Z1P18

ACADEMIC PORTFOLIO 2019/2020 ARC3001-BUILDING UPON BUILDING

YANCHAO SUN 170590015 EMAIL: 2324340851@QQ.COM

CONTENTS

Abstract Illustrated Reflective Report

Semester 1 Project Primer Field Trip Project Staging

Semester 2

4 6

8 23 25

Realisation &Synthesis

72

Case Study Report Bibliography

102 103

Abstract The National Centre of Heritage and Preservation of France

Viollet-Le-Duc's stylistic restoration was bold in the era. He has accumulated a lot of knowledge of medieval architecture in the process of his own investigation and preservation practice. While lamenting the beauty of architectural form, he discovered that the rationality of structure is the origin of real architecture. He believes that the beauty of Gothic architecture is the artistic expression of its structure. What’s more, he believes that Gothic architecture has not only changed the original relatively static state of the building, but also found a dynamic balance between different tensions.

Because of this, Gothic deserves to be called a "style". So he began to explore the "rational" interpretation of the construction technology of the "ideal" Gothic architecture, like dissecting a machine. Finally, he believes that Gothic architecture is a kind of rational architecture. Later, he began to analyze the architecture of ancient Greece, ancient Rome and Byzantium and concluded that they were also rational. This analysis from particular to universal convinced Viollet-Le-Duc that all good buildings are rational. He believes: "As long as people use reason sincerely and calmly, a style will follow." At the same time, "the construction method and use function of the building are the real factors that determine the building."

The focus of his argument is not the imitation of style, but the abstract presentation of his rational principles, which is also a further interpretation of modern science. For him, art depends on the intuition of the public. This intuition is derived from innate rational thinking, just as he gave the Gothic style a moral-like rational connotation and called it the "principle of truth.". This is well reflected in his design for the preservation of Notre Dame Cathedral. He did not simply and rudely choose to completely restore Notre Dame Cathedral to its previous appearance, but also he conducted in-depth research on the structure of the entire building and integrated it into it. My own ideas have designed a new spire for Notre Dame de Paris and many details have been changed. Although this restoration method has made some changes to the original building, it has not changed the message that its original author wanted to convey to us. , And opened a new era in Notre Dame de Paris.

In my design, I extracted part of the structure of Notre Dame de Paris for in-depth research. The arch voucher of Gothic architecture is a very representative structure, which is developed from Roman architecture. I tried to use a similar technique to Viollet-Le-Duc to analyze the voucher in more depth and got the National Centre of Heritage and Preservation of France I designed. After research and analysis, I applied the ideas of ViolletLe-Duc and combined with the ideas of Typology, and designed this rational building by permuting and combining arch coupons as modules, and using the latest science and technology to make the entire structure change reasonable and can bear the required weight.

REFLECTIVE REPORT

This academic year is generally pleasant and at the same time full of challenges. This year's studio project is completely different from the past. The entire year has been used to complete a project. Fortunately, I can do this project next to Notre-Dame Cathedral, but it also brings great challenges.

I can’t go to the field frequently to inspect the information and data I need, which forces me to work in a short period of time. Complete the research on the venue and its surroundings within a period of time and remember the atmosphere of Paris in your mind.

In the process of designing the building, I used the idea of typology, which was also a big challenge for me. In order to better complete my project, I specially studied the thinking of typology and the stylistic restoration theory of Viollet-Le-Duc. The ideas of Viollet-Le-Duc gave me a lot of inspiration, and made me make a rational building that satisfies me. At the same time, it made me more aware that building restoration is not just simply restoring the building, but also more important. The internal structure of the building and the ideas that the original designers wanted to express.

At the same time, in the non-design modules, I found a huge connection between them and my design module. The theme of my dissertation is reflective practice in Architecture, which allows me to reflect on my own design and make modifications during the design process. This approach makes my architecture more in line with Viollet-Le-Duc’s rational thinking. The technology module made me further understand that the design must be rational, not completely imagined. The research on technology in the previous two years gave me a preliminary understanding of the structure, which made my design more reasonable. The Theory Into Practice module allows me to smoothly transition from the concept research stage to my project design, and at the same time allows me to more clearly define my approach to my project. The Professional Practice essay allowed me to consider some of the problems in the actual implementation of the entire project. It made me understand that I need to consider the construction process, the impact on the surrounding environment and residents, etc.

Investigative and experiment the preservation idea of Viollet-Le-Dec

The project began with the historical studies of Paris and the history of Ile de la CitÊ and Notre-Dame Cathedral, which have given our design project a specific background analysis. Also, it’s especially important for us to study the preservation and restoration of historical buildings, and how Eugene Viollet-leDuc preserve the Notre-Dame Cathedral. The primer has given us a general understanding of our project. *Some work are group work

PRIMER

History of Paris Haussmann’s Renovation of Paris (1853 - 1870) Hausmann applied the concept of geometric symmetry to the extreme, and opened up an accessible radioactive road network under the condition of narrow and curved old street road network. Based on this action, Paris formed the “great cross” Boulevard through the center of the city, which is the north-south axis of the city through the Arc de Triomphe and the east-west axis extending along the Seine River, forming two loops.

Hausmann has built a large area of parks in all districts of the city, and the wide Elysee Garden Avenue extends to the East and West, bringing the huge green areas of Bulun Park in the western suburb and Weixing Park in the eastern suburb into the city center; at the same time, the riverside green space along the Seine River and the wide garden avenue greatly improve the environmental quality of the city’s green landscape. In the city, there are squares decorated with commemorative stele pillars and statues, which greatly enriches the public environment and appearance of the city.

History of Ile de la Cité

Ile de la Cité - 1550

Ile de la Cité - 1314

Ile de la Cité - 1821 All information comes from the Internet.

Ile de la Cité - 1754

Ile de la Cité - n.d.

Paris - 1800

The timeline story of Notre-Dame

Group work

The timeline story of Notre-Dame

Group work

Political timeline

All collages is produced by Andrew.

Collages timeline

0-1163

All collages are inspired by artist Franz Samsa.

1840-1850

1163-1190

1852-1870

1200-1250

1345

1914-1942

18th century

2019

The timeline of Notre-Dame

- 1163

Early Construction Inducted bishop of Paris in 1160, Maurice de Sully decides to replace the old basilica with a building whose majesty and splendour must equal, or exceed, the Temple of Solomon or the heavenly Jerusalem described by Saint John in Revelation.

Because this mythical temple remains a central reference for religious architecture. Aware of the symbolic role of a cathedral, Abbé Sully foresaw from the beginning of the construction site the location of the square, so that the spectators and the faithful could immediately feel the greatness of the place, and therefore of God. The first stone was laid in 1163 by Pope Alexander III, but it was not until 1345 that the cathedral acquired the form that is still hers today.

The construction of Gothic cathedrals is a phenomenon closely linked to the development of medieval cities from the end of the twelfth century. In 1161, in fact, Paris has become the political capital of the Capetian kings since Philippe I, and it is also an important economic centre where a real city of artisans and markets is being built. The construction of a cathedral responds to this double need to welcome more faithful and to radiate the prestige of the capital.

After nearly 20 years of work, in 1182, a first part of the cathedral was completed. It already allows the faithful to practice their worship because it includes a choir, with aisles, tribunes, vaults and the beginning of the transept. From 1182 to 1190, three bays of the nave are added to the choir, the aisles and the tribunes – also called triforium (open gallery, located above the aisles). The cathedral thus gains in length and height.

Group work

1163-1250

Mid-Construction From 1200 to 1250, the second phase of the work took place, marked by changes in the style of the building. The first portal built around 1200 is dedicated to Saint Anne, the mother of Mary. The second portal is that of the Virgin. It is to the left, or to the north. Dating from the years 1210-1220, it represents the death of Mary and her ascension to paradise where she is made queen of Heaven before the eyes of an assembly of angels and patriarchs. In this portal, the sculpture is no longer a body with the wall: one passes from the bas-relief to the statue. The last portal added to the centre of the façade in the 1220s is that of the Last Judgment.

