FACULTATEA DE ARHITECTUR G.M. CANTACUZINO UNIVERSITATEA TEHNIC GH.

ASACHI: DIN IAI

CENTRU ECUMENIC VLDICENI IAI

Piesa de mobilier

Sousanil, Santa Maria da Feira , Portugal

stud. arh. Albert Andrei ndrumtor. profesor. Asist. Drd. Arh. Corneliu Ciobnau

1.Ecumenismul in contextual crestin actual.3 2.Istoric al evolutiei cladirilor cu character religios. 3.Exemple arhitecturale cu caracter religios. 4.Analiza amplasamentului.. 5.Tema de proiectare......... 3.Exemple arhitecturale cu caracter religios
Cultural and Spiritual Russian Orthodox Center in Paris SOURCE: DeZeen Magazine Cultural and Spiritual Russian Orthodox Center in Parisby Arch group and Sade Sarl In March Russian architects Arch-group and French studio Sade Sarl last week won an international competition to design a Russian Orthodox church and cultural centre beside the Eiffel Tower in Paris.

The Cultural and Spiritual Russian Orthodox Center will include a large public garden surrounded by a glass wall of multimedia screens.

A glass canopy will swoop over part of the garden, joining the stone cultural centre and church with nine golden domes.

See also: Dezeens top ten churches

The information that follows is from Arch Group: The Russian Orthodox culture and religion, which are based on spiritual traditions, are playing an extremely important part in Russias attempt to overcome its present difficulties and are a source of moral direction for a considerable part of the population. The task of creating a modern, positive, and open image of Russian Orthodoxy follows from the fact that knowledge of Russian Orthodox culture is essential for understanding and interacting with Russia. And yet Russian Orthodox culture is at the present time poorly represented in

Europe. The creation of a Russian Orthodox cultural centre in Europe will help strengthen international relations and is of enormous importance from the point of view of education and culture. By making this cultural centre a combination of tradition and modernity it will be possible to attract visitors from all generations, including young people.

Urban planning The complex in question is situated at the intersection of quai Branly and avenue Rapp, which together form place de la Rsistance. The complexs rear faade faces onto rue de lUniversit. The site is located in the eastern corner of the large triangle formed by avenue Rapp, quai Branly, and avenue de la Bourdonnais. The sites north-eastern corner looks out over place de la Rsistance in front of Pont de lAlma. This corner correlates with the corner of the building on the other side of the square, at the intersection of quai dOrsay and avenue Bosquet.

An important aspect from the point of view of urban planning is that the design project features an emphatic rounded Parisian corner corresponding to the principles which have shaped the existing layout of the surrounding built-up area. This corner and the northern faade shape the view from Pont de lAlma, which is an important and lively main road linking the 7th and 8th arrondissements. The sites northern faade faces quai Branly, which is part of the tourist walk from Notre Dame to the Eiffel Tower. The architectural design of the buildings north faade and its use of media screens are of especial importance given the intensity of traffic on Pont de lAlma and the pedestrian flows along quai Branly.

Directly abutting the complex on quai Branly is an old palace building. On the other side of the palace is a world-famous museum (designed by Jean Nouvel), which has a wall of glass facing the embankment and screening off its garden and Modernist multi-hued museum block. In this way, the palace is incorporated in the dialogue between two modern complexes framing it on either side. One of the most important components of the design here proposed is the large garden, which occupies the entire site. This garden is open to the public, and in it stands the Russian Orthodox church. The axis of the church coincides with the axis of symmetry of the lateral faade of the palace. In this way, the proposed design not only brings a picturesque garden to the embankment, but visually liberates the side faade of the palace, which joins with the church in forming an axial, symmetrical composition of the kind that is traditional for the old centre of Paris. The design involves the creation of a new internal alley on the site, running between the existing palace and the Russian Orthodox church. Entrances are likewise to be created on rue de lUnviersit and avenue Rapp. The entrance from avenue Rapp is intended for people entering the church on festive occasions and for processions of the Cross.

Architecture General principles: The principal architectural idea behind the complex is to employ traditional church architecture in a modern cultural and religious complex. The unifying element is a

transparent canopy, which descends from the domes of the church, covers the garden, and bends around the reconstructed corner building. By linking all the parts of the complex, the canopy gives it integrality, reflecting the fact that religious and secular functions are here combined. The integrality of the ensemble also makes it possible to meet urban-planning challenges and to recreate the corner of one of Paris central street blocks. The entire look of the complex aims to create a positive, open image of Russian Orthodoxy one that will make the latter attractive and interesting to parishioners and to inhabitants of and visitors to the city of Paris. The architecture of the complex should attract new people of all ages and kindle in them an interest in Russian spiritual culture. As in traditional Christian church complexes, the entire area around the church is a garden with a perimeter wall. In the design here proposed, this boundary is more symbolic than real since it consists of a glass wall made from coated glass of reduced reflectivity. This makes the complex open to the sun, air, and the gazes of people looking in. The glass wall is a media faade on which static and dynamic images may be displayed, together with announcements of forthcoming events at the cultural centre, exhibitions, religious holidays, images of icons, and so on. The project allows for the possibility of using innovative new-media ideas to create a second, interactive reality in both open and closed space, and to set up an interaction between holographic characters and objects and the real world, creating a new type of communication in real time. This generates enormous scope for putting together a large number of programmes for spiritual, cultural, and aesthetic development and for drawing the attention of people from different generations (and especially young people) to the activities of the centre. The church is situated at the spot where the ribbon of the canopy and the ribbon of the garden, coming together in the corner building, divide in two as they approach the embankment. Passing through the entire site is a new alley, which is paved with large slabs of stone with grass growing between them. This alley creates a through passageway from quai Branly to rue de lUniversit, giving access to all parts of the cultural and religious complex namely, the church, garden, and corner building. The project uses three main materials white stone for the church (symbolizing Russian tradition); Paris stone for the corner building; and glass for the canopy (symbolizing openness and protection at the same time). The canopy covers the three main parts of the complex the church, the garden (which occupies the entire site), and the reconstructed Parisian corner building, which accommodates all the remaining functions.

The church: In the centre of the site and in the centre of the garden, behind the glazed media faade overlooking the embankment and avenue Rapp, stands the Russian Orthodox church. The project envisages building the church in a style deriving from the 14th to 16th centuries as a pure and simple structure which will be especially clearly legible against the background of the side faade of the palace. The church faces strictly east, with a deviation of no more than 5 degrees. The church has five domes and three naves and lateral sanctuaries. Its main volume conforms to the elongated proportions of the traditional church, but the floor area of the interior is approximately 400 m2 as a result of the expanded lower part. There is a possibility of creating a smaller, single-altar underground church (crypt). The church is to be in the style of the 14th to 16th centuries and constructed of large slabs of white limestone specially imported for this purpose from Russia. The main, western, entrance to the church is from the new alley. There are two additional entrances on the south and north sides which may be used on festive and ritual occasions. In front of the northern entrance, there is a small square in the garden where people may stand in front of the church on days when there is largescale attendance. The northern entrance can also be used for the Procession of the Cross which will enter the complex from avenue Rapp, go round the complex along the embankment, and return along the new alley. The domes are to be constructed using a special technology which will give them a traditional appearance during the day, but allow a golden light to show through the paint at night. All the drums of the churchs domes are glazed, allowing the interior of the church to be lit by soft and dispersed natural light during the daytime. The windows of the drums and of the walls of the church are designed in such a way as to avoid direct sunlight, especially near the Royal Gates. The interior will have traditional wall paintings in the style of Andrey Rublev. The western sanctuary at the main entrance has a staircase leading down to the lower church. The choir is situated on the second tier on the western wall and is accessed

via a small spiral staircase. The main church has a maximum capacity of 600 persons, while the lower church can accommodate 400. The church may be used for public events and events of a cultural as well as religious nature, so as to stimulate interest in Russian Orthodox culture. The garden: The garden in our project has important symbolic significance. Thanks to the system of terraces and the green roof and terraces of the cultural centre building, the garden occupies the entire plot of land starting from the embankment, continuing behind the church, and ascending the terraces of the corner Parisian building to the bell-tower. The low bell-tower forms the highest point of the complex (with the exception of the domes); it stands in the garden, on the roof of the corner building. The green terraces and roof, onto which there is a way out from both the residential floors and the cultural centre, will offer an unusual view of Paris and of the complexs canopy and domes. The lateral axis of the garden is formed by the absolutely straight line of the new alley, which is complemented by a romantic Russian garden on three levels. Most of the plants in the garden are Trinity greenery of the kind that is traditional in Russia birch, spruce, maple, lime, and ash. This fits in with the fact that the church in the garden is dedicated to the Holy Trinity. Inside the internal radius of the whitestone wall in the corner facing Pont de lAlma is a small lake with a gurgling spring and a small relaxation area shielded from noise and other peoples gazes. On the corner of quai Branly and the new alley three existing trees are to be preserved. They will become an organic part of the garden, serving as a symbol of a tactful and caring attitude to the history of this site and of the city as a whole.

The cultural centre:

The project contains no separate building for the cultural centre: the entire complex under the canopy is a spiritual and cultural centre. The boundaries of this centre are the glass mediafacades facing quai Branly and avenue Rapp and the facades of the corner building. All the functional areas, including the conference hall, exhibition hall, and so on, come together in the reconstructed Parisian building on the corner of rue de lUniversit and avenue Rapp. This kind of unification of secular, residential, and office functions, and of the seminary and parish rooms in a single building means that these spaces can be used with great flexibility in the future and with maximum rationality at the present time. This building makes the entire complex seem to grow out of the historical flesh of Paris. Part of the faade of the reconstructed building on the edge of the plot will be preserved unmodified. It will gradually turn into a new, modern faade created from recycled blocks of stone taken from the facades of the building that has been dismantled on this site. The part of the building which borders the garden will be partly taken apart. This will create a system of terraces descending from the green roof right into the garden. This greened cascade with its small picturesque staircases will create a continuous green band beginning at the embankment and ascending right to the roof of the building, where the low bell-tower stands. The two top residential storeys are set back relative to the bottom storeys and screened by a transparent glass-less mesh, the latter being what the canopy covering the garden turns into. The set-back walls and balconies of the residential storeys are greened. In the depths of the plot, on the inner side of the corner building, two storeys are to be built onto the existing annex. This will give additional space for the use of the parish and seminary. The faade of this annex consists of narrow vertical screens arranged in such a way as to provide privacy and visual comfort in spite of the proximity of the palace. The conference hall of the cultural centre is in the basement, under the garden. The entrance to it is from the main hall of the reconstructed building. Inside, the building has an atrium stretching to its full height and admitting natural light to its basement level. Given the different functions that are to be accommodated on different floors, the perimeter of the atrium is to be glazed; this will ensure acoustic comfort and compliance with the French fire-safety regulations. The central hall and atrium will contain the main staircase linking all the storeys. There are to be separate staircases for the two residential storeys. In this way, the different functional flows are to be divided, but in the event of fire there are sufficient evacuation routes from all storeys.

Functioning The main entrances to the complex are on the new alley from quai Branly and rue de lUniversit. An additional entrance from avenue Rapp may be used during mass events and festive occasions. To provide for such cases, there is a small square in front of the southern entrance to take pressure off the main alley and accommodate a large number of visitors and parishioners beside the church. Processions of the Cross may pass through this square. Access for automobiles, including to the 15 parking spaces, is from rue de lUniversit, through two pairs of gates that form a security buffer. Festive and ritual processions may drive up to the church along the new alley, directly from the embankment and, driving right through the complex, emerge onto rue de lUniversit.

On entering the complex from the embankment, visitors find themselves in a garden that ascends in front of them up a series of terraces. Advancing along the picturesque alley alongside the historical faade of the palace, they will approach the church. If they do not intend to visit the church itself, they may simply stroll through the garden, sit by the lake and spring, or ascend, in the company of a member of the complexs staff, through the terraces to the bell-tower in the garden on the roof of the corner building in order to enjoy a fine view of the complex and of Paris to boot. Continuing on their way, they may enter the cultural centre and the central hall in order to gain access to the offices, seminary, parish rooms, or residential storeys. On reaching rue de lUniversit, the new alley finishes in a covered section giving access to the cultural centre and conference hall. This zone may be closed off on its outside in order to restrict access to the complex, or may be screened off from the church by a sliding wall; in this way flows of visitors to the cultural and religious parts of the complex may be separated. Entering the corner building from rue de lUniversit, visitors find themselves in the central hall and atrium. On this floor there are administrative spaces and rooms belonging to the parish. The central main staircase and central pair of lifts give access to the office storey and the seminary. Descending, visitors come to a green recreational area with natural daylight entering through a skylight in the roof. This floor contains the parish archives and dining room. All the kitchen facilities serving the cultural centre, dining room, and

residential floors have been reduced to a kitchen block in the basement; this block delivers food to individual floors using various lifts. The atrium supplies the kitchen with natural light. In the basement is a gallery linking the crypt with the atrium of the corner building. Abutting this gallery are technical spaces accommodating the complexs utilities systems. In addition to the central lifts and main staircase, there are two independent vertical communication shafts ascending from the central atrium. These are separate blocks of lifts and staircases for the seminarists living on the fourth floor and for the priests living on the fifth. To provide for emergencies, the doors are to be fitted with anti-panic locks and it will be possible for all floors to use these staircases simultaneously as escape routes. The residential floor occupied by the seminarists will have a small common dining room with a way out onto the terraces.

Construction Basement: Between the church and the corner building there will be a basement level accommodating the cultural centres conference hall. The church is also to have a basement level. These spaces will be joined together into a single system, which will also incorporate the basement of the existing building. This basement will be slightly expanded to accommodate technical spaces used in the operation of the buildings utilities systems. French engineering companies are some of the best at designing basement structures in areas with high levels of ground water. From the structural point of view, a watertight concrete basin will be built on this spot. In the church this basin will be clad with full-size blocks of white stone. No underground works are to be carried out in the area nearest the River Seine. The church: With five domes and three naves, this traditional-style church is made from massive

blocks of white limestone. The exterior walls are one metre thick. Inside, the vaulting is supported by four massive round columns of stone. The construction is traditional, being based on similar churches from the 14th to 16th centuries. The cultural centre: The existing building on the corner of rue de lUniversit and avenue Rapp is to be preserved; this will involve partial use of both the buildings structural system and its existing facades. The buildings right-hand wing will be partially dismantled in order to create terraces. The two-storey addition at the rear will be made of reinforcedconcrete and metal structures. The roof and terraces will have a layer of earth between 0.3 and 1 metre thick as a bed for trees and bushes. The new faade of the corner building will be clad in stone blocks taken from the dismantled neighbouring Meteo France building. The existing floor panels will be cut to create an atrium stretching the full height of the building. The garden: The garden is divided into three parts: a lower garden around the church, a terraced garden in the partially dismantled building, and an upper garden on the roof of the Universit building. All three gardens will be watered using rainwater collected in cisterns. All the gardens have lighting and sound provided by a modular installation giving adjustable (partial or full) lighting and sound. Fence: The complexs fence is a glass wall consisting of two panes of glass one on top of another. Each pane is 4 x 4 metres, the maximum size made by Saint Gobain, the leading world producer of architectural glazing. The entire construction is supported by glass piers positioned on the inner side of the fence. Use is to be made of a special coated and non-reflective glass. Between the panels of glass are gaps, and the entire wall is considerably lower than the canopy. The piers at intervals of 4 metres and the gaps between the glass panels improve the walls acoustics, preventing sound waves spreading along its surface, which extends for 200 metres along avenue Rapp. The canopy: The structural rhombic mesh of the canopy is supported by the church and four treelike columns standing in the garden. In those places where the structure kinks, it is reinforced by internal hawsers. When it reaches the corner building, the canopy turns into the mesh of the second faade; here, however, it is without glass. The basic element of the structure is a rhombus based on a rib approximately 5 x 30 cm high. The rib of the mesh is triangular and narrows towards the bottom. This makes it possible to bring more light into the garden under the canopy and to impart to the structure a light, lacelike appearance as of something in flight. This is a lightweight and transparent structure that admits sufficient light for the trees in the garden, while

also standing up well to atmospheric conditions.

