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Community church knarvick design by RRA architects

admin — Tue, 16 Aug 2011 03:15:19 +0000

milimetdesign update from http://www.reiulframstadarkitekter.no

location: Knarvik, Lindås, Norway
program: New Community Church with cultural facilities and administration
client: Lindås Kyrkjelege Fellesråd; Lindås Church Council
size: 2250m2
commission type: 1st prize, Invited competition (2010)
status: Competition proposal
year: 2010

The Church of Knarvik holds an important position as a cultural provider and a communicator for the Christian message and community, on holidays and during every day. The church will be central for a safe childhood environment and at the same time be a platform for cultural development, arts and music in the community.
The church is friendly placed in the terrain and has dimensions that respect and blend harmoniously into the landscape’s vegetation, topography and that stress the space qualities. The church and its outdoors are developed to the place and the soon to come central square in Knarvik. The church of Knarvik will become a local venue for visitation and faith through the whole week. The project shall appear invitingly and including for all people.
The church of Knarvik will be an inspiring and a worthy place for gatherings that shows great respect for the Christian faith, people, climate and the environment.

Knarvik kirke har en viktig posisjon som kulturbærende sted og formidler for det kristne budskap og felleskap til hverdag og høytid i Knarvik. Kirkeanlegget skal bli sentralt i et trygt oppvekstmiljø for barn og unge, og samtidig skal Knarvik kirke bli en plattform for kunst, kultur og musikk i nærmiljøet.
Anlegget er skånsomt tilpasset terrenget og har dimensjoner som respekterer og harmonerer landskapets vegetasjon, topografi og romkvaliteter. Kirkebygningen og utomhus er sammen utviklet i forhold til stedet og den fremtidige Knarvikalmenningen.
Knarvik kirke blir et lokalt møtested for samvær og tro i alle ukens 7 dager. Prosjektet skal fremstå som inviterende og inkluderende for alle. Knarvik kirke skal være et inspirerende og verdig samlingssted som viser respekt for den kristne tro, mennesker, miljø og klima.

Source: http://www.reiulframstadarkitekter.no

milimetdesign – Where the convergence of unique creatives

White Temple

admin — Thu, 19 May 2011 05:21:08 +0000

milimetdesign updated from : www.architizer.com

About

The site is northwest of Kyoto, about two hours by from the city center. Here, in a region of scenic beauty that has been designated a natural park, the building sits by a broad lake, surrounded by mountains. In Japan, it has been customary to enshrine and pray only for the ancestors of the male line of descent.Even today, our national system of family registration is oriented to the male line. The maternal line may only last 80 years, so one’s maternal ancestors eventually fade from memory and never receive memorial services.

This project was born from a recognition of the necessity to give thanks to one’s maternal as well as paternal ancestors. The building is a sacred space for honoring maternal ancestors. Buddhist mortuary tablets inscribed with the names of these ancestors are kept here, so that a priest can hold mass for them. Inside the building, I set out to create a space that would envelope visitors in a womb-like atmosphere. In such a space, people might be reminded of their maternal blood relations and feel moved to thankfulness for the gift of life.

In the interior, therefore, I tried to orchestrate a floating sensation, as of the fetus in the fluid of the womb. Into this atmosphere, then, I introduced the movement of time. The light inside the building grows lighter or darker along with the changing brightness of the sky, so that the space seems to breathe. With each change in the intensity of the light, in other words, the space seems to swell or shrink. This swelling and shrinking, which is like the motion inside the womb, envelopes people in a soft way. The space’s geometric position and size are fixed, of course, but the apparent size and position of the space changes dramatically along with these changes in the density of light. In this way, the interior space obtains connection with heaven, and this world joins the distant shore.

The most important light enters from behind the Buddhist image, obstructed by the altar—a white slab on which memorial tablets are placed. Transfigured by the object before it, the light becomes a halo of gold around the Buddhist image.　The divine presence is led in by the light and enshrined on the altar. Within radiant light, Buddha offers his compassionate gaze to visitors.
By day, the building stands forth as a volume, announcing its presence. By night, the building loses its form and subsides into darkness. Only its luminous interior stands forth.
The exterior and interior call and respond, while drawing the dynamic power of the landform into an intensified presence, and giving fresh clarity to the beautiful mountains and water. In such a place, we feel inspired to look beyond mundaneconcerns toward the world of spirit. It is my hope that this space will help people enter a mood of dialogue with the souls of their ancestors, while reminding them of the preciousness of life.

A project by: Takashi Yamaguchi & Associates, Architecture

Type: Kyoto, Japan

Building status: built in 2000

Source: Takashi Yamaguchi & Associates, Architecture/ www.architizer.com

milimetdesign – Where the convergence of unique creatives

Cathedral Fold, eastern France, Europe design by Axis Mundi Design LLC

admin — Wed, 20 Apr 2011 06:10:57 +0000

milimetdesign updated from www.e-architect.co.uk

Cathedral Fold

Strasbourg, France

Design: Axis Mundi Design LLC

(New York, NY) April 21, 2011 – Axis Mundi was invited to submit a proposal for a new cathedral for the city of Strasbourg, France. The design is composed of a series of unfolded arches which rest on a submerged “Latin Cross” floor plan. A bas-relief of an abstracted Gothic cathedral will emerge on the eastern facade when the sun rises, and will gradually disappear during the course of the day.

Site

Strasbourg is the capital and principal city of the Alsace region in north-eastern France and is the official seat of the European Parliament. Located close to the border with Germany, it is the capital of the Bas-Rhine department. Strasbourg’s is the ninth largest metropolitan area in France. Strasbourg is fused into the Franco-German culture and although violently disputed throughout history, has been a bridge of unity between France and Germany for centuries, especially through the University of Strasbourg, currently the largest in France, and the co-existence of Catholic and Protestant culture.

Concept

A series of unfolded (ogival) concrete arches were designed to create majestic volumes of light for the interior spaces. Invisible Cathedral The design of the front façade consists of a bas-relief of a digitized abstraction of a Gothic cathedral. As the sun rises in the east, it will cast shadows on the facade, and the bas-relief will become visible. It will gradually disappear during the course of the day. The floor plan is an abstraction of Gothic Cathedral, and is composed of a Latin cross (or “cruciform”) plan, with a long nave making the body of the church, a transverse arm called the transept and, beyond it, called the choir, chancel or presbytery.

Hidden Cross

A “Latin Cross” plan is submerged, or sunken below the ground plane. The interior below grade is entirely clad in limestone slabs, and has been reduced to the barest minimum of decoration. The pulpit was inspired by the Giants Causeway in Northern Ireland, and is composed of a cluster of hexagonal shaped columns. A simple bronze cross rises from behind.

Design Team

John Beckmann, Masaru Ogasawara and Viviane Liao
Renderings and Diagram: Viviane Liao and Masaru Ogasawara
Total sq. ft.: 25,000

Materials: Structurally reinforced concrete, limestone, seamed structural glass, bronze, and oak

Source: Axis Mundi Design LLC/ www.e-architect.co.uk

milimetdesign – Where the convergence of unique creatives

Our lady of La Vang pilgrimage center, Quang Tri – Viet Nam, Design by Lib.A

admin — Mon, 14 Feb 2011 19:07:09 +0000

milimetdesign updated 15/02/2011

Architects: Hung Hung-Lib.A Liberty Architecture

Design team : Hung Hung, Nguyen Duc Bao Toan,

Tran Manh Phat, Le Ngoc Dang, Vu Viet Anh

Stage : Competition

Location: Quang Tri , Viet Nam

Site Area: 213,512.2 m2

Project Year : 6-2010

Images from : Lib.A

Web libarch.com

La Vang is a small area located in Quang Tri, a province in central Vietnam. Quang Tri bears the harshest weather in Vietnam with hot and dry wind from the west and storms from the East Sea. Besides, since the whole province was the buffer zone where Vietnam was split into two parts during the Vietnam War, it was the most damaged place to suffer from the fierce front.

There was a story about the apparitions of Mother Mary at this place 200 years ago to save Vietnamese Christians when they were chased and executed by the governor. Eventually, the place was acclaimed to be the Holy Land and its church was raised to be one of the five Cathedral Basilicas of Vietnam in 1961 before it was damaged by the war.

The task is to design a pilgrimage center that includes a plaza, a 5000-seat cathedral basilica, a 3000-seat conference hall, an international conference center, a meditation center, a gallery, an administration building and some other buildings serving the pilgrims whose number is predicted to rise up to one million in each triennial pilgrimage season (the record number of the last season was nearly six hundred thousand).

The client wanted to develop the area within two decades and asked for a layout that would allow an easy development taking place in the future. The Cathedral Basilica which is the most important building will be designed and constructed in the first phase. Furthermore, the ruin bell-tower, the holy well and the concrete banyan tree marks the apparition place will be preserved and restored as a lively remnant of the apparition of the Holy Mary in La Vang and the seed of hope She has planted in the pilgrims’ soul.

The main concept is to re-create the original woods where the Holy Mary appeared. The Cathedral is also conceived as an artificial wood. This original concept of the wood aims to create an uninterrupted and undirected space that allows people to draw their own paths within the Only Path of the Faith.

The wood, especially the entrance garden, simultaneously plays a role as a memorial without any monument. This spatial memorial does not introduce the pilgrims any pre-organized path but leaves them undirected. Thus this experience of getting through a wood mentally and physically reminds the pilgrims their ancestor who lived and died bravely to protect their Faith. Yet the vision of the Tower of Light (the bell-tower) which represents Jesus Christ gives them the only visual direction to follow.

The cathedral is an open structure that helps render the solemn atmosphere inside to outside and render people from outside to inside. At this point, the elements of traditional architecture, roofs, columns and verandas can make it possible. No traditional image, ornament or technique is kept in this design except these three fundamental elements which maintain not only the basic need of cover and protection but also provide a soft cover allowing absorbance between inside and outside. This kind of traditional structure keeps everything both open and close, improves the micro-climate inside and helps save energy.

The project is conceived and designed as nearly a mere structure to reduce the feeling of icons as much as possible. Individuals who use the buildings and enjoy the landscape are leave to be free to make spaces their own place and easily make connection to themselves, to others, to the buildings, to nature and to the Eternal. Architecture becomes intermediate.

Source: libarch.com/ http://milimet.com/
milimetdesign – Where the convergence of unique creatives

Tanatorio municipal y jardin en Pinoso

admin — Sun, 13 Feb 2011 15:54:27 +0000

milimetdesign updated from Cor.

“El temor a la muerte no es otra cosa que considerarse sabio sin serlo, ya que es creer saber sobre aquello que no se sabe. Quizá la muerte sea la mayor bendición del ser humano, nadie lo sabe, y sin embargo todo el mundo le teme como si supiera con absoluta certeza que es el peor de los males” (Sócrates, 470 a.C, 399 a.C)

Históricamente encontramos diferentes definiciones de la muerte que nos demuestran cómo este concepto se ha trasladado desde posiciones más cercanas a la oscuridad, el dolor y el miedo, hacia posiciones vinculadas al concepto de tristeza, cambio o luz.

Proyectar un edificio donde se vivirá posiblemente la fase más desconocida de la existencia humana conlleva necesariamente la asunción de la incertidumbre como concepto a incluir en el proceso de ideación.

Hemos entendido este edificio como un lugar que se resistirá a ser olvidado, quedando en la retina de sus usuarios, y por tanto un lugar donde lo sensitivo tiene que ser controlado. Parámetros como el sonido, la temperatura, la luminosidad, la humedad, la iluminación, la privacidad, la relación con lo natural toman gran importancia.

La parcela se encuentra a las afueras del pueblo, al final de un cul-de-sac, pegada al centro deportivo municipal y detrás de un centro cultural, ambos de gran actividad. Esta situación genera cierta tensión urbana, ya que el edificio se encuentra en medio de diversas actividades incompatibles. Ante esta situación se propone ordenar el conjunto generando un colchón vegetal con suficiente identidad como para erigirse ‘centro’ de todos estos edificios públicos y actividades. Se ha creado un bosque de 29 arces japoneses denso, capaz de articular, diferenciar y limitar los diferentes usos. Un bosque donde estar separado de todas las actividades.

Además el edificio se entierra en su parte trasera, y como si fuese una cueva su fachada principal sale del terreno hacia delante. Las cubiertas vegetales y su composición vegetal exactamente igual que el suelo colindante enfatizan esto. Permitiendo que desde las pistas deportivas adyacentes, usadas a diario por las escuelas municipales de deportes, no exista posibilidad de vistas directas. Es por esta razón, que el edifico se configura alrededor de seis vaciados en forma de patio o de ‘mordido espacial’, que permiten que la relación con el exterior sea controlada y no exista ninguna interacción. Desde dentro de las salas solo se ve el cielo y el propio interior.

Formalmente el edificio ‘se desgrana’, se rompe gracias a una estructura de vigas virtuales y voladizos que permite liberar los límites y encuentros de cualquier elemento estructural. A gran distancia el edificio es un masa enterrada entre árboles, a media distancia aparecen matices que permiten darse cuenta de la inestabilidad de la construcción, -algo que busca sosegar y desubicar al usuario, ralentizando su acceso – En su interior, el espacio se aprecia aéreo, delgado y sutil.

Frente a ‘lo frágil’, identificable en este proyecto no como una casualidad sino más bien como un encuentro evocado en su interior, la contundencia formal y material de su exterior. El proyecto busca tranquilizar la velocidad en la que vivimos mediante el enfrentamiento de estas dos situaciones contrapuestas: un interior ligero e ingrávido frente a un exterior contundente y pesado.

La permeabilidad interior-exterior cobra gran importancia en este nuevo lugar del pueblo.

El acceso es doble: el principal vinculado a la recepción y la cafetería, así como a los despachos de dirección y usos comunes del tanatorio, se encuentra en la fachada al jardín, en el límite del edificio, es decir no se realiza ningún tipo de quiebro o recoveco que permitiera al usuario leer el acceso. No se señaliza. Se busca, de nuevo, desubicar al usuario en su relación con el edificio. Éste es, por tradición, un lugar de encuentros familiares y amistosos, donde no sólo se muestra afecto y respeto al difunto, sino que también, en muchos casos, se encuentran personas que hacía tiempo no se veían. Ante esta situación, se consigue que los encuentros se produzcan en el jardín exterior y el acceso al edificio sea normalmente colectivo, lo que emocionalmente creemos interesante por dos razones: la primera, permite dejar fuera los saludos y las emociones de gente que se acaba de reencontrar y por tanto las estridencias sonoras se reducen, (hay que recordar que el tanatorio es una pequeña construcción de menos de 500 m2); y la segunda, que frente a una experiencia individual de abatimiento, la colectiva desprende normalmente sensaciones y emociones de apoyo y superación.

La organización de la planta responde a un diagrama de privacidad de 5 niveles desde lo más público hasta lo privado: en el nivel 1, el más público, se encuentran el acceso, hall, recepción, cafetería, despachos y baños; en el nivel 2, está la gran zona de espera que da acceso a la capilla, y es donde también se encuentra la salida secundaria; desde este se accede al nivel 3, la sala de espera de cada una de las salas de velatorio; el nivel 4, de gran importancia porque no es tanto superficial sino matérico, se define en una zona de acceso a cada sala donde todos los paramentos son de madera de haya, se ilumina de forma diferente, es el espacio más estrecho y angosto del conjunto, lo que intenta es fijar un límite y dar a entender que se accede a una zona de sosiego; y el nivel 5 es la sala, la cual se puede configurar de varias formas en función de la cantidad de público o decisión personal, toda la sala esta acondicionada acústicamente para que los niveles de presión sonora no excedan de 35 dBs.

Cada sala tiene relación directa con el exterior mediante uno de los patios. Cada patio se define a diferente cota, lo que provoca visiones y sensaciones diferentes desde el interior de cada sala. Los paramentos de vidrio van de suelo a techo de los patios, quedando en tres posiciones diferentes: por debajo de la cota del suelo, a la misma cota del suelo, y a 80cms por encima del suelo. Cuando entras en un edificio semienterrado, la percepción del exterior es diferente, pero creemos la hace más interesante el hecho de estar en la sala y no saber muy bien a que cota de profundidad te encuentras, además los patios tienen adosados dos volúmenes que emergen por encima de las cubiertas vegetales, que incrementan esta sensación. Estos volúmenes son la capilla y la zona donde se sitúan las instalaciones de climatización.

La capilla, lugar de encuentro personal, usa en su definición los conceptos de escala, color, sonido e iluminación de una forma muy determinada con el fin de generar un ambiente de ‘descontextualización de lo cotidiano’ que permite al usuario, de alguna manera, evadirse de lo secundario y mundano, para poder llegar a reflexionar sobre lo importante. A la capilla se accede por una puerta grande y pesada, a la par que frágil e inestable, ‘es la puerta de un lugar diferente’, tirar de esa puerta y pasar es una experiencia desconocida para el usuario. Esta puerta forma parte del límite del espacio de la capilla, un espacio rasgado por la luz superior de las ventanas entreabiertas y acondicionado con una gran absorción acústica, un lugar donde el silencio se oye y donde la luz marca el tiempo.

La capilla tiene dos funciones: una de grupo, como es el rito del funeral, y otra personal y única, como es el recogimiento individual. Arquitectónicamente, la única diferencia que se ha propuesto es el tipo de iluminación artificial. En el caso de albergar un rito, se activan las luminarias empotradas a 50 cms del suelo así como las descolgadas en la zona del altar, generando un espacio ingrávido donde la luz está por debajo de las rodillas; en cambio para el recogimiento personal no se enciende ninguna luminaria, y el espacio queda iluminado desde las balizas exteriores del patio adyacente, una luz que ilumina el techo, estirando el espacio hacia arriba.

