France
Pont du Gard
UNESCO World Heritage Site
is a Roman monument built halfway through the 1st century AD. It is the principal construction in a 50 km long aqueduct that supplied the city of Nîmes, formerly known as Nemausus, with water. Built as a three-level aqueduct standing 50 m high, it allowed water to flow across the Gardon river. In essence, the bridge is constructed out of soft yellow limestone blocks, taken from a nearby quarry that borders the river. The highest part of the structure is made out of breeze blocks joined together with mortar. It is topped by a device designed to bear the water channel, whose stone slabs are covered with calcium deposits. In designing this three-storey bridge, which measures 360 m at its longest point along the top, the Roman architects and hydraulic engineers created a technical masterpiece that stands today as a work of art. As a result of numerous scientific studies, we now know that an impressive volume of rock was needed to complete the construction. Moreover, archaeologists also uncovered evidence of how well organized the project was. They found numbering on the stones, points of support for scaffolding, and evidence of the use of hoists. source: www.pontdugard.fr
Pont du Gard
UNESCO World Heritage Site
is a Roman monument built halfway through the 1st century AD. It is the principal construction in a 50 km long aqueduct that supplied the city of Nîmes, formerly known as Nemausus, with water. Built as a three-level aqueduct standing 50 m high, it allowed water to flow across the Gardon river. In essence, the bridge is constructed out of soft yellow limestone blocks, taken from a nearby quarry that borders the river. The highest part of the structure is made out of breeze blocks joined together with mortar. It is topped by a device designed to bear the water channel, whose stone slabs are covered with calcium deposits. In designing this three-storey bridge, which measures 360 m at its longest point along the top, the Roman architects and hydraulic engineers created a technical masterpiece that stands today as a work of art. As a result of numerous scientific studies, we now know that an impressive volume of rock was needed to complete the construction. Moreover, archaeologists also uncovered evidence of how well organized the project was. They found numbering on the stones, points of support for scaffolding, and evidence of the use of hoists. source: www.pontdugard.fr
Notre Dame du Haut, Ronchamp
In 1950, Le Corbusier was commissioned to design a new Catholic church to replace the previous church that had been destroyed during World War II. The site of Ronchamp has long been a religious site of pilgrimage that was deeply rooted in Catholic tradition, but after World War II the church wanted a pure space void of extravagant detail and ornate religious figures unlike its predecessors. Ronchamp is deceptively modern such that it does not appear as a part of Corbusier’s aesthetic or even that of the International Style; rather it sits in the site as a sculptural object. The inability to categorize Ronchamp has made it one of the most important religious buildings of the 20th Century, as well as Corbusier’s career. Corbusier wanted the space to be meditative and reflective in purpose. The stark white walls add to this purist mentality that when the light enters into the chapel there becomes this washed out, ethereal atmosphere. The effect of the light evokes expressive and emotional qualities that create heightened sensations in tune with the religious activities. source: http://www.archdaily.com
In 1950, Le Corbusier was commissioned to design a new Catholic church to replace the previous church that had been destroyed during World War II. The site of Ronchamp has long been a religious site of pilgrimage that was deeply rooted in Catholic tradition, but after World War II the church wanted a pure space void of extravagant detail and ornate religious figures unlike its predecessors. Ronchamp is deceptively modern such that it does not appear as a part of Corbusier’s aesthetic or even that of the International Style; rather it sits in the site as a sculptural object. The inability to categorize Ronchamp has made it one of the most important religious buildings of the 20th Century, as well as Corbusier’s career. Corbusier wanted the space to be meditative and reflective in purpose. The stark white walls add to this purist mentality that when the light enters into the chapel there becomes this washed out, ethereal atmosphere. The effect of the light evokes expressive and emotional qualities that create heightened sensations in tune with the religious activities. source: http://www.archdaily.com
Eiffel Tower, Paris