Sustainability The main technology proposed by our French engineers is the creation of a selfwashing roof. The water used to wash the roofing subsequently helps to heat the building. The essence of this proposal is that the exterior of the entire canopy is to be covered with a thin film of flowing water which is heated by the sun as it flows. This warmed water is then collected in underground reservoirs that preserve heat in the same way that a thermos does, and is used to warm the building. This will help save energy during operation of the cultural centre. Another proposal is to install a large number of photovoltaic and thermal panels on the mesh of the second faade. A pleasant environment for residents of and visitors to the complex, as for passers-by, will be created by the large volume of vegetation. The garden in effect has a floor area equal to the area of the site; this will improve the environment in this district as a whole. The recycling of the faade stone of the dismantled buildings, the working of this stone on site, and the partial use of the corner building will reduce the amount of construction materials required to build the complex and will dramatically cut use of transport during construction. Overall, this will reduce harmful emissions attributable to the building of the complex. To look further ahead, the prevalence of natural materials (glass, stone) used in construction of the complex will have a favourable effect on the complexs functioning and on its environmental impact on the district and arrondissement. Cultural and Spiritual Russian Orthodox Center in Paris Architects: Manuel Nunez-Yanovsky,

Mikhail Krymov, Alexey Goryainov FOTO: In ce hal arata un proiect pentru Russian Orthodox Church and Cultural Center din Paris

Conform articolului Russian Orthodox Church and Cultural Center / FREAK freearchitects , in octombrie 2010, Federaia Ortodox Rus a lansat o competiie internaional n scopul de a proiecta i construi n Paris noul centru cultural i spiritual ortodox. Cldirea va gzdui preoi ortodoci, o biseric, sli de expoziie, sli de conferine, birouri, bibliotec. Ansamblul va oferi vizitatorilor o gradina generoasa pentru procesiuni religioase. Imaginile sunt ale unuia dintre proiecte. Se asorteaza cu turnul Eiffel si cu deja celebra piramida din Paris Ce e ortodox in ciudatenia asta de constructie de tip Razboiul Stelelor, nu stiu. Eventual crucea, dar si acea realizata dibaci, ca sa calce oamenii pe ea:

Santa Anas Chapel by e|348 arquitectura

Sousanil, Santa Maria da Feira | Portugal | Completed 2010

photographer: Fernando Guerra

photographer: Fernando Guerra

photographer: Fernando Guerra

In the beginning of the year 2009 we were commissioned the Project of a Chapel honoring Santa Ana, in a small, triangular piece of land, in Sousanil, Santa Maria da Feira. Visiting the site, we noticed that the given location of the Chapel was in the intersection of five streets/roads, and at the bottom corner of an ascending topography. We noticed also that this topographic condition was the perfect stage for celebrating Santa Anas festivities, occurring in July 26th every year, as locals already do. The amphitheatre shape of the site, allows exterior mass celebration were everyone has optimal visibility conditions, promoting their participation in the ceremonies. This circumstance was the leading key for the entire project. The building to develop would materialize the edification of the bottom edge of this spontaneous sanctuary, improving the conditions for celebration along with the creation of a singular building capable of housing Santa Anas devotion. The So Pedro das guias Church is a small singular Romanic building of the XII Century, built next to the Tvora river, in a granitic slope.

Its dimension, and close relation to topography and surroundings, teaches us that spatial qualities do not depend on size, instead they rely on integration ability, reacting to surroundings to generate unique and singular spaces. Notre Damme du Haut, is an reference in the recent Architectural History, and we read it as an iconic building that spots the landscape, making use of sculptural forms, and rough materials and finishes, with well measured limitation to light entrance. It is also inspiring the relationship with the exterior space. Mass celebrations took place outside the building, which is in fact, the main reason for the organic shape of its walls acoustics, sound propagation. The triangular ground given to Santa Anas Chapel, suggested the creation of a L shaped building, allowing to organize the exterior space, and to dispose properly the inside building program. It is developed in one level, varying only its height towards the altar and the head of the chapel. It creates a Scenario to the outdoor mass celebration, and visually scores landscape, assuming, as befits a place of worship, as an exceptional building, creating a strong visual reference towards its surroundings. The main entrance is oriented towards West. Entering, an ante-chapel where the image of Santa Ana is located, creating a space for worship and devotion on the first moment. After, we reach the nave, with a capacity of about 30 people, with the altar in the background. The aesthetic principles leading the design look for the magnification of the religious experience by working the largest source of religious and architectural inspiration, the light. So, as So Pedro das guias, the space is all closed, massive ascending walls punctuated with thin fenestrations. This light control not only refers to So Pedro das guias, where there are only seven of this windows, but also to Ronchamps interiors, where the distribution of fenestration creates the correct ambience to elevate visitor to a meditation and contemplation level. The exterior space materializes the spontaneous amphitheatre as to accommodate audience in exterior celebrations. Looking at Notre Damme du Haut, we created a balcony under the bell and over the audience, becoming the only extension of the building towards its exterior - an almost sculptural moment. All the building interiors and furniture where designed by "e|348 Arquitectura" Santa Anas chapel is the result of some peoples strong will to build a place for devotion that is able to gather together people around a place, connecting history and present, serving its religious purpose, and, most of all, serving urban enhancement and social cohesion.