Desde hace una década, este pequeño pueblo del interior de Alicante, es lugar de residencia y trabajo de inmigrantes de diferentes culturas y tradiciones, esta situación es cada vez más actual y real, en este caso más de un 10% de la población es inmigrante internacional. Además las creencias y costumbres se van actualizando y cambiando, e incluso gente que comparte creencias ve, entiende y vive la muerte de forma diferente. Por tanto este tanatorio va a ser usado por personas de diferentes creencias y tradiciones. Este hecho aparentemente circunstancial, es de especial importancia a la hora del diseñar los espacios y las comunicaciones internas. La relación con la muerte es cada vez más diferente y personal, y este edificio, arquitectónicamente hablando, tiene que ser capaz de asumir la mayoría de estas situaciones.

Aunque pensada y muy definida la organización, ésta trabaja diversos niveles de incertidumbre y adaptabilidad. Lo que genera miradas interiores complejas, a la par que difusas.

No debemos olvidar el esfuerzo que contiene detrás esta empresa colectiva. El proyecto tiene un presupuesto de ejecución material de 431.583 €, lo que implica un esfuerzo muy importante de búsqueda de soluciones técnicas constructivas, sistemas de reducción del gasto de mantenimiento, y máximo grado de adaptación ecológico a nivel de paisaje y sostenibilidad. Ésta es una intervención que da más por menos.

No hemos desarrollado un discurso formal, ni de estilo, ni técnico, ni icónico… solamente hemos trabajado el proyecto poco a poco sin perder de vista cada apreciación anteriormente comentada, haciendo especial hincapié en que no se disuelvan dentro de las conversaciones disciplinares, rescatándolas constantemente y dándoles valor.

Lo emocional es un factor más de estudio y diseño. Asumiendo altos grados de incertidumbre y definiendo las limitaciones del conductismo, creemos que éste puede ser uno de los conceptos por estudiar más atractivos en futuros proyectos.

Source: Cor. / http://milimet.com/
milimetdesign – Where the convergence of unique creatives

Westchester Reform Temple & School

admin — Wed, 29 Dec 2010 02:59:00 +0000

milimetdesign updated from : www.architizer.com

About

Rogers Marvel’s Masterplan design for Westchester Reform Temple in Scarsdale, NY includes a new sanctuary complex, with a new Religious School and Study Center within renovated existing structures on a suburban site. The plan includes extensive re-organization of the site circulation and landscaping to create a cohesive campus.

The client’s object… read more

The client’s objectives included providing new classroom space for their Religious School program, reorganizing spaces to improve functionality, and improving security, safety and accessibility, both interior and exterior.

The design for the new sanctuary employs economic building materials and natural light to create a worship space that is at once grand and intimate. A visual connection to an exterior garden to the East, behind the Bimah, is a thematic component of the plan. Rogers Marvel is working closely with the Temple Clergy to design the sanctuary seating and bimah to compliment their liturgical style and accommodate different services and life cycle events. Landscape and the development of pedestrian connections are used to enhance the spirit of Place and unify the diverse buildings on the campus. The design will “enhance the spiritual qualities of [the] spaces, in order to encourage reflection, community, and commitment” as the Temple’s project goals originally stated.

AIA New York Chapter Merit Award

A project by: Rogers Marvel Architects Architecture, Interior, Masterplan

Type: Educational – School, Religious – Temple

Location: Scarsdale, NY, New York , United States

Building status: built in 2008

Source: http://lh6.ggpht.com

milimetdesign – Where the convergence of unique creatives

Kuokkala Church, Jyväskylä

admin — Fri, 03 Sep 2010 04:53:06 +0000

Kuokkala Church, Jyväskylä

Design : Lassila Hirvilammi Arkkitehdit

Anssi Lassila, Teemu Hirvilammi ja Jani Jansson

Photographs : Jussi Tianen / Mikko Auerniitty

The wish of the Parish of Jyväskylä was to build “a church that looks like a church”. Our

proposal was a simple, sculptural form within which all of the church’s different functions could be contained. The design is “of our time”, yet permeated with nods to and re-interpretations of church-building tradition.

The east-west oriented building stands centrally on Kuokkala Square, the focal point of

Jyväskylä’s Kuokkala district. The church is roofed and clad in overlapping slate tiles, and wooden and copper details around the entrances supplement the overall visual aspect. The church is flanked by a granite stairway and walls which, together with the bell tower on the square, usher visitors towards the main entrance.

The church’s functions are located across three storeys, with the church offices opening directly onto the market square. On the main floor, the church hall and parish meeting hall can be combined to create a shared space onto which the floor’s children’s and youth facilities also adjoin. A gallery houses the organ and cantors’ office.

The church is predominantly wooden. The church ceiling is a combined glulam frame and wooden gridshell construction, which visually integrates the separate hall spaces. The gridshell was assembled and laminated together in-situ in three sections.

Locally sourced spruce has been used throughout the church, from its bearing structures to its interior surfaces and fixtures. The church hall furnishings are in ashwood and the altar furniture is limewood, a species used historically for the carving of wooden icons.

The church design is based on the winning entry of a 2006 invitational architectural competition.

Rakennusliike Porrassalmi Oy

Kuokkalan kirkko

Valmistunut Kuokkalan kirkon suunnitelmat perustuvat kutsukilpailuvoittoon nimimerkillä KIDE vuodelta 2006.

Jyväskylän seurakunnassa herännyt ajatus siitä, että rakennus ilmentäisi toimintoa ja liittyisi osaksi kirkkorakentamisen jatkumoa oli kilpailuohjelamaan muotoiltu toiveeksi saada ”kirkon näköinen kirkko”. Ehdotuksemme ”KIDE” perustu kompaktiin veistokselliseen rakennukseen, jossa kaikki halutut toiminnon ovat yhden tunnistettava hahmon sisällä. Rakennuksen ulkohahmo on aikamme arkkitehtuuria, mutta siinä on nähtävissä historiallisia viittauksia suodatettuna ja tulkittuina. Ulko- ja sisäarkkitehtuurin vuoropuhelussa on kontrastilla voimakas rooli, joka on viritetty soimaan harkituilla materiaalivalinnoilla.

Rakennus liittyy osaksi Kuokkalan kaupunginosan elämää sijoittumalla selkeästi keskelle alueen toria, täydentäen sen ympäristöineen lähes valmiiksi. Kirkon veistoksellinen hahmo sijoittuu tontille itä-länsi suuntaisesti ja muuratut tiilimuurit rajaavat tontin toimintoja ja ääripisteitä. Kellotorni työntyy toritilaan lähes keskelle. Alkuperäinen, asemakaavanmukainen, ajatus torista jossa kaikki toiminnot kohtaavat sulassa sovussa palvellen ihmisten eri tarpeita täydentyi kirkon valmistumisen myötä. Kuokkalassa kirkko on saavutettavissa ja läsnä kaupunkitilassa.

Kirkon katto sekä seinät on verhoiltu limittäin ladotulla tummalla espanjalaisella liuskekivellä.

Kokonaisuutta täydentävät puiset ja kupariverhoillut yksityiskohdat sisääntuloalueilla, luoden ympärilleen lämpöä ja mittakaavaa. Ulkopinnat, portaat sekä sisääntuloalueen muurit on toteutettu suomalaisesta graniitista. Kellotorni yhdessä muurien kanssa viitoittaa tien kohti pääsisäänkäyntiä.

Toiminnot sijoittuvat kolmeen tasoon siten, että toimistot avautuvat suoraan torille, ollen näin päivittäisen asioinnin saavutettavissa. Kirkonrakennuksen pääkerroksen kirkko- ja seurakuntasali voidaan yhdistää yhdeksi suureksi sakraalitilaksi, samaan kokonaisuuteen liittyy tilat lapsi- ja nuorisotyölle. Parvelle, kirkko- ja seurakuntasalin väliin, on sijoitettu tila tuleville uruille sekä kanttoreiden työtilat.

Kirkko on pääosin puurakenteinen, kirkkosalin katto on yhdistelmä kantavista laminoiduista liimapuukehistä ja kuoriverkosta joka yhdistää pääkerroksen tilat kokonaisuudeksi. Kirkon sisätilassa voidaan nähdä viitteitä kansanrakentajien puukirkkoihin sekä goottilaisen katedraalin rikkaaseen rakenteelliseen maailmaan. Verkkokuori ja sen rakentaminen käytännössä tutkittiin yhdessä puuseppä Rudi Merzin kanssa ennen lopullisen suunnitelman tuottamista. Valittu ratkaisu mahdollisti verkon tekemisen paikalla laminoimalla kolmesta osasta.