The original building also has a nave and buttresses in 1230.

The buttresses are added to support the walls that were raised, as the first nave was considered too dark. Indeed, one of the fundamental principles of Gothic architecture is the concordance between the interior and exterior of the building.

The number and size of the floors visible on the exterior must correspond perfectly to the architecture of the interior of the cathedral.

Finally, a span is also added to the transept, to preserve the cross-shape of the whole. The South Tower was completed in 1240 and the North Tower in 1244. The latter is carried out under the supervision of Jean de Chelles, the first contractor whose name is known on this site.

1250 - 1345

Construction is finished The use of the warhead cross-vault allows builders to build higher, while freeing the walls from their role. They can then be drilled wide openings. The Gothic style inaugurates the rose, a large circular opening subdivided by carved stone frames, usually dressed in stained glass.

The North rose of Notre-Dame has a diameter of nearly 13 m and develops 24 rays on three concentric circles. Dating from 1245, it is dedicated to the Old Testament. A Virgin in majesty, a scepter in her hand, appears in the centre.

At the end of the thirteenth century, the cathedral of Notre-Dame de Paris was almost finished: the body of the nave was built, the façade and the towers were elevated. All that remains is to finish the interior fittings and the bedside, end of the nave opposite the portals (also called apse). The bedside of Notre-Dame de Paris is particularly worked and decorated. A first part of the work was started by Pierre de Chelles. The chapels were completed by his successor, Jean Ravy, at the end of the first half of the 14th century.

The timeline of Notre-Dame

1600 - 1750

Catholic Reformation

Group work

1789 - 1799

French Revolution

Following the French wars of religion between 1562 and 1598, The protestant ideas of England had started to seep across the channel and in to France. The Catholic church needed to combat these ideas of reformation to secure their hold on most of Europe. This movement was called ‘the Counter Reformation’, and included a strong reconnection to Baroque art with a religious theme.

1793 and 1794 were the defining years of the French Revolution, stemming from dissatisfaction with the power-hungry Catholic Church. It was led by the Cult of Reason, an atheist group formed in 1793 by Jacques Hébert, rooted in a shared hatred for the Catholicism and believed that way of life should be governed by Enlightenment ideas – reason and rationality.

During this time, the Catholic church asserted its authority over the Notre Dame by affirming these themes in the interior decoration and spatial arragement. Under order by the ‘Batiments du Roi’, the reformations focused on the altar and the choir seat. The changes complied with the classical religious Roman characteristics, drawing influence from the Vatican and St Peter’s Basillica’. There were strong themes of geometrical lines, uniform colums and semi-circular arches.

The altar of the Notre Dame had the most iconic re-design. It had four paralllel twisted columns, similar to Bernini’s sculpted bronze canopy over the altar of St Peter’s Basilica. Thus, the Gothic identity of the cathedral began to be removed and replaced with the Catholic ideas of the counter-reformation.

The anti-religious Festival of Reason (1793), manifested the cult’s beliefs by converting all churches into ‘Temples of Reason’.The Notre Dame, where many of the kings were crowned and celebrated, was a combined symbol of Catholicism and monarchy, thus became the main temple for this festival. 28 biblical kings’ statues on the Western façade, mistaken to be French kings, were destroyed and replaced by philosophers’ busts, the Goddess of Reason, worshipped atop of an artificial mountain, replaced Virgin Mary’s statues on altars, works of art were stolen, and ‘To Philosophy’ was carved over the cathedral’s doors. The Notre Dame also served non-religious purposes such as being a warehouse for storage.

The deist rivalry Cult of Supreme Being emerged in 1794, and its festival was led by the arch puritan Robespierre.

Similarly, an artificial mountain, constructed of timber and plaster and adorned with flowers and shrubs, was built to symbolize nature’s power and supremacy of mankind. The festival escalated and led to the Reign of Terror, where anyone who was suspected an enemy of the revolution was arrested or sentenced a death penalty. However, despite the consistent revolutions, the French held on to religion as their way of life.

This strong belief in Catholicism ultimately led to Napoleon restoring the Notre Dame’s religious role in 1804.

1804-1814 Napoleon I

A Te Deum was celebrated at Notre-Dame on April 10, 1802 for the proclamation of a concordat that recognised the Catholic religion as "that of the majority of the French.” Both Napoleon and Pope Pius VII were in attendance.

Napoléon Bonaparte chose the cathedral of Notre-Dame de Paris to be consecrated emperor, which was to take place on Sunday 2nd December 1804 and marked ‘the instantiation of modern empire.’ He thus broke the tradition of the Kings of France who went to Reims to be crowned. For the occasion, architects Charles Percier and François-Léonard Fontaine were tasked with refurbishments. Houses were demolished to clear surroundings of the cathedral, streets surrounding that the cortege would pass would be paved. They designed a neo-gothic style portico which was placed on the forecourt, it was made of wood, card and stucco. Another wooden gallery was built along the side of the cathedral, as far as the 'archivêché' where an enormous tent was erected to form a vestibule.

It was here that the Pope and his entourage robed and where Napoleon and Josephine donned their coronation robes. The building was whitewashed with lime and the interior was hung with fabrics and silk and velvet drapes decorated with the coats of arms and insignia of the Empire. The east end of Notre-Dame was augmented with a rotunda, elaborately decorated with tapestries. Ironwork around the choir and two altars was removed. Raised seating was built at the length of the nave and in the clerestories to allow for official representatives from France. Napoleon’s throne was placed on a high platform above the nave in front of the West Door.

The timeline of Notre-Dame

1830-1852

The Bourbon Restoration & Viollet le Duc In 1830, Louis Phillipe I was crowned the King of the French during the period of the Bourbon Restoration. Following the damage from the first revolution there was a national effort to restore the symbols of the monarchy in France, including restoring and preserving the many dilapidated Gothic and Romanesque Palaces and Cathedrals. The Hunchback of Notre Dame by Victor Hugo was released in 1831 and prompted a national outcry to save the Notre Dame from its ruined state.

Viollet le Duc and Jean-Baptiste Lassus won the competition for the restoration of the cathedral. They believed that instead of restoring the cathedral to the exact state that it would have been when it was built, they should “re-establish it in a finished state, which may in fact never have actually existed at any given time.” It was their duty to embody the ideas of the original masons, combined with the contemporary technological innovations, to realise the original concept of the building to a greater extent than it ever could have been.

They drew influence from existing Gothic architecture around France to carefully study, rebuild and replace the damaged parts of the building. They restored the 28 biblical kings that had been mistakenly destroyed during the Revolution, along with Christ above the main door and 16 other figures around the building. The decoration inside was restored to its original state, along with the windows of the galleries. A new sacristy was designed in the place of the old one, in a Neo-Gothic style entirely designed by Le Duc. Finally the central spire was redesigned loosely according to engravings from the 14th century, however the new spire was much taller and the Gothic style was greatly amplified.

Group work

1852-1870 Napoleon III

Napoleon III ousted King Louis-Philippe I and founded the Second French Empire, which was given high credit for the rebuilding of Paris. Napoleon III dreamed to create a ‘new imperial city whose very streets spoke of the glory of the French empire.’

Haussmann created a well-ordered city, based on a geometric grid with streets running north and south, east and west.

Haussmann ploughed over the ancient, winding streets of the city, and in their place created broad straight boulevards that were impervious to the barricade, and they could better accommodate the free movement of troops. The new boulevards could also allow for easy flow of commerce. The design of the boulevards was particular, they isolated the iconic monuments.

This urban renovation caused a percentage of the population was displaced. Haussmann forced citizens from their homes as these buildings were torn down to make way for the clean lines of the new city. The wealthy were quickly accommodated. The new boulevards were lined with fashionable apartment houses.

It was, as usual, the poor that really suffered.

Haussmann designed and created new parks, squares, new sewers, fountains and aqueducts. Haussmann rebuilt the labyrinth of pipes, sewers and tunnels under the streets which provided Parisians with basic services. The Ile de la Cite became an enormous construction site, with new government buildings, boulevards, bridges replacing