photographer: Fernando Guerra

photographer: Fernando Guerra

photographer: Fernando Guerra

photographer: Fernando Guerra

photographer: Fernando Guerra

photographer: Fernando Guerra

photographer: Fernando Guerra

photographer: Fernando Guerra

photographer: Fernando Guerra

photographer: Fernando Guerra

photographer: Fernando Guerra

photographer: Fernando Guerra

photographer: Fernando Guerra

photographer: Fernando Guerra

photographer: Fernando Guerra

photographer: Fernando Guerra

photographer: Fernando Guerra

photographer: Fernando Guerra

photographer: Fernando Guerra

Ecumenical Forum HafenCity / Wandel Hoefer Lorch + Hirsch

Courtesy of Wandel Hoefer + Lorch Architects: WandelHoeferLorch+ Hirsch Location: Shanghaiallee,Hamburg , Germany

Architect In Charge: WolfgangLorch,AndreaWandelProf. Project Manager: FlorianGotze Collaborators: Dirk Lang,BrunoDi Franco,KimberlyRubert, NikolausHirsch,AndreasSchmalz,JohnVogt Area: 6,400sqm Year: 2012 Photographs: Courtesyof WandelHoefer+ Lorch

Courtesy of Wandel Hoefer + Lorch

The Ecumenical Forum is a sacred and a residential and office building. The only chapel in the HafenCity had been created from the association of 19 Christian denominations. The Forum combines two different building typologies: The town house with its perimeter block development incorporated in the urban context and the sacred building with sculptural embossment setting urban accents.

Courtesy of Wandel Hoefer + Lorch The buildings three sculptural embossments highlight the religious key aspects of chapel and City convent displayed in the facade as concave shapes with the typical attributes of Christian churches: cross and bell. The concave form of the chapels apsis is facing towards the courtyard. The entrance to the chapel is located at the intersection of Shanghaiallee and Steinschanze.

Courtesy of Wandel Hoefer + Lorch The public facilities on the ground floor (chapel, cafe, info centre and function room) are linked with each other and can be flexibly used. The offices on the 1st and 2nd floor are designed as fIexibly separable combi-offices with 15 m depth as steel skeleton structure. The upper residential floors and the office floors are either lettable church-related or freely. Common rooms and links of both staircases encourage Christian living. The 6th fIoor houses the City convent and guest area. The roof terrace can be reached barrier-free and is available to residents and for events.

Courtesy of Wandel Hoefer + Lorch In the tradition of Hamburg architects such as Fritz Hgers Chile House a contemporary expressive large scale shape has been achieved with the offset of red clinker bricks according to the concept of a red Hamburg. The embossed facade creates a changing play of shadows. Clinker bricks with embossed individual themes and symbols are used in the chapel./ The Ecumenical Forum has received the HafenCity environmental pre-certificate in Gold for excellent energy efficiency using geothermal and solar energy.

Plans

Courtesy of Wandel Hoefer + Lorch

Courtesy of Wandel Hoefer + Lorch

Courtesy of Wandel Hoefer + Lorch

Courtesy of Wandel Hoefer + Lorch

Courtesy of Wandel Hoefer + Lorch

Courtesy of Wandel Hoefer + Lorch

Courtesy of Wandel Hoefer + Lorch

Courtesy of Wandel Hoefer + Lorch

Courtesy of Wandel Hoefer + Lorch

Courtesy of Wandel Hoefer + Lorch

Courtesy of Wandel Hoefer + Lorch

Courtesy of Wandel Hoefer + Lorch

Courtesy of Wandel Hoefer + Lorch

Courtesy of Wandel Hoefer + Lorch

Courtesy of Wandel Hoefer + Lorch

Courtesy of Wandel Hoefer + Lorch

Courtesy of Wandel Hoefer + Lorch

Courtesy of Wandel Hoefer + Lorch

Courtesy of Wandel Hoefer + Lorch

Courtesy of Wandel Hoefer + Lorch

Courtesy of Wandel Hoefer + Lorch

Courtesy of Wandel Hoefer + Lorch

Courtesy of Wandel Hoefer + Lorch

Courtesy of Wandel Hoefer + Lorch

Courtesy of Wandel Hoefer + Lorch

Courtesy of Wandel Hoefer + Lorch

Courtesy of Wandel Hoefer + Lorch

Courtesy of Wandel Hoefer + Lorch

Plan Site

Plans

Sections

vSunset Chapel
Mexico City | Since 2005 AboutList of projects

Sunset Chapel by BNKR Arquitectura

photographer: Esteban Surez

photographer: Esteban Surez

photographer: Esteban Surez

Our first religious commission was a wedding chapel conceived to celebrate the first day of a couples new life. Our second religious commission had a diametrically opposite purpose: to mourn the passing of loved ones. This premise was the main driving force behind the design, the two had to be complete opposites, they were natural antagonists. While the former praised life, the latter grieved death. Through this game of contrasts all the decisions were made: Glass vs. Concrete, Transparency vs.

Solidity, Ethereal vs. Heavy, Classical Proportions vs. Apparent Chaos, Vulnerable vs. Indestructible, Ephemeral vs. Lasting The client brief was pretty simple, almost nave: First, the chapel had to take full advantage of the spectacular views. Second, the sun had to set exactly behind the altar cross (of course, this is only possible twice a year at the equinoxes). And last but not least, a section with the first phase of crypts had to be included outside and around the chapel. Metaphorically speaking, the mausoleum would be in perfect utopian synchrony with a celestial cycle of continuous renovation. Two elements obstructed the principal views: large trees and abundant vegetation, and a behemoth of a boulder blocking the main sight of the sunset. In order to clear these obstructions (blowing up the gigantic rock was absolutely out of the question for ethical, spiritual, environmental and, yes, economical reasons) the level of the chapel had to be raised at least five meters. Since only exotic and picturesque vegetation surrounds this virgin oasis, we strived to make the least possible impact on the site, reducing the footprint of the building to nearly half the floor area of the upper level. Acapulcos hills are made up of huge granite rocks piled on top of each other. In a purely mimetic endeavor, we worked hard to make the chapel look like just another colossal boulder atop the mountain.

Design team: Design: BNKR Arquitectura Partners: Esteban Surez (Founding Partner) y Sebastin Surez Project Leaders: Mario Gottfried, Javier Gonzlez & Roberto Ampudia Project Team: Mario Gottfried, Rodrigo Gil, Roberto Ampudia, Javier Gonzlez, scar Flores, David Snchez, Diego Eumir, Guillermo Bastian & Adrian Aguilar

Project partners: Collaborators: Jorge Arteaga & Zaida Montaana Construction: Factor Eficiencia Fermn Espinosa & Francisco Villeda Lighting: Noriega Iluminadores Ricardo Noriega Structural Engineers: Juan Felipe Heredia & Jos Ignacio Bez MEP: SEI

photographer: Esteban Surez

photographer: Esteban Surez

photographer: Esteban Surez

photographer: Esteban Surez

photographer: Esteban Surez

photographer: Esteban Surez

photographer: Esteban Surez

photographer: Esteban Surez

photographer: Esteban Surez

photographer: Esteban Surez

photographer: Esteban Surez

photographer: Esteban Surez

photographer: Esteban Surez

Norwegian Vennesla Library Designed As a Modern Retreat :

Comprising a library, a caf, meeting places and administrative areas and linking an existing community house and a learning center, the Vennesla Library in Vennesla, Norway is quite a fantastic looking building. Helen and Hard Agency were the ones behind this creative library concept turned into reality. Here are a few words from the architects describing the librarys interior structure and architecture : Supporting the idea of an inviting public space, all main public functions have been gathered into one generous space allowing the structure combined with furniture and multiple spatial interfaces to be visible in the interior and from the exterior. An integrated passage brings the city life into and through the building. Furthermore, the new building was open and easy accessible from the main city square, knitting together the existing urban fabric. This was achieved by a large glass facade and urban loggia providing a protected outdoor seating area. Found on Muuuz, the library conveys a soothing

intimate feeling. Underneath the wood structures, shelves containing the knowledge are formed in the alcoves. Some of the undulating shapes shelter folded wooden benches offering readers comfortable seating. If you get the chance to visit this part of the world, make sure you swing by this amazing library, just to enjoy the modern beauty of its design. And send us photos.

4.Analiza amplasamentului

Iai (livresc Iaii, respectiv Trgul Iailor; istoric Jassy sau Iassy) este reedina judeului Iai i principalul centru urban din nord-estul Romniei. Iaii au fost capitala Moldovei n perioada 1564 - 1859, una dintre cele dou capitale alePrincipatelor Unite ntre 1859 i 1862 i capitala Romniei ntre 1916-1918. Conform datelor recensmntului din anul 2002,[1] municipiul Iai numra 320.888 de locuitori i era astfel al doilea ora ca mrime din Romnia. Zona Metropolitan Iai, care include 13 localiti nvecinate, avea o popula ie de aproximativ 400.000 de locuitori. Iaii sunt centrul cultural, economic i academic al Moldovei. Aici a fost fondat i funcioneaz prima universitate din Romnia, Universitatea Alexandru Ioan Cuza, astzi una dintre cele mai prestigioase instituii academice din ar, precum i alte patru universiti publice i apte particulare.[2] Municipiul Iai se afl n partea de Est a Moldovei, n Cmpia Moldovei. Oraul se afl pe rul Bahlui, un afluent al Jijiei, care se vars n rulPrut. Aezare geografic Prin extinderea lui, Iaul este legendara urbe a celor 7 coline Cet uia, Galata, Copou, Bucium-Pun, orogari, Repedea i Breazu, cu altitudini variind ntre 40 m n Lunca Bahluiului i 400 m pe Dealul Pun i Dealul Repedea. Principalele coline sunt Copou, Cetuia, Ttraii Galata. Oraul mai este traversat de rul Nicolina i de prul orogari (numit n evul mediu Cacaina, deoarece aici se aruncau gunoaiele); la rsrit de ora, curge prul Ciric, pe care sunt create artificial trei lacuri cu scop de agrement. Mnstirea Vldiceni este o mnstire de clugri amplasat la marginea municipiului Iai, n localitatea Vldiceni (din comuna suburban Tometi), pe locul numit n cronici "Poiana Vldici". Mnstirea Vldiceni se afl la poalele unui deal mpdurit, de unde se poate vedea ntreaga zon industrial a municipiului Ia i. Drumul care duce la mnstire este un drum asfaltat, dar care nu a fost ntreinut.

Alte construcii Mnstirea este mprejmuit cu un zid de piatr, avnd la intrare un turn-clopotni cu un etaj, care are o deschidere larg. Biserica, construit n stilul bisericilor moldoveneti din secolul al XV-lea este monumental ca dimensiuni i are un pridvor deschis unde sunt pictai sfinii romni canonizai de ctre Sfntul Sinod al Bisericii Ortodoxe Romne n anul 1992. n incinta Mnstirii se mai afl i o fntn cu roat acoperit cu o cupol de tabl. O alt ieire din incinta Mnstirii, are o bolt de piatr i duce ctre un mic cimitir amenajat pentru vieuitorii Mnstirii trecu i la cele ve nice. La 150 de metri nord-est de biseric s-a construit corpul de chilii n form cubic, din crmid, cldire parter i etaj. La etaj are cerdac sus inut de stlpi din lemn cu parapet, grilaj de scndur vopsit n culoarea maro. Cldirea adposte te chiliile, trapeza pictat, buctria, streia. Este acoperit cu tabl zincat. n incint s-a creat un frumos parc cu alei asfaltate. La 100 de metri nord-vest se afl o alt construc ie, din zid de crmid, lung de 80 de metri, orientat de la sud la nord, acoperit cu plci de azbociment. Aici sunt

grajdurile animalelor i fnarul.

Istoria Mnstirii Vldiceni Potrivit tradiiei locale, n anul 1415, domnitorul Alexandru cel Bun i mitropolitul Iosif Muat au ntmpinat la marginea Iaului, n locul unde se afl astzi Mnstirea Vldiceni, alaiul care ducea moatele Sf. Mare Mucenic Ioan din Trapezunt de la Cetatea Alb ctre Suceava, capitala de atunci a rii Moldovei. Cu aceast ocazie, poiana unde a fost ntmpinat alaiul a fost denumit "Poiana Vldici", denumire existent i n cronici [1]. Din acest motiv, dup civa ani s-a ridicat aici un schit, dar acesta a disprut cu timpul. ntre anii 1908-1910, civa clugri au construit n valea Cozmanei din apropierea Poienii Vldiceni o prim biseric a Schitului Vldiceni, spre cinstirea Sf. Apostol i Evanghelist Ioan. ntre ctitorii de atunci, se numr i Arhimandritul Teodosie oriceanu i civa clugri atonii. Opt ani mai trziu, n anul 1918, biserica a fost distrus n ntregime n urma exploziei unui depozit de muniii din apropiere. Din cauza exploziei depozitului de muni ie, schitul a fost distrus, murind mai muli clugri, printre care i Arhimandritul Teodosie. Dup primul rzboi mondial, ntre anii 1923-1928, n timpul pstoririi mitropolitului Pimen Georgescu, arhimandritul Epifanie Demetrescu i ali civa clugri venii n Romnia de la Muntele Athos, au recldit aezarea monahal

distrus construind o a doua biseric. Aceasta a fost grav avariat de cutremurul din anul 1940, iar n timpul celui de-al doilea rzboi mondial s-a ncercat refacerea ei. Avaariat i n timpul rzboiului (1941-1945), biserica a necesitat ample lucrri de renovare care s-au desfurat ntre anii 1957 i 1959. Ulterior, ea a fost folosit ca biseric de mir, filial a Parohiei Tometi. Astfel, dac n anul 1944, Schitul Vldiceni avea dou cldiri gospodre ti, cu rol de chilii, n anul 1959, ele au fost preluate de ctre gospodria agricol de stat, iar biserica schitului a funcionat din acel an doar ca biseric care apar inea de Parohia Tometi. n acea biseric se slujea numai de cteva ori pe an, dar apoi, n anii '60 ai secolului al XX-lea, lcaul de cult a fost folosit ca depozit pentru diverse materiale de construcii i, fiind complet neglijat, s-a ruinat n ntregime [2]. n anul 1992, a fost iniiat refacerea Mnstirii, din ini iativa mitropolitului Daniel Ciobotea al Moldovei i Bucovinei i cu purtarea de grij a episcopului-vicar al Arhiepiscopiei Iailor, Calinic Dumitriu Botoneanul. PS Calinic s-a ocupat personal de ntocmirea formalitilor n vederea obinerii aprobrilor necesare. Sfntul Sinod al BOR a aprobat nfiinarea mnstirii i, n anul 1995, locul unde se va construi biserica a fost sfinit de IPS Daniel. Primul stare a fost numit n anul 1995 protosinghelul Meletie Cucoar. S-a construit iniial un paraclis cu hramul "Sf. Prooroc Ilie Tesviteanul", apoi ntr-o perioad de cinci ani, a fost ridicat o biseric monumental din crmid pe locul celei construite de clugrii atonii, care a fost inspirat de stilul bisericilor moldoveneti din veacul al XV-lea. Hramul noii biserici este srbtoarea "Sf. Apostol i Evanghelist Ioan", prznuit la data de 8 mai n fiecare an. La 10 iunie 2007, la vsrta de numai 46 ani, a murit protosinghelul Meletie Cucoar, primul stare al mnstirii [3]. A fost nmormntat n curtea bisericii. Noul stare a fost numit arhimandritul Arsenie Butnaru. Ieromonahul Calistrat Chifan,acuzat de pedofilie i care fusese pus sub canon n anul 2003, a fost dezlegat de pedeaps de ctre Consistoriul Eparhial Ia i la 1 martie 2009 i a fost mutat canonic la Mnstirea Vldiceni [4].

