Tainer Associates Ltd. Sacred

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SACRED 911 Memorial Competition Entry Suburban Church Complex SPACES & PLACES

approach design, programmatic aesthetical wishes

We believe in a layered approach to design, shaped by existing conditions and defined by programmatic concerns, aesthetical wishes and budgetary and temporal constraints.

We believe that every solution needs to have its own unique personality and somehow elevate the experience of both the casual observer and the ultimate user.

We believe that every solution needs to address all of the senses of the observers and ultimately draw them into the space as participants.

We believe in contextual solutions that engage and are engaged by the urban or natural fabric, solutions where the raw space is shaped and is interesting even by itself. Materials, Colors, Lighting, furniture and furnishings are but added layers of necessary requirements that add and augment the total experience and need to be planned out accordingly.

We believe in natural and sustainable materials and the beauty inherent in high quality engineering and manufacturing.

We believe in well organized and clear presentation that artistically can stand by themselves.

We believe in clear, concise and dramatic concepts. We believe in the careful integration of both inside and outside

We believe in the art of architecture.

911 Memorial Competition

Suburban Church Complex

911 MEMORIAL COMPETITION
NEW
-
YORK, NY
911
MEMORIAL COMPETITION - NEW YORK, NY

911 MEMORIAL COMPETITION - NEW YORK, NY

The solution is driven by three initial goals. The first goal was to should also be illustrated. All of this information will, in a small way, maintain the original footprint of the towers, the second to make give us more personal insight of the victims. The collective sure that the individual victims were honored and the last to information will also demonstrate that this was not only an attack continue to give some sense of the magnitude and scale of the against the United States but as an extension, all of humanity terrible devastation that occurred on that fateful day.

an and original should the Thus must world. obelisks their crossed and will one the be and center that identified flowers.

The firemen and policeman that died doing their jobs will be It was important to maintain the original footprint of the towers singled out as well, with either a blue or a red base. In order to because they became the final resting place for those that died further personalize the victims, each obelisk would be cut to the and they should be treated as sacred, hollowed ground. Fitting same height of the individual. Thus both the stature and mass of tribute must also be extended to the spirit of the humanity that first these small towers and by extension the power and presence of built those two towers, then worked there and finally took the each person would be forever frozen in time, physically destruction apart beam by beam, and bucketful by bucketful, representing each person, Together all 3022 of them will become agonizingly removing the same 200,000 tons of steel, the 3000 visible physical evidence of the magnitude of the loss to their miles of electrical cable, the 43000 windows, 215,000 square feet families, to the nation and to the world. of glass, 110 floors of concrete, and 104 elevators, that went into its original construction.

The obelisks would be placed in a non-directional manner symbolizing the casual aspect of the interaction that must have The perimeter of the towers is ringed by a set of stairs that allows occurred between each of these people on an everyday basis. At the base to be treated as a podium and allowing an easily made some point in their lives they must have crossed paths inside and transition from the green meadows to the tower base and vice around the buildings without realizing it Now they continue to versa. The footprint area is filled with water, symbol of everlasting casually interact with each other and with those that visit. The life and providing a softer more calming environment for the actual small walkways represent the tight and confusing quarters that all memorial. An orthogonal system who escaped had to navigate as they made their way out of the of narrow walkways is installed recalling the original building devastated structures. But most importantly the sheer magnitude module of 3022 souls will forever be represented by their collective and continuing in concept the grid of the city. The water filled area presence. in between the walkways will become the resting place for obelisks, one for each of the victims of the disaster. These would Each of the water filled areas and obelisks would be lit from below be visually close, so as to be able to read the information upon it, and as such be visible day and night. The two streets would be but physically distant, as in death, to those that approach each extended towards the center of the site where a three-sided one. pyramidal stepped shape would be placed to make the transition between the higher grade and the lower field. The steps would The obelisks would be made out of a natural material, either stone form a seating area for watching the monument and the theatre of or metal, that would weather with time, aging like all of us. Each life around it. Instead of the tragic shock waves that emanated person would be identified by name and age. In addition, from the buildings, the field is now covered with similar bands of indications of their nationality, through the addition of a flag, and plantings and flowers. their birthplace together with a listing of the company they worked for and its location within the towers would be indicated. Given the At every step during the planning and design of the memorial, nature of the attack, the religious affiliation of each individual each of the obelisks representing the victims would, in some way,

SUBURBAN CHURCH COMPLEX

AWARDS

AWARDS EXHIBITS

1974 Reynolds Aluminum 1983 Tops Competition

PUBLICATIONS

1985 Plan & Print (July)

"Idea of Big" D. D. Douglas Versailles, France "Chambre No. 6" Art Institute of Chicago Focus (July)

Ecole Pedagogique #3 New Chicago Architecture

1985 American Institute of 1984 150 Years of Chicago Architecture

"Interior Architecture Awards Architects Museum of Science & Industry, 1985 The Inland Architect (August) Interior Architecture Award Idea of BIG"

Citation of Merit"NIU Art Gallery" College of Art & Architecture

1988 SAMMY AWARD University of Illinois-Chicago

“Interior Architecture Awards”

Progressive Architecture(August)

"Interior Architecture Awards" "Bloomfield Club Sales Center" 1985 Interior Architect Awards 1990 CCAIAX - 1985 to 1990

SAMMY AWARD Chicago Chapter AIA

"The Art of Interior Architecture" "Bloomfield Club Signage" “NIU Chicago Art Gallery” Interiors Magazine - (June) 1989 Award of Excellence Alumni Show

"Chicago Design"

Architecture in Perspective V "Washington Terrace Brochure" 1986 Currents from Chicago: Architecture Chicago -Volum 7 1990 Architecture in Perspective V Archicenter Chicago

Seaman - Patrick Paper Co. “NIU Chicago Art Gallery”

"Alternative Visions"

Arch. Design Collaborators "Villa Quadrata" AIA-UICC 1991 Arch. Design Collaborators

International Competition 1987 UICC Alumni Exhibit

1991 Interiors Magazine 1989 Divine Details Exhibit Interiors Magazine ( January) Annual Interiors Award Van Stratten Gallery "12th Annual Interior Awards" Best in Low Budget Category 1990 Chicago '91 ASAP Exhibit Architecture Chicago Vol 9 "Pinuccio Restaurant" 1991 Architecture in Perspective V Architecture in Perspective

1992 American Institute of Architects “Villa Quadrata”

"5 Years of Award Winning Interior Architecture Award Architecture in Perspective V Drawings" 1986 - 1991

Citation of Merit, "Belle Rose"

ASAP Regional Exhibit 1992 Architectural Renderings

Restaurant Design 3 Gwenda Jay Gallery Quarto, London, England 100 Best Restaurant Designs 1993 AIA Awards '93 Arch. Design Collaborators

"Pinuccio Restaurant" Chicago Historical Society Interiors Magazine - June 1993 Architecture in Perspective 8 “Belle Rose” "Chicago Design"

International Competition ASAP Regional Exhibit Chicago Chapter AIA "Park Lincoln" New Chicago Interiors Awards Trial by Jury Chicago Athenaeum, IBD “Pinuccio Restaurant “ 1993 Restaurant Design 3 ( March) New Chicago Interiors Awards Chicago Athenaeum, IBD PBC International, Inc. "Pinuccio Restaurant" 1994 Architecture in Perspective 8 "Pinuccio" 1994 Chicago Athenaeum, IBD “Park Lincoln” Northshore Collections New Chicago Interiors Awards 1994 New Chicago Interiors Awards Ottagono 107, Milan, Italy"Belle Rose" Chicago Athenaeum, IBD "Lighthouse Resort, Negril, 1998 Architecture in Perspective 12 “Belle Rose” Jamaica" New Chicago Interiors Awards 1994 Bars Nightclubs & Taverns 1999 Architecture in Perspective 14 Chicago Athenaeum PBC International, Inc. International Competition “Italian Consulate-Chicago” "Pinuccio" "Chicago Police Station" New Chicago Interiors Award On Architecture 2007 Architecture In Perspective 22 Chicago Athenaeum Pomegranate Publications International Competition “Osteria Pinuccio”

"Villa Quadrata" 1996 Anything & Architecture

Architecture in Perspective 8

TELEVISION Gallery 400, UICC-Chicago

The Art of Architectural Illustration “Beachcomber Club, Jamaica” Rockport Publishers

2000 HGTV - New Spaces 1996 1985-1995 Works In Progress 1995 Shops & Boutiques

"Carlson Residence”

Central Missouri State U

PBC International, Inc.

"Belle Rose" 1999 Architecture in Perspective 14

2001 HGTV Inside / Outside Materia- International Competition

"Coppola Residence”

"Chicago Police Station

Quarto Srl., Modena, Italy

Virginio Ferrari

Istituto Italiano di CulturaArchitecture in Perspective 9

KAPA 1995- Seoul, Korea

1996 Architecture in Perspective 10 Ottagono 120, Milan, Italy

Designing with Color New Interiors

PBC International Inc

1997 Architecture in Perspective 11 Firenze Oggi, Florence, Italy

PUBLICATIONS PUBLICA

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