When Gustave Eiffel’s company built Paris’ most recognizable monument for the 1889 World’s Fair, many regarded the massive iron structure with skepticism. Today, the Eiffel Tower, which continues to serve an important role in television and radio broadcasts, is considered an architectural wonder and attracts more visitors than any other paid tourist attraction in the world. In 1889, Paris hosted an Exposition Universelle (World’s Fair) to mark the 100-year anniversary of the French Revolution. More than 100 artists submitted competing plans for a monument to be built on the Champ-de-Mars, located in central Paris, and serve as the exposition’s entrance. The commission was granted to Eiffel et Compagnie, a consulting and construction firm owned by the acclaimed bridge builder, architect and metals expert Alexandre-Gustave Eiffel. While Eiffel himself often receives full credit for the monument that bears his name, it was one of his employees—a structural engineer named Maurice Koechlin—who came up with and fine-tuned the concept. Several years earlier, the pair had collaborated on the Statue of Liberty’s metal armature. source: www.history.com
When Gustave Eiffel’s company built Paris’ most recognizable monument for the 1889 World’s Fair, many regarded the massive iron structure with skepticism. Today, the Eiffel Tower, which continues to serve an important role in television and radio broadcasts, is considered an architectural wonder and attracts more visitors than any other paid tourist attraction in the world. In 1889, Paris hosted an Exposition Universelle (World’s Fair) to mark the 100-year anniversary of the French Revolution. More than 100 artists submitted competing plans for a monument to be built on the Champ-de-Mars, located in central Paris, and serve as the exposition’s entrance. The commission was granted to Eiffel et Compagnie, a consulting and construction firm owned by the acclaimed bridge builder, architect and metals expert Alexandre-Gustave Eiffel. While Eiffel himself often receives full credit for the monument that bears his name, it was one of his employees—a structural engineer named Maurice Koechlin—who came up with and fine-tuned the concept. Several years earlier, the pair had collaborated on the Statue of Liberty’s metal armature. source: www.history.com
Historic Fortified City of Carcassonne
Unesco World Heritage Site
Since the pre-Roman period, a fortified settlement has existed on the hill where Carcassonne now stands. In its present form it is an outstanding example of a medieval fortified town, with its massive defences encircling the castle and the surrounding buildings, its streets and its fine Gothic cathedral. Carcassonne is also of exceptional importance because of the lengthy restoration campaign undertaken by Viollet-le-Duc, one of the founders of the modern science of conservation. source: http://whc.unesco.org
Unesco World Heritage Site
Since the pre-Roman period, a fortified settlement has existed on the hill where Carcassonne now stands. In its present form it is an outstanding example of a medieval fortified town, with its massive defences encircling the castle and the surrounding buildings, its streets and its fine Gothic cathedral. Carcassonne is also of exceptional importance because of the lengthy restoration campaign undertaken by Viollet-le-Duc, one of the founders of the modern science of conservation. source: http://whc.unesco.org
Carré d'Art - Médiathèque, Nimes
The site faces the Maison Carrée, a perfectly preserved Roman temple. The challenge was to relate new to the old, but at the same time to create a building that represented its own age with integrity. The Carré d'Art is articulated as a nine-storey structure, half of which is cut into the ground, keeping the building's profile low in sympathy with the scale of the surrounding buildings At the heart of the plan is a glass-roofed atrium, with a cascading staircase, which references the courtyard vernacular of the region. This space exploits the transparency and lightness of modern materials to allow daylight to permeate all floors. The lower levels house archive storage and a cinema. Above are two library floors, with art galleries on the upper two levels. A reception space on the uppermost floor opens out to a shaded café terrace overlooking a new public square. The creation of this urban space was an integral part of the project. Railings, hoardings and parked cars were banished and the space in front of the building was extended to create a pedestrianised place - a new social focus and an appropriate setting for the Maison Carrée. Lined with café tables and thronged with people, the square has reinvigorated the social and cultural life of Nîmes. Together with these urban interventions, the Carré d'Art shows how a building project, backed by an enlightened political initiative, can provide a powerful catalyst for reinvigorating the social and physical fabric of a city. Architect: Normal Foster. source: www.fosterandpartners.com
The site faces the Maison Carrée, a perfectly preserved Roman temple. The challenge was to relate new to the old, but at the same time to create a building that represented its own age with integrity. The Carré d'Art is articulated as a nine-storey structure, half of which is cut into the ground, keeping the building's profile low in sympathy with the scale of the surrounding buildings At the heart of the plan is a glass-roofed atrium, with a cascading staircase, which references the courtyard vernacular of the region. This space exploits the transparency and lightness of modern materials to allow daylight to permeate all floors. The lower levels house archive storage and a cinema. Above are two library floors, with art galleries on the upper two levels. A reception space on the uppermost floor opens out to a shaded café terrace overlooking a new public square. The creation of this urban space was an integral part of the project. Railings, hoardings and parked cars were banished and the space in front of the building was extended to create a pedestrianised place - a new social focus and an appropriate setting for the Maison Carrée. Lined with café tables and thronged with people, the square has reinvigorated the social and cultural life of Nîmes. Together with these urban interventions, the Carré d'Art shows how a building project, backed by an enlightened political initiative, can provide a powerful catalyst for reinvigorating the social and physical fabric of a city. Architect: Normal Foster. source: www.fosterandpartners.com
Unite d'Habitation, Marseille
The Unite d’Habitation in Marseille, France was the first large scale project for the famed architect, Le Corbusier. In 1947, Europe was still feeling the effects of the Second World War, when Le Corbusier was commissioned to design a multi-family residential housing project for the people of Marseille that were dislocated after the bombings on France. Completed in 1952, the Unite d’ Habitation was the first of a new housing project series for Le Corbusier that focused on communal living for all the inhabitants to shop, play, live, and come together in a “vertical garden city.” The Unite d’Habitation was a first, both for Le Corbusier and the ways in which to approach such a large complex to accommodate roughly 1,600 residents. Especially since Le Corbusier did not have many buildings of such a substantial scale when compared to the villas. When designing for such a significant number of inhabitants natural instinct is to design horizontally spreading out over the landscape, rather Le Corbusier designed the community that one would encounter in a neighborhood within a mixed use, modernist, residential high rise. Le Corbusier’s idea of the “vertical garden city” was based on bringing the villa within a larger volume that allowed for the inhabitants to have their own private spaces, but outside of that private sector they would shop, eat, exercise, and gather together. With nearly 1,600 residents divided among eighteen floors, the design requires an innovative approach toward spatial organization to accommodate the living spaces, as well as the public, communal spaces. Interestingly enough, the majority of the communal aspects do not occur within the building; rather they are placed on the roof. source: www.archdaily.com
The Unite d’Habitation in Marseille, France was the first large scale project for the famed architect, Le Corbusier. In 1947, Europe was still feeling the effects of the Second World War, when Le Corbusier was commissioned to design a multi-family residential housing project for the people of Marseille that were dislocated after the bombings on France. Completed in 1952, the Unite d’ Habitation was the first of a new housing project series for Le Corbusier that focused on communal living for all the inhabitants to shop, play, live, and come together in a “vertical garden city.” The Unite d’Habitation was a first, both for Le Corbusier and the ways in which to approach such a large complex to accommodate roughly 1,600 residents. Especially since Le Corbusier did not have many buildings of such a substantial scale when compared to the villas. When designing for such a significant number of inhabitants natural instinct is to design horizontally spreading out over the landscape, rather Le Corbusier designed the community that one would encounter in a neighborhood within a mixed use, modernist, residential high rise. Le Corbusier’s idea of the “vertical garden city” was based on bringing the villa within a larger volume that allowed for the inhabitants to have their own private spaces, but outside of that private sector they would shop, eat, exercise, and gather together. With nearly 1,600 residents divided among eighteen floors, the design requires an innovative approach toward spatial organization to accommodate the living spaces, as well as the public, communal spaces. Interestingly enough, the majority of the communal aspects do not occur within the building; rather they are placed on the roof. source: www.archdaily.com
Arab World Institute, Paris
