit of interpretation at the museum and train.
... The square of the encounter is covered in its central area by a ship of major proportions, determining the prospect of taking on vault and the vertical scale, now in insight.
... This space is the highest rating of all, the final forming. It changed the visual, light, textures, reflections. The eardrum-oriented park, marble translucent, allowing daytime screening of natural light beams at night and reflect their status to the outside of the lighthouse. The forward-forest is transparent. A large glass prism is the container of the box from the bodies and the focus of the main perspective. At its bottom is cut a large eucalyptus, the tallest tree in the forest. Death has depth and continuity of life.
Technical information courtesy of:
Pictures courtesy of:
Last edited by Dr.T; September 26th, 2008 at 05:14 PM.
... Let´s talk about 21st CENTURY´s CHURCHES (XIX)
GUEST HOUSE FOR THE PILGRIMS
AT SANTA GEMMA MONASTERY
Monastery of the Passionated Nuns of Santa Gemma. Lucca. Tuscany. Italy.
... a place to stay and pray near Florence ...
Pietro Carlo Pellegrini
Client: Monastery of the Passionated Nuns of Santa Gemma
Built-up surface: 516 square meters
Date of completion: April 2005
... The Guest house for the pilgrims was conceived in substitution of old buildings that were spontaneously born in the 50's, without a total plan and placed inside the property of the S. Gemma Monastery in Lucca.
... The cloister encircles an inner garden and culminates in the central volume where is located the chapel. Although the chosen materials establish a chromatic dialogue with those of the Sanctuary, a different treatment gives them an own distinctiveness. The new building is therefore recognizable in its individuality and in its tie with the pre-existence.
... The natural copper of the cover recalls the oxidized copper of the cupola, plaster in large grain recalls the smoother plaster of the sanctuary's walls, the colour tobacco detaches from the great cream volume of the sanctuary.
Technical information courtesy of:
Pietro Carlo Pellegrini Architect
Photographs courtesy of:
JARDINES DE LA PAZ
Tanatorio Chapel & Crematory
La Palmera de Fundo de Villa Avenue, km.19,
Villa El Salvador. Lima. Perú.
... the crematorium performs two differents functions:
one mystic, the other practical and real ...
Date of commencement of project: July 2004
Date of completion of project: November 2005
Built-up Area: 1,014.83 square meters
Cost of Construction/Execution: $350,000
... The project is located in the peripheral area of Lima, in Peru. Close to the ocean and to a highway, it was planned to be on the higher portion of the land in order to become the focal point to the public view.
... The complex is composed of a chapel, a crematory, and some spaces for vigil, coffee shop, administrative spaces and public restrooms.
... The buildings are situated around a circular plaza that gives place to the different situations during the ceremonial happenings. An abstract monument that refers to a cross was placed in the center of the plaza to call attention and announce the complex. The plaza also establishes the organization of the support buildings adjacent to the principal one: the chapel.
... The chapel has capacity to two hundred people and was planned using a clean design with lots of wholes in geometrical shapes, which allow the natural light to get in, creating a unique atmosphere to the religious place. Designed basically from straight lines, the altar is the center of interest inside the building.
... The Crematorium holds two different functions: one mystic, regarding the cult to death; the other practical and real, concerned about taking care of the corpses, from the burn process up to the last homage. This dual functionality is also showed off by the design of the building. Ascending lines with artistic compositions in the ceremonial spaces are positioned close together to the rational, austere and ascetic place where the furnaces are located.
... The design was based on basic shapes, simple lines and white color, attributing to the complex a not bounded in time status against the realistic urban scene that surrounds it.
Courtesy of Metropolis
ST. MARY OF THE ANGELS
... Let´s talk about 21st CENTURY´s CHURCHES (XX)
St. Lawrence Cemetery Chapel
... new modern forms in the oldest cemetery ...
Total Floor Area: 110 square meters
Client: R.K. begraafsplaats Rotterdam
... The new chapel is situated in the middle of the grounds in the center of a star-shaped system of paths connecting the graves.With its impressive roof, its golden ceiling and wavelike "moving" wall, the new chapel exhibits the sensual elements of the baroque.The stone foundation walls of the old neo-Gothic chapel form the pedestal, "the footprint", for the new building.
... The insides of the walls radiate in an intensive, deep blue; analogous to the robe of the Virgin Mary and the primary colour of many paintings from the Renaissance. Containing text passages from the burial liturgy in different languages, the walls mirror Rotterdam's cultural diversity.
... The intimate inner room has an aura of contemplative stillness and austerity.The path of the mourners leads in one continuous movement through the flowing frame-formed rooms of the chapel. The dynamic design of the room lends the consecration ceremony a distinct setting, which in its "unrestrictedness" impressively reflects the Christian ideas of life and death.
... Like a folded piece of paper, the chapel roof floats above the interior as a golden, unbroken surface. Two almost round surfaces within the concrete floor covered in stone mark the position where the priest and the congregation stand.The golden ceiling is artificially lit from below, making it glow with a gentle lustre, and an opening in the roof illuminates the polished concrete altar in concentrated daylight.
Technical information courtesy of:
Photos courtesy of:
THE BROTHER CLAUS CHAPEL
... Let´s talk about 21st CENTURY´s CHURCHES (XXI)
Mechernich, Wachendorf. Germany
... design in concrete ...
... The Brother-Claus-Chapel is sanctified to the holy Niklaus von Fluehe, so called Brother Claus1417-1487. The chapel was built 2005-2007 with Swiss architect Peter Zumthor.
... On his own ground donated and built by farmer Hermann-Josef and Trudel Scheidtweiler, the whole family and helpers to praise god and in honor to Holy Niklaus von Fluehe
... The 112 tree trunks that were used for the wigwam-like structure were taken from a wood belonging to the client. The trunks were then positioned in a cone shape, leaving an oculus at the top. Concrete was poured onto the wooden structure at the rate of one level per day, making 24 layers for a total height of 12 metres. At the end, the wood formwork was burnt out.
SKETCH and TECHNICAL DRAWINGS
All photos courtesy of
thomas_mayer a r c h iv e
Sketch and Technical Drawing courtesy of:
Last edited by Dr.T; September 29th, 2008 at 09:39 AM.
DÜSELDORF AIRPORT MEMORIAL
... ellipsoid prayer ...
HANH HELTEN + ASSOZIIERTE
Ulrich Hanh / Günter Helten
... The newly created space is a place of silence, meditation and remembrance of visitor. Within the extreme bustle of the new airport is next to a cross-denominational prayer and meditation site of the place where the victims of the fire disaster of 11 April 1996 in an appropriate manner thought to be.
... Through a glass sheath to get into a gradually expanding preview room. On the right side of the room slices taken from basalt. Bright light room-high glass panels guide visitors from there in a spiral movement inside. This inner meditation room is a delicate, ellipsoids, plastic strips body. You take it as a parallel series of vertical space slices, with the elliptical shape outside the record and cut inside a rectangular profile show. The central axis of the space is through a break in the wall lamellar structure in the ceiling to read and illustrates the 'ostausrichtung' of the ellipse shape.
... A surface water serves as the focal point of the visitor. He is projecting his own image and thus on the place itself beyond that.
... After moments of reflection, the visitors leaving the prayer room on the aforementioned basalt slices to the inscriptions by the incident, 11 April and his murder victims.
Photos and Technical Information courtesy of: