Tema Centru Ecumenic Vladiceni Iasi

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FACULTATEA DE ARHITECTUR G.M. CANTACUZINOUNIVERSITATEA TEHNIC GH. ASACHI: DIN IA I

CENTRU ECUMENICVLDICENI IA I

Piesa de mobilier Sousanil, Santa Maria da Feira , Portugal

stud. arh. Albert Andreindrumtor. profesor. Asist. Drd. Arh. Corneliu Ciobna u


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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 ParisSOURCE: DeZeen Magazine

Cultural and Spiritual Russian Orthodox Centerin Parisby Arch group and Sade SarlIn March Russian architects Arch-group and French studio Sade Sarl last week won aninternational competition to design a Russian Orthodox church and cultural centrebeside the Eiffel Tower in Paris.
http://www.dezeen.com/2011/03/22/cultural-and-spiritual-russian-orthodox-center-in-paris-by-arch-group/http://www.arch-group.org/portfolio/http://www.sadesarl.com/http://www.dezeen.com/2011/03/22/cultural-and-spiritual-russian-orthodox-center-in-paris-by-arch-group/http://www.arch-group.org/portfolio/http://www.sadesarl.com/


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


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

See also: Dezeens top ten churches

The information that follows is from Arch Group: The Russian Orthodox culture andreligion, which are based on spiritual traditions, are playing an extremely importantpart in Russias attempt to overcome its present difficulties and are a source of moraldirection 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 knowledgeof Russian Orthodox culture is essential for understanding and interacting withRussia. And yet Russian Orthodox culture is at the present time poorly represented in
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Europe. The creation of a Russian Orthodox cultural centre in Europe will helpstrengthen international relations and is of enormous importance from the point ofview of education and culture. By making this cultural centre a combination of traditionand modernity it will be possible to attract visitors from all generations, includingyoung people.

Urban planning

The complex in question is situated at the intersection of quai Branly and avenueRapp, which together form place de la Rsistance. The complexs rear faade facesonto rue de lUniversit. The site is located in the eastern corner of the large triangleformed by avenue Rapp, quai Branly, and avenue de la Bourdonnais. The sitesnorth-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.


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An important aspect from the point of view of urban planning is that the design projectfeatures an emphatic rounded Parisian corner corresponding to the principles whichhave shaped the existing layout of the surrounding built-up area. This corner and thenorthern faade shape the view from Pont de lAlma, which is an important and livelymain 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 faadeand its use of media screens are of especial importance given the intensity of trafficon Pont de lAlma and the pedestrian flows along quai Branly.
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Directly abutting the complex on quai Branly is an old palace building. On the otherside of the palace is a world-famous museum (designed by Jean Nouvel), which hasa wall of glass facing the embankment and screening off its garden and Modernistmulti-hued museum block. In this way, the palace is incorporated in the dialoguebetween two modern complexes framing it on either side.

One of the most important components of the design here proposed is the largegarden, which occupies the entire site. This garden is open to the public, and in itstands the Russian Orthodox church. The axis of the church coincides with the axis ofsymmetry of the lateral faade of the palace. In this way, the proposed design notonly brings a picturesque garden to the embankment, but visually liberates the sidefaade of the palace, which joins with the church in forming an axial, symmetricalcomposition 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 betweenthe 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 isintended for people entering the church on festive occasions and for processions ofthe Cross.

Architecture

General principles:

The principal architectural idea behind the complex is to employ traditional churcharchitecture in a modern cultural and religious complex. The unifying element is a
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transparent canopy, which descends from the domes of the church, covers thegarden, and bends around the reconstructed corner building. By linking all the parts ofthe complex, the canopy gives it integrality, reflecting the fact that religious andsecular functions are here combined. The integrality of the ensemble also makes itpossible 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 RussianOrthodoxy one that will make the latter attractive and interesting to parishioners andto inhabitants of and visitors to the city of Paris. The architecture of the complexshould attract new people of all ages and kindle in them an interest in Russianspiritual culture.

As in traditional Christian church complexes, the entire area around the church is agarden with a perimeter wall. In the design here proposed, this boundary is moresymbolic 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 ofpeople looking in. The glass wall is a media faade on which static and dynamicimages may be displayed, together with announcements of forthcoming events at thecultural centre, exhibitions, religious holidays, images of icons, and so on. The projectallows 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 betweenholographic characters and objects and the real world, creating a new type ofcommunication in real time. This generates enormous scope for putting together alarge number of programmes for spiritual, cultural, and aesthetic development and fordrawing the attention of people from different generations (and especially youngpeople) to the activities of the centre.

The church is situated at the spot where the ribbon of the canopy and the ribbon ofthe garden, coming together in the corner building, divide in two as they approach theembankment.

Passing through the entire site is a new alley, which is paved with large slabs of stonewith grass growing between them. This alley creates a through passageway from quaiBranly to rue de lUniversit, giving access to all parts of the cultural and religiouscomplex namely, the church, garden, and corner building.

The project uses three main materials white stone for the church (symbolizingRussian 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.


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The church:

In the centre of the site and in the centre of the garden, behind the glazed mediafaade overlooking the embankment and avenue Rapp, stands the Russian Orthodoxchurch. The project envisages building the church in a style deriving from the 14th to16th centuries as a pure and simple structure which will be especially clearly legibleagainst 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 volumeconforms to the elongated proportions of the traditional church, but the floor area ofthe interior is approximately 400 m2 as a result of the expanded lower part. There is apossibility 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 largeslabs 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 festiveand ritual occasions. In front of the northern entrance, there is a small square in thegarden where people may stand in front of the church on days when there is large-scale attendance. The northern entrance can also be used for the Procession of theCross which will enter the complex from avenue Rapp, go round the complex alongthe embankment, and return along the new alley.

The domes are to be constructed using a special technology which will give them atraditional appearance during the day, but allow a golden light to show through thepaint at night.

All the drums of the churchs domes are glazed, allowing the interior of the church tobe lit by soft and dispersed natural light during the daytime. The windows of thedrums and of the walls of the church are designed in such a way as to avoid directsunlight, especially near the Royal Gates.

The interior will have traditional wall paintings in the style of Andrey Rublev. Thewestern sanctuary at the main entrance has a staircase leading down to the lowerchurch. The choir is situated on the second tier on the western wall and is accessed
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via a small spiral staircase.

The main church has a maximum capacity of 600 persons, while the lower church canaccommodate 400.

The church may be used for public events and events of a cultural as well asreligious nature, so as to stimulate interest in Russian Orthodox culture.

The garden:

The garden in our project has important symbolic significance. Thanks to the systemof terraces and the green roof and terraces of the cultural centre building, the gardenoccupies the entire plot of land starting from the embankment, continuing behind thechurch, 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 thedomes); 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 residentialfloors and the cultural centre, will offer an unusual view of Paris and of the complexscanopy 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 inRussia birch, spruce, maple, lime, and ash. This fits in with the fact that the churchin the garden is dedicated to the Holy Trinity. Inside the internal radius of the white-stone wall in the corner facing Pont de lAlma is a small lake with a gurgling springand 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 bepreserved. They will become an organic part of the garden, serving as a symbol of atactful and caring attitude to the history of this site and of the city as a whole.

The cultural centre:


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The project contains no separate building for the cultural centre: the entire complexunder the canopy is a spiritual and cultural centre. The boundaries of this centre arethe glass mediafacades facing quai Branly and avenue Rapp and the facades of thecorner 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 theseminary and parish rooms in a single building means that these spaces can be usedwith 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 ofParis. Part of the faade of the reconstructed building on the edge of the plot will bepreserved unmodified. It will gradually turn into a new, modern faade created fromrecycled blocks of stone taken from the facades of the building that has beendismantled on this site.

The part of the building which borders the garden will be partly taken apart. This willcreate a system of terraces descending from the green roof right into the garden. Thisgreened cascade with its small picturesque staircases will create a continuous greenband 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 andscreened by a transparent glass-less mesh, the latter being what the canopycovering the garden turns into. The set-back walls and balconies of the residentialstoreys are greened.

In the depths of the plot, on the inner side of the corner building, two storeys are to bebuilt onto the existing annex. This will give additional space for the use of the parishand seminary. The faade of this annex consists of narrow vertical screens arrangedin such a way as to provide privacy and visual comfort in spite of the proximity of thepalace.

The conference hall of the cultural centre is in the basement, under the garden. Theentrance 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 lightto its basement level. Given the different functions that are to be accommodated ondifferent floors, the perimeter of the atrium is to be glazed; this will ensure acousticcomfort 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, thedifferent functional flows are to be divided, but in the event of fire there are sufficientevacuation routes from all storeys.


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Functioning

The main entrances to the complex are on the new alley from quai Branly and rue delUniversit. An additional entrance from avenue Rapp may be used during massevents 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 alarge number of visitors and parishioners beside the church. Processions of the Crossmay pass through this square.

Access for automobiles, including to the 15 parking spaces, is from rue delUniversit, through two pairs of gates that form a security buffer. Festive and ritualprocessions may drive up to the church along the new alley, directly from theembankment and, driving right through the complex, emerge onto rue de lUniversit.

On entering the complex from the embankment, visitors find themselves in a gardenthat ascends in front of them up a series of terraces. Advancing along the picturesquealley 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 complexsstaff, through the terraces to the bell-tower in the garden on the roof of the cornerbuilding in order to enjoy a fine view of the complex and of Paris to boot. Continuingon their way, they may enter the cultural centre and the central hall in order to gainaccess to the offices, seminary, parish rooms, or residential storeys.

On reaching rue de lUniversit, the new alley finishes in a covered sectiongiving access to the cultural centre and conference hall. This zone may be closed offon its outside in order to restrict access to the complex, or may be screened off fromthe 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 inthe central hall and atrium. On this floor there are administrative spaces and roomsbelonging to the parish. The central main staircase and central pair of lifts give accessto the office storey and the seminary.

Descending, visitors come to a green recreational area with natural daylightentering through a skylight in the roof. This floor contains the parish archives anddining room. All the kitchen facilities serving the cultural centre, dining room, and


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residential floors have been reduced to a kitchen block in the basement; this blockdelivers food to individual floors using various lifts. The atrium supplies the kitchenwith natural light.

In the basement is a gallery linking the crypt with the atrium of the cornerbuilding. Abutting this gallery are technical spaces accommodating the complexs

utilities systems.In addition to the central lifts and main staircase, there are two independentvertical communication shafts ascending from the central atrium. These are separateblocks of lifts and staircases for the seminarists living on the fourth floor and for thepriests living on the fifth. To provide for emergencies, the doors are to be fitted withanti-panic locks and it will be possible for all floors to use these staircasessimultaneously as escape routes.

The residential floor occupied by the seminarists will have a small common diningroom with a way out onto the terraces.

Construction

Basement:

Between the church and the corner building there will be a basement levelaccommodating the cultural centres conference hall. The church is also to have abasement level. These spaces will be joined together into a single system, which willalso incorporate the basement of the existing building. This basement will be slightlyexpanded to accommodate technical spaces used in the operation of the buildingsutilities systems. French engineering companies are some of the best at designing

basement structures in areas with high levels of ground water. From the structuralpoint of view, a watertight concrete basin will be built on this spot. In the church thisbasin will be clad with full-size blocks of white stone. No underground works are to becarried out in the area nearest the River Seine.

The church:

With five domes and three naves, this traditional-style church is made from massive


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blocks of white limestone. The exterior walls are one metre thick. Inside, the vaultingis 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 bepreserved; this will involve partial use of both the buildings structural system and itsexisting facades. The buildings right-hand wing will be partially dismantled in order tocreate terraces. The two-storey addition at the rear will be made of reinforced-concrete and metal structures. The roof and terraces will have a layer of earthbetween 0.3 and 1 metre thick as a bed for trees and bushes. The new faade of thecorner building will be clad in stone blocks taken from the dismantled neighbouringMeteo France building. The existing floor panels will be cut to create an atriumstretching the full height of the building.

The garden:The garden is divided into three parts: a lower garden around the church, a terracedgarden in the partially dismantled building, and an upper garden on the roof of theUniversit building. All three gardens will be watered using rainwater collected incisterns. All the gardens have lighting and sound provided by a modular installationgiving adjustable (partial or full) lighting and sound.

Fence:

The complexs fence is a glass wall consisting of two panes of glass one on top ofanother. Each pane is 4 x 4 metres, the maximum size made by Saint Gobain, theleading world producer of architectural glazing. The entire construction is supportedby glass piers positioned on the inner side of the fence. Use is to be made of aspecial coated and non-reflective glass. Between the panels of glass are gaps, andthe entire wall is considerably lower than the canopy. The piers at intervals of 4metres and the gaps between the glass panels improve the walls acoustics,preventing sound waves spreading along its surface, which extends for 200 metresalong avenue Rapp.

The canopy:

The structural rhombic mesh of the canopy is supported by the church and four tree-like columns standing in the garden. In those places where the structure kinks, it isreinforced by internal hawsers. When it reaches the corner building, the canopy turnsinto the mesh of the second faade; here, however, it is without glass. The basicelement 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 itpossible to bring more light into the garden under the canopy and to impart to thestructure a light, lacelike appearance as of something in flight. This is a lightweightand transparent structure that admits sufficient light for the trees in the garden, while


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also standing up well to atmospheric conditions.

Sustainability

The main technology proposed by our French engineers is the creation of a self-washing roof. The water used to wash the roofing subsequently helps to heat thebuilding. The essence of this proposal is that the exterior of the entire canopy is to becovered with a thin film of flowing water which is heated by the sun as it flows. Thiswarmed water is then collected in underground reservoirs that preserve heat in thesame way that a thermos does, and is used to warm the building. This will help saveenergy during operation of the cultural centre. Another proposal is to install a largenumber 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 floorarea equal to the area of the site; this will improve the environment in this district as awhole.

The recycling of the faade stone of the dismantled buildings, the working of thisstone on site, and the partial use of the corner building will reduce the amount ofconstruction materials required to build the complex and will dramatically cut use oftransport during construction. Overall, this will reduce harmful emissions attributableto the building of the complex.

To look further ahead, the prevalence of natural materials (glass, stone) used inconstruction of the complex will have a favourable effect on the complexs functioningand on its environmental impact on the district and arrondissement.

Cultural and Spiritual Russian Orthodox Center in ParisArchitects:Manuel Nunez-Yanovsky,


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Mikhail Krymov,Alexey GoryainovFOTO: 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:
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Santa Anas Chapel by e|348 arquitecturaSousanil, Santa Maria da Feira | Portugal | Completed 2010

photographer: Fernando Guerra

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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, andat the bottom corner of an ascending topography. We noticed also that this topographic condition was the perfectstage 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 visibilityconditions, promoting their participation in the ceremonies.

This circumstance was the leading key for the entire project. The building to develop would materialize theedification of the bottom edge of this spontaneous sanctuary, improving the conditions for celebration along withthe 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 Tvorariver, in a granitic slope.
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Its dimension, and close relation to topography and surroundings, teaches us that spatial qualities do not dependon 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 thatspots the landscape, making use of sculptural forms, and rough materials and finishes, with well measuredlimitation to light entrance.

It is also inspiring the relationship with the exterior space. Mass celebrations took place outside the building, whichis 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 toorganize 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 placeof 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 thelargest 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 toRonchamps interiors, where the distribution of fenestration creates the correct ambience to elevate visitor to ameditation and contemplation level.

The exterior space materializes the spontaneous amphitheatre as to accommodate audience in exteriorcelebrations. 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 gathertogether people around a place, connecting history and present, serving its religious purpose, and, most of all,serving urban enhancement and social cohesion.


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Ecumenical Forum HafenCity / Wandel Hoefer Lorch + Hirsch

Courtesy of

Wandel Hoefer + Lorch

Architects:WandelHoeferLorch+ Hirsch

Location: Shanghaiallee,Hamburg, Germany
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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
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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.


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.
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Courtesy of


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.


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Courtesy of


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.


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Plans


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Plan Site

Plans
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Sections

vSunset ChapelMexico City | Since 2005

AboutList of projects

Sunset Chapel by BNKR Arquitectura

photographer: Esteban Surez
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Our first religious commission was a wedding chapel conceived to celebrate the first day of a couplesnew life. Our second religious commission had a diametrically opposite purpose: to mourn the passingof loved ones. This premise was the main driving force behind the design, the two had to be completeopposites, 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.


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Solidity, Ethereal vs. Heavy, Classical Proportions vs. Apparent Chaos, Vulnerable vs. Indestructible,Ephemeral vs. LastingThe client brief was pretty simple, almost nave: First, the chapel had to take full advantage of thespectacular views. Second, the sun had to set exactly behind the altar cross (of course, this is onlypossible twice a year at the equinoxes). And last but not least, a section with the first phase of cryptshad 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 ofa boulder blocking the main sight of the sunset. In order to clear these obstructions (blowing up thegigantic 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 andpicturesque vegetation surrounds this virgin oasis, we strived to make the least possible impact on thesite, 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 mimeticendeavor, we worked hard to make the chapel look like just another colossal boulder atop themountain.

Design team:Design: BNKR ArquitecturaPartners: Esteban Surez (Founding Partner) y Sebastin SurezProject Leaders: Mario Gottfried, Javier Gonzlez & Roberto AmpudiaProject Team: Mario Gottfried, Rodrigo Gil, Roberto Ampudia, Javier Gonzlez, scar Flores, DavidSnchez, Diego Eumir, Guillermo Bastian & Adrian Aguilar

Project partners:

Collaborators: Jorge Arteaga & Zaida MontaanaConstruction: Factor Eficiencia Fermn Espinosa & Francisco VilledaLighting: Noriega Iluminadores Ricardo Noriega

Structural Engineers: Juan Felipe Heredia & Jos Ignacio BezMEP: SEI


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Norwegian Vennesla Library Designed As a Modern Retreat:

Comprising a library, a caf, meeting places and administrative areas and linking anexisting community house and a learning center, the Vennesla Library in Vennesla,Norway is quite a fantastic looking building. Helen and Hard Agency were the onesbehind this creative library concept turned into reality. Here are a few words from the

architects describing the librarys interior structure and architecture :Supporting theidea 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
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intimate feeling. Underneath the wood structures, shelves containing the knowledgeare formed in the alcoves. Some of the undulating shapes shelter folded woodenbenches offering readers comfortable seating. If you get the chance to visit this part ofthe world, make sure you swing by this amazing library, just to enjoy the modernbeauty of its design. And send us photos.


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4.Analiza amplasamentului

Ia i (livresc Ia ii , respectiv Trgul Ia ilor ; istoric Jassy sau Iassy) estere edin a jude ului Ia i i principalul centru urban din nord-estul Romniei. Ia ii au fostcapitala Moldovei n perioada 1564 - 1859, una dintre cele dou capitalealePrincipatelor Unite ntre 1859 i 1862 i capitala Romniei ntre 1916-1918.

Conform datelor recensmntului din anul 2002,[1] municipiul Ia i numra 320.888 delocuitori i era astfel al doilea ora ca mrime din Romnia. Zona Metropolitan Ia i ,care include 13 localit i nvecinate, avea o popula ie de aproximativ 400.000 de

locuitori.Ia ii sunt centrul cultural, economic i academic al Moldovei. Aici a fost fondat ifunc ioneaz prima universitate din Romnia, Universitatea Alexandru Ioan Cuza, astziuna dintre cele mai prestigioase institu ii academice din ar, precum i alte patru universit i publice i apte particulare. [2]

Municipiul Ia i se afl n partea de Est a Moldovei, n Cmpia Moldovei. Ora ul se aflpe rul Bahlui, un afluent al Jijiei, care se vars n rulPrut.

A ezare geografic

Prin extinderea lui, Ia ul 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, Cet uia , Ttra i i Galata. Ora ul mai este traversat de rul Nicolina i deprul orogari (numit n evul mediu Cacaina, deoarece aici se aruncau gunoaiele); larsrit de ora , curge prul Ciric, pe care sunt create artificial trei lacuri cu scop deagrement.

Mnstirea Vldiceni este o mnstire de clugri amplasat la margineamunicipiului Ia i , n localitatea Vldiceni (din comuna suburban Tome ti ), pe loculnumit n cronici "Poiana Vldici".

Mnstirea Vldiceni se afl la poalele unui deal mpdurit, de unde se poate vedeantreaga zon industrial a municipiului Ia i. Drumul care duce la mnstire este undrum asfaltat, dar care nu a fost ntre inut.
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Alte construc ii

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 bisericilormoldovene ti din secolul al XV-lea este monumental ca dimensiuni i are un pridvor deschis unde sunt picta i sfin ii romni canoniza i de ctre Sfntul Sinod al Bisericii Ortodoxe Romne n anul 1992. n incinta Mnstirii se mai afl i o fntn cu roatacoperit cu o cupol de tabl.

O alt ie ire din incinta Mnstirii, are o bolt de piatr i duce ctre un mic cimitir

amenajat pentru vie uitorii Mnstirii trecu i la cele ve nice. La 150 de metri nord-est de biseric s-a construit corpul de chilii n form cubic, dincrmid, 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, stre ia. Este acoperit cu tabl zincat. n incint s-a creatun frumos parc cu alei asfaltate.

La 100 de metri nord-vest se afl o alt construc ie, din zid de crmid, lung de 80de metri, orientat de la sud la nord, acoperit cu plci de azbociment. Aici sunt


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grajdurile animalelor i fnarul.

Istoria Mnstirii Vldiceni

Potrivit tradi iei locale, n anul 1415, domnitorul Alexandru cel Bun i mitropolitul IosifMu at au ntmpinat la marginea Ia ului, n locul unde se afl astzi MnstireaVldiceni, alaiul care ducea moa tele Sf. Mare Mucenic Ioan din Trapezunt de la CetateaAlb ctre Suceava, capitala de atunci a rii Moldovei. Cu aceast ocazie, poianaunde a fost ntmpinat alaiul a fost denumit "Poiana Vldici", denumire existent i

n cronici [1]. Din acest motiv, dup c iva ani s-a ridicat aici un schit, dar acesta adisprut cu timpul.

ntre anii 1908-1910, c iva clugri au construit n valea Cozmanei din apropiereaPoienii Vldiceni o prim biseric a Schitului Vldiceni, spre cinstirea Sf. Apostol iEvanghelist Ioan. ntre ctitorii de atunci, se numr i Arhimandritul Teodosie

oriceanu i c iva clugri atoni i. Opt ani mai trziu, n anul 1918, biserica a fost distrus n ntregime n urma explozieiunui depozit de muni ii din apropiere. Din cauza exploziei depozitului de muni ie, schitul a fost distrus, murind mai mul i clugri, printre care i Arhimandritul Teodosie.

Dupprimul rzboi mondial, ntre anii 1923-1928, n timpul pstoririimitropolitului Pimen Georgescu, arhimandritul Epifanie Demetrescu i al i c iva clugri veni i n Romnia de la Muntele Athos, au recldit a ezarea monahal
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distrus construind o a doua biseric. Aceasta a fost grav avariat de cutremurul dinanul 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 derenovare care s-au desf urat ntre anii 1957 i 1959. Ulterior, ea a fost folosit ca biseric de mir, filial a Parohiei Tome ti.

Astfel, dac n anul 1944, Schitul Vldiceni avea dou cldiri gospodre ti, cu rol dechilii, n anul 1959, ele au fost preluate de ctre gospodria agricol de stat, iarbiserica schitului a func ionat din acel an doar ca biseric care apar inea de Parohia Tome ti. n acea biseric se slujea numai de cteva ori pe an, dar apoi, n anii '60 aisecolului al XX-lea, lca ul de cult a fost folosit ca depozit pentru diverse materiale de construc ii i, fiind complet neglijat, s-a ruinat n ntregime [2].

n anul 1992, a fost ini iat refacerea Mnstirii, din ini iativa mitropolitului DanielCiobotea al Moldovei i Bucovinei i cu purtarea de grij a episcopului-vicar al

Arhiepiscopiei Ia ilor, Calinic Dumitriu Boto neanul. PS Calinic s-a ocupat personalde ntocmirea formalit ilor n vederea ob inerii aprobrilor necesare. Sfntul Sinod al

BOR a aprobat nfiin area mnstirii i, n anul 1995, locul unde se va construi biserica a fost sfin it de IPS Daniel. Primul stare a fost numit n anul 1995 protosinghelul Meletie Cucoar.