Kirkon päämateriaali on tarkoin valikoitu keskisuomalainen kuusi, säteittäissahattuna, joka on kevyesti vaalennettu vahaamalla. Kuusi kulkee läpi koko rakennuksen kantavista rakenteista, alakattoista aina kiintokalusteisiin asti. Kirkkosalin kalusteet on suunniteltu osaksi kokonaisuutta puuseppä Kari Virtasen avustamana ja niiden materiaalina on eurooppalainen saarni. Alttarin kalusteet on tehty metsälehmuksesta josta perinteisesti on veistetty kansanrakentajienpuukirkkojen madonnat.

Kuokkala Church Finalnd – Building Information

Design period: 2006–10

Construction: 2008–10

Floor area: 1311 m2, 7460 m3

Finnish (English)

Kuokkalan Kirkko, Jyväskylä, Kuokkala Church, Jyväskylä

Osoite / Address

Syöttäjänkatu 4, Jyväskylä

Suunnittelu/ Years of planning: 2006-2009

Rakentaminen/ construction: 2008-2010

laajuustiedot/ floor area:

1311 m2 , 7460 m3

Tilaaja sekä käyttäjä /Client/ building owner /user

Jyväskylän Seurakunta/ Parish of Jyväskylä

Arkkitehtisuunnittelu / architectural design 2006-2010

Anssi Lassila, M.Sc. (Arkkitehti / Architect) (Lassila Hirvilammi arkkitehdit oy)

Chief Architect and Designer

Teemu Hirvilammi, (Arkkitehti yo / Architect stud.) (Lassila Hirvilammi arkkitehdit oy)

Architect, interior design

Jani Jansson, M.Sc (Arkkitehti / Architect) (Luonti arkkitehdit Oy)

Architect, on the site architect

Avustajat / assistants

Virve Väisänen (Architect) ( Luonti arkkitehdit Oy)

Juha Pakkala, (Architect stud.) ( Lassila Hirvilammi arkkitehdit Oy)

Janne Kähkönen, (Architect stud.) ( Lassila Hirvilammi arkkitehdit Oy)

Matias Topi, (Architect stud.) ( Lassila Hirvilammi arkkitehdit Oy)

Yoshimasa Yamada (Architect stud.) ( Lassila Hirvilammi arkkitehdit Oy)

Alttariteos

Pasi Karjula

Kirkkotekstiili/ Ecclesiastic textiles:

Silja van der Meer

Insinöörisuunnittelijat /Engineering,

Rakenneinsinööri/ construction:

Ramboll Ltd./ Juha Elomaa and Antti Oikari

Kivirakenteet/ construction, natural stone

Stonecon Ltd./ Pekka Mesimäki and Uolevi Pesonen

LVI-suunnittelu/ HPAC design:

LVI-Lindroos / Jari Manninen

Sähkösuunnittelu/ Electrial design:

Leinonen-Mantsinen / Juhani Närhi

Akustinen suunnittelu/ Acoustic design:

Helimäki acoustics/ Heikki Helimäki

Urakoitsija/ Builders

Kuokkala Church Helsinki images / information from JKMM Architects

Source: www.e-architect.co.uk

milimetdesign – Where the convergence of unique creatives

rux: the vanishing mosque

admin — Sat, 17 Jul 2010 01:02:17 +0000

‘the vanishing mosque’ by rux design
all images courtesy of rux design and via traffic

new york-based design studio rux has won the ‘design as reform’ competition hosted by traffic,
a dubai-based art and design collective. the architecture category of the multi-disciplinary
competition called for a reinterpretation of the traditional mosque with a variety of requirements
such as an ablution area, a women’s prayer room, and communal spaces. rux’s design proposal,
‘the vanishing mosque’, plays with the idea of liberating the mosque from a building form
and incorporating it directly into the fabric of the city, making it more visible, connected,
and integral to the spiritual and cultural workings of a community.

‘in the evening, lights from residences and offices ni the surrounding buildings cast chance shadows across iconic architecture.’

the design features a 5000 m2 urban plaza which skews the city grid to forge a forced perspective
view in the direction of mecca. the combined effect of the saw-tooth facades of the surrounding
buildings as well as the angle of the structure makes it seem as if the plaza is vanishing into
the horizon. the space created under the peeled up prayer plinth provides an ablution,
an area for ritual washing.

‘the prayer plinth points in the direction of mecca, like a giant compass needle.’

‘white marble facades and deep shaded arcades create dynamic and contrasting lighting conditions. passersby glimpse the prayer scene
while going about their day-to-day activities.’

model
the ablution (ritual washing area) beneath the raised prayer plinth

‘an aerial view of the plaza reveals that the forced perspective effect is actually created by a series of angled and distorted building facades.’

pointing in the direction of mecca

plan
5000 m2 public plaza with surrounding mixed use buildings

section
‘the ground lifts up to reveal a cool shaded pool of water beneath the city floor. this area is used for rest, relaxation and ritual cleansing.’

Source: designboom

milimetdesign – Where the convergence of unique creatives

cheungvogl: san antonio de padua, chepica, chile

admin — Tue, 01 Jun 2010 12:13:00 +0000

interior of the church san antonio de chépica was founded in a town north of san antonio in 1824. in 1875, the church
was relocated and the new san antonio de chépica was rebuilt in 1876. the structure suffered
serious damage in the 1906 earthquake.

on 27 february 2010, the massive 8.8 quake struck chile for 90 seconds at a depth of 35 km.
seismologists estimate the day may have shortened by 1.26 microseconds, the axis of the earth
shifted by 8 cm and its territory expanded by 1.2 km. san antonio de chépica was, once again,
destroyed.

in the first quarter of 2010, US geological surveys recorded six earthquakes of magnitude 7.0
or greater which claimed over 222,000 lives. the damages caused by earthquakes to developing
countries are severe due to unsophisticated earthquake-resistant construction. most reconstruction
schemes in remote areas and small villages aim to ‘reproduce quickly, exactly as it was’. without
the luxury of time and resources to critically rethink the impact of these significant changes to
the environment, without precise reconsideration of urban planning and architectural mistakes,
the same will happen again.

san antonio de padua, chepica, chile by cheungvogl

hong kong firm cheungvogl (judy cheung + christoph vogl) has just sent us images of their
latest project which has taken this into consideration when designing the new church.
within a large space of 850 sqm is a small room of 350 sqm, slotted in on the first level,
providing rooms for smaller gatherings. the dynamic movements of the roof, shift in two planes,
subtlety defining the interior spaces. upon entry, the tilting of the roof structure integrates the
volume of the bell tower into the main volume of the church.

the dramatic spatial experience towards the highest point of the church leads to the bell tower.
the fold on the roof plane allows its simultaneous extension to another high point,
directly above the altar. below it marks the thin standing cross. in the space the music echoes
and is penetrated with subtle rays of natural daylight through all sides of the facades.
the room is furnished with rows of timber benches, orthogonally placed. the eastern wall is clad
with recycled timber panels, documenting history and time. structurally, seismic resistant reinforced
concrete construction is engineered to provide thermal masses that keep the building cool
in the summer and warm in the winter by storing energy effectively.

chépica finds in the reconstruction of san antonio church, the opportunity to demonstrate courage
and strength after experiencing such devastating natural catastrophe. the architecture becomes
a visible expression of relentless faith.

exterior of the church

the altar and 7m cross

the wooden benches

floor plans

west and north elevations

east and south elevations

site plan

the destruction of the 2010 earthquake

Source: www.designboom.com
milimetdesign – Where the convergence of unique creatives

Lumen United Reformed Church by Theis and Khan Architects

admin — Sun, 31 Jan 2010 01:09:00 +0000

London-based Theis and Khan Architects have completed the renovation of Lumen United Reformed Church in London, UK.

Located on Tavistock Place in Bloomsbury, the project involved adding an entrance, offices, toilets, a cafe and courtyard garden to the 1960s church.

A conical room lit from above, referred to by the architects as the ’sacred space’, divides the cafe from the main congregational area.

The church will be used by the local multi-faith community, as a creche and space for leisure activities.

Photos by Nick Kane.

The following information is from Theis and Khan Architects:

–

London practice Theis and Khan Architects has just completed a redesign of the United Reformed Church in Tavistock Place, Bloomsbury.

The brief was to bring the church into the 21st Century and open it up to the local community. The result is a simple, honest, serene place of worship composed of a series of neutral spaces for use by people of all faiths and beliefs.

The Sacred Space is the pivotal space within the church building dividing the new café from the main congregation space. It’s lit by a single source of light 11m above floor – the light penetrates through the roof and draws the gaze upwards towards the sky. The white render and changing light gives the space a pure and elemental feel and imbues it with a peaceful, religious aura.

Working with art consultants Modus Operandi, Lumen United Reformed Church commissioned two artists for new artworks in the church. The church itself opens in the New Year. Café and night shelter will be operation in the Spring.

Update 17.12.08: Theis and Khan Architects have sent us the following image of the ’sacred space’ in the church.

Source: dezeen

milimetdesign - Where the convergence of unique creatives