Architect: Jean Nouvel. One of the main reasons behind the construction of this institute was to create a destination devoted to the relationship of the Arab culture with France. Located at the threshold of the historical peripheries of Paris along the River Seine, it responds to its immediate context both in plan and elevation. In plan it follows the curvature of the road, whose form is dictated by the river. Its 2 main volumes encompass an inner courtyard with the north mass rising 9 stories and the southern portion rising to 11 stories. Typical of Jean Nouvel’s work is his attention to façade detailing, and this design is no exception. A main feature and innovative element of the IMA is the advanced responsive metallic brise soleil on the south façade. Nouvel’s proposal for this system was well received for its originality and its reinforcement of an archetypal element of Arabic architecture – the mashrabiyya. He drew inspiration from the traditional lattice work that has been used for centuries in the Middle East to protect the occupants from the sun and provide privacy. source: www.archdaily.com
Architect: Jean Nouvel. One of the main reasons behind the construction of this institute was to create a destination devoted to the relationship of the Arab culture with France. Located at the threshold of the historical peripheries of Paris along the River Seine, it responds to its immediate context both in plan and elevation. In plan it follows the curvature of the road, whose form is dictated by the river. Its 2 main volumes encompass an inner courtyard with the north mass rising 9 stories and the southern portion rising to 11 stories. Typical of Jean Nouvel’s work is his attention to façade detailing, and this design is no exception. A main feature and innovative element of the IMA is the advanced responsive metallic brise soleil on the south façade. Nouvel’s proposal for this system was well received for its originality and its reinforcement of an archetypal element of Arabic architecture – the mashrabiyya. He drew inspiration from the traditional lattice work that has been used for centuries in the Middle East to protect the occupants from the sun and provide privacy. source: www.archdaily.com
Villa Savoye, Poissy
Architect: Le Corbusier. Situated in Poissy, a small commune outside of Paris, is one of the most significant contributions to modern architecture in the 20th century, Villa Savoye by Le Corbusier. Completed in 1929, Villa Savoye is a modern take on a French country house that celebrates and reacts to the new machine age. The house single handedly transformed Le Corbusier’s career as well as the principles of the International Style; becoming one of the most important architectural precedents in the history. Villa Savoye’s detachment from its physical context lends its design to be contextually integrated into the mechanistic/industrial context of the early 20th century, conceptually defining the house as a mechanized entity. Le Corbusier is famous for stating, “The house is a machine for living.” This statement is not simply translated into the design of a human scaled assembly line; rather the design begins to take on innovative qualities and advances found in other fields of industry, in the name of efficiency. In response to his aspirations and admiration of mechanized design, Le Corbusier established “The Five Points” of architecture, which is simply a list of prescribed elements to be incorporated in design. The Five Points of architecture can be thought of as Le Corbusier’s modern interpretation of Vitruvius’ Ten Books on Architecture, not literally in the sense of an instructional manual for architects, but rather a checklist of necessary components of design. So much so that Villa Savoye is thoroughly tailored to Corbusier’s Five Points: Pilotis, Flat Roof Terrace, Open Plan, Ribbon Windows, Free Façade. At this point in Le Corbusier’s career, he became intrigued by the technology and design of steamships. The simplistic, streamlined result born out of innovative engineering techniques and modular design had influenced Corbusier’s spatial planning and minimalistic aesthetic. The pilotis that support the decks, the ribbon windows that run alongside the hull, the ramps providing a moment of egress from deck to deck; all of these aspects served as the foundation of the Five Points of Architecture and are found in the overall composition of Villa Savoye. Upon entering the site, the house appears to be floating above the forested picturesque background supported by slender pilotis that seem to dissolve among the tree line, as the lower level is also painted green to allude to the perception of a floating volume. source: www.archdaily.com
Architect: Le Corbusier. Situated in Poissy, a small commune outside of Paris, is one of the most significant contributions to modern architecture in the 20th century, Villa Savoye by Le Corbusier. Completed in 1929, Villa Savoye is a modern take on a French country house that celebrates and reacts to the new machine age. The house single handedly transformed Le Corbusier’s career as well as the principles of the International Style; becoming one of the most important architectural precedents in the history. Villa Savoye’s detachment from its physical context lends its design to be contextually integrated into the mechanistic/industrial context of the early 20th century, conceptually defining the house as a mechanized entity. Le Corbusier is famous for stating, “The house is a machine for living.” This statement is not simply translated into the design of a human scaled assembly line; rather the design begins to take on innovative qualities and advances found in other fields of industry, in the name of efficiency. In response to his aspirations and admiration of mechanized design, Le Corbusier established “The Five Points” of architecture, which is simply a list of prescribed elements to be incorporated in design. The Five Points of architecture can be thought of as Le Corbusier’s modern interpretation of Vitruvius’ Ten Books on Architecture, not literally in the sense of an instructional manual for architects, but rather a checklist of necessary components of design. So much so that Villa Savoye is thoroughly tailored to Corbusier’s Five Points: Pilotis, Flat Roof Terrace, Open Plan, Ribbon Windows, Free Façade. At this point in Le Corbusier’s career, he became intrigued by the technology and design of steamships. The simplistic, streamlined result born out of innovative engineering techniques and modular design had influenced Corbusier’s spatial planning and minimalistic aesthetic. The pilotis that support the decks, the ribbon windows that run alongside the hull, the ramps providing a moment of egress from deck to deck; all of these aspects served as the foundation of the Five Points of Architecture and are found in the overall composition of Villa Savoye. Upon entering the site, the house appears to be floating above the forested picturesque background supported by slender pilotis that seem to dissolve among the tree line, as the lower level is also painted green to allude to the perception of a floating volume. source: www.archdaily.com
Abbey, Thoronet
The "jewel" of Cistercian abbeys. Built between 1160 and 1230, Le Thoronet Abbey, together with Silvacane and Sénanque, is one of three Cistercian abbeys in Provence. In danger of falling into disrepair after the French Revolution, restoration work began on this masterpiece in 1841. An example for contemporary architecture. Generations of architects were inspired by the purity and simplicity of the internal space, dictated mainly by the organisation of community life. Le Corbusier visited the site in 1953 and wrote: "In these days of ‘raw concrete’, however fêted, welcome and blessed it may be, this was such a marvellous encounter along the way." source: www.le-thoronet.fr
The "jewel" of Cistercian abbeys. Built between 1160 and 1230, Le Thoronet Abbey, together with Silvacane and Sénanque, is one of three Cistercian abbeys in Provence. In danger of falling into disrepair after the French Revolution, restoration work began on this masterpiece in 1841. An example for contemporary architecture. Generations of architects were inspired by the purity and simplicity of the internal space, dictated mainly by the organisation of community life. Le Corbusier visited the site in 1953 and wrote: "In these days of ‘raw concrete’, however fêted, welcome and blessed it may be, this was such a marvellous encounter along the way." source: www.le-thoronet.fr
Notre Dame de Paris
is a beautiful cathedral on the the Île de la Cité in Paris. Begun in 1163 and mostly completed by 1250, Notre Dame is an important example of French Gothic architecture, sculpture and stained glass. The Notre Dame de Paris stands on the site of Paris' first Christian church, Saint Etienne basilica, which was itself built on the site of a Roman temple to Jupiter. Notre-Dame's first version was a "magnificent church" built by Childebert I, the king of the Franks at the time, in 528, and was already the cathedral of the city of Paris in the 10th century. However, in 1160, having become the "parish church of the kings of Europe," Bishop Maurice de Sully deemed the building unworthy of its lofty role, and had it demolished. Construction on the current cathedral began in 1163, during the reign of Louis VII, and opinion differs as to whether Bishop Maurice de Sully or Pope Alexander III laid the foundation stone of the cathedral. Construction of the west front, with its distinctive two towers, began in around 1200 before the nave had been completed. Over the construction period, numerous architects worked on the site, as is evidenced by the differing styles at different heights of the west front and towers. source: www.sacred-destinations.com
is a beautiful cathedral on the the Île de la Cité in Paris. Begun in 1163 and mostly completed by 1250, Notre Dame is an important example of French Gothic architecture, sculpture and stained glass. The Notre Dame de Paris stands on the site of Paris' first Christian church, Saint Etienne basilica, which was itself built on the site of a Roman temple to Jupiter. Notre-Dame's first version was a "magnificent church" built by Childebert I, the king of the Franks at the time, in 528, and was already the cathedral of the city of Paris in the 10th century. However, in 1160, having become the "parish church of the kings of Europe," Bishop Maurice de Sully deemed the building unworthy of its lofty role, and had it demolished. Construction on the current cathedral began in 1163, during the reign of Louis VII, and opinion differs as to whether Bishop Maurice de Sully or Pope Alexander III laid the foundation stone of the cathedral. Construction of the west front, with its distinctive two towers, began in around 1200 before the nave had been completed. Over the construction period, numerous architects worked on the site, as is evidenced by the differing styles at different heights of the west front and towers. source: www.sacred-destinations.com
TGV Station, Satolas
The Lyon-Satolas Station is the terminus for the TGV trains connecting the airport to the city of Lyon, 30 kilometers to the south. The almost forty meter tall steel and concrete structure refers to the metaphor of a enormous bird with spread out wings. Arriving by car you enter the Main Hall through a "Gateway" formed by a concrete V-shaped abutment that join the ends of four steel arches. The center pair of arches follow the line of the roof to form a spine, the outer curved beams span over two glazed symmetrical concourse wings. In the triangular Main Hall the central spine is formed by three arches braced together by diagonal beams. Two large cantilevered balconies penetrate the space. The adjoining concrete service building is fitted with a steel and glass window wall that overlooks the Main Hall. The spine is supported by a concrete mass on the east and two supports, integrated with lift towers, on the west. The uppermost arch of the spine is a steel box of triangular section while the two lower arches are composed of steel tubes. The cross bracing members vary in size and are assembled four by four along the central tubes. From the Main Hall, where all the station's and airport services are positioned, two vaulted glass and steel concourse wings connect to the train platforms. Cast on site concrete elements support the platform roof and visually complement the roof modules in the main terminal area. The roof is either glazed or filled with prefabricated concrete sections. Architect: Santiago Calatrava. source: www.arcspace.com
The Lyon-Satolas Station is the terminus for the TGV trains connecting the airport to the city of Lyon, 30 kilometers to the south. The almost forty meter tall steel and concrete structure refers to the metaphor of a enormous bird with spread out wings. Arriving by car you enter the Main Hall through a "Gateway" formed by a concrete V-shaped abutment that join the ends of four steel arches. The center pair of arches follow the line of the roof to form a spine, the outer curved beams span over two glazed symmetrical concourse wings. In the triangular Main Hall the central spine is formed by three arches braced together by diagonal beams. Two large cantilevered balconies penetrate the space. The adjoining concrete service building is fitted with a steel and glass window wall that overlooks the Main Hall. The spine is supported by a concrete mass on the east and two supports, integrated with lift towers, on the west. The uppermost arch of the spine is a steel box of triangular section while the two lower arches are composed of steel tubes. The cross bracing members vary in size and are assembled four by four along the central tubes. From the Main Hall, where all the station's and airport services are positioned, two vaulted glass and steel concourse wings connect to the train platforms. Cast on site concrete elements support the platform roof and visually complement the roof modules in the main terminal area. The roof is either glazed or filled with prefabricated concrete sections. Architect: Santiago Calatrava. source: www.arcspace.com
La Défense, Paris
is Europe’s largest purpose-built business district to the West of the city of Paris. The district is a showcase of France’s great leap into the 21st century. For many visitors to France who come to Paris with a preset image in their mind, the Business District is rather unexpected and its true value lies in its position at the far end of the Historical Axis. La Défense is indeed the height of the Historical Axis which starts at the Louvre and continues through the Place de la Concorde, the Champs-Elysées and the Arc de Triomphe. source: http://frenchmoments.eu
is Europe’s largest purpose-built business district to the West of the city of Paris. The district is a showcase of France’s great leap into the 21st century. For many visitors to France who come to Paris with a preset image in their mind, the Business District is rather unexpected and its true value lies in its position at the far end of the Historical Axis. La Défense is indeed the height of the Historical Axis which starts at the Louvre and continues through the Place de la Concorde, the Champs-Elysées and the Arc de Triomphe. source: http://frenchmoments.eu