S-a construit ini ial un paraclis cu hramul "Sf. Prooroc Ilie Tesviteanul", apoi ntr-operioad de cinci ani, a fost ridicat o biseric monumental din crmid pe loculcelei construite de clugrii atoni i, care a fost inspirat de stilul bisericilormoldovene ti din veacul al XV-lea. Hramul noii biserici este srbtoarea "Sf. Apostoli 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].
http://ro.wikipedia.org/wiki/Cutremurul_din_1940http://ro.wikipedia.org/wiki/Cutremurul_din_1940http://ro.wikipedia.org/wiki/Al_doilea_r%C4%83zboi_mondialhttp://ro.wikipedia.org/wiki/M%C4%83n%C4%83stirea_Vl%C4%83diceni#cite_note-1http://ro.wikipedia.org/wiki/Daniel_Cioboteahttp://ro.wikipedia.org/wiki/Daniel_Cioboteahttp://ro.wikipedia.org/wiki/Calinic_Dumitriuhttp://ro.wikipedia.org/wiki/M%C4%83n%C4%83stirea_Vl%C4%83diceni#cite_note-2http://ro.wikipedia.org/wiki/M%C4%83n%C4%83stirea_Vl%C4%83diceni#cite_note-3http://ro.wikipedia.org/wiki/M%C4%83n%C4%83stirea_Vl%C4%83diceni#cite_note-3http://ro.wikipedia.org/wiki/Cutremurul_din_1940http://ro.wikipedia.org/wiki/Cutremurul_din_1940http://ro.wikipedia.org/wiki/Al_doilea_r%C4%83zboi_mondialhttp://ro.wikipedia.org/wiki/M%C4%83n%C4%83stirea_Vl%C4%83diceni#cite_note-1http://ro.wikipedia.org/wiki/Daniel_Cioboteahttp://ro.wikipedia.org/wiki/Daniel_Cioboteahttp://ro.wikipedia.org/wiki/Calinic_Dumitriuhttp://ro.wikipedia.org/wiki/M%C4%83n%C4%83stirea_Vl%C4%83diceni#cite_note-2http://ro.wikipedia.org/wiki/M%C4%83n%C4%83stirea_Vl%C4%83diceni#cite_note-3


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5.TEMA DE PROIECTARE

Amplasament

Situl pe care va fi amplasat la marginea municipiului Iasi invecinatatea manastirii Vladiceni, fiind cuprins intre: Strada Trei Fantani siparaul 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 asitului, 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, imforma ii;-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 capacitatede 75-100locuri, 2mp./loc.;

-dependinte restaurant:-oficiu-buctrie cald-buctrie rece-spltor vase


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-bar-preparri-depozit alimente 3x10mp.-camera frigorifica-camar de zi

-camer buctar ef-vestiare, grupuri sanitare personal, spa iu 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 intre inere; -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.;-spa ii de medita ii; -spa ii de meditatie;-spa ii de discu ii religioase; -spa ii pentru grupuri de rugaciune;Toate aceste spa ii 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 despectacole, concerte si diferite manifestari culturale.

-depozit recuzita, foyer, grup sanitar public, garderoba.-sal de conferinte 400locuri,-sal mica de conferin e pentru discutii pe diferite teme de specialitate

cu public mai pu in numeros;


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-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 lenjeriecurata 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 Manualul Arhitectului elemente de proiectare si deconstructii

Programe de arhitectura Gheorghe Vais

Centre monahale stravechi Nitria i Kellia (Egipt)

Centrul monastic i cultural Nicolae Steinhardt.(Rohia)
http://ro.orthodoxwiki.org/Schit#Nitria_.C5.9Fi_Kellia_.28Egipt.29http://ro.orthodoxwiki.org/Schit#Nitria_.C5.9Fi_Kellia_.28Egipt.29


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Documents

Tema Centru Ecumenic Vladiceni Iasi