5.TEMA DE PROIECTARE

Amplasament Situl pe care va fi amplasat la marginea municipiului Iasi in vecinatatea manastirii Vladiceni, fiind cuprins intre: Strada Trei Fantani si paraul Vamasoaia la nord, padurea Balan la sud, drum de exploatare, padurea Caprita, la vest si la este manastirea Vladiceni. In zona descrisa se propune analizarea volumetrica si functionala a sitului, in vederea amplasarii unui centru ecumenic, rezolvarii acceselor, etc. Functiuni cuprinse: 1. Zona publica- RECEPTIA -acces; -hol primire in suprafata nu mai mult de 450 mp; -rampa persone cu dizabilitati; -receptie; -spatiu pentru asteptare, info, depozitare bagaje, garderob; -birou receptie, imformaii; -grup sanitar dotat cu o cabina pentru persone cu dizabilitati, poate fi in legatura cu restaurantul; - bufet cu o capacitate de 25-30 locuri la mese, dimensionat in functie de raportul 1,5mp./loc, cu dotari: oficiu, depozit si bucatarie. 2. Administratie -birou administrator; -birou secretariat; -birou contabilitate; -depozit arhiv; -grup sanitar. 3. Alimentatie publica -restaurant in directa legatura cu modulul de cazare cu o capacitate de 75-100locuri, 2mp./loc.; -dependinte restaurant: -oficiu -buctrie cald -buctrie rece -spltor vase

-bar -preparri -depozit alimente 3x10mp. -camera frigorifica -camar de zi -camer buctar ef -vestiare, grupuri sanitare personal, spaiu de primire alimente, curte de serviciu. 4. Spatii tehnice si parcare -parcare subteran 50 locuri; -paz parcare; -curte de srviciu -scara de service, lift marf -depozit gunoi -depozit bar; -depozit inventor; -scara, lift acces public; -central de ventilatie; -central termica; -atelier reparatii i intreinere; -grup sanitar personal servicii; -vestiare; -circulatii de serviciu; 5. Spatii de cult -capela interioara de 100loc. amenajata in raport cu 1mp./loc.; -capela exterioara de 300loc.; -spaii de meditaii; -spaii de meditatie; -spaii de discuii religioase; -spaii pentru grupuri de rugaciune; Toate aceste spaii vor fi in stransa legatura cu capela. 6. Sli de conferinte -sala polivalent cu o capacitate de 300 locuri dimensionata in func ie de raportul 1mp./loc. si 6mc./spectator, destinat pentru organizarea de spectacole, concerte si diferite manifestari culturale. -depozit recuzita, foyer, grup sanitar public, garderoba. -sal de conferinte 400locuri, -sal mica de conferine pentru discutii pe diferite teme de specialitate cu public mai puin numeros;

-sal de proiectii, cabin de proiectii, depozit. 7. Hotel -camere cu 1 pat, minim 25-30% din capacitatea de cazare, cu suprafata de 14mp; -camere cu 2 paturi, aprox 17mp; -2camere amenajate pentru persone cu dizabilitati; -apartamente 2-3% din capacitatea de cazare. Ficare camera este prevazuta cu grup sanitar propriu: WC, chiuveta, cada de dus (prevazuta cu glasswanduri mobile). Camerele vor fi mobilate cu paturi, dulapuri, masa de toaleta si de scris, masuta joasa, scaun pentru masa de scris, instalatii de sonorizare, tv., telefon, cuier de haine. Servicii cazare: oficiu camerista, grup sanitar propriu, dulapuri lenjerie curata si murdara, spatiu intretinere si diferite servicii. 8. Arta plastica, restaurare -biblioteca documentatie; -sala de lectura; -3 ateliere de creatie; -3 atelier de restaurare; -5 birouri profesori; -2 spatii de depozitare; In functie de schema functionala a acestei zone se poate propune si amenajarea unui spatiu expozitional. 9. Amenajarea terenului -capela in aer liber -zone de meditatie -amenajare zona de primire -spatii verzi, plantari, ochiuri de apa.

Documentare:
Neufert constructii Manualul Arhitectului elemente de proiectare si de

Programe de arhitectura Gheorghe Vais Centre monahale stravechi Nitria i Kellia (Egipt) Centrul monastic i cultural Nicolae Steinhardt.(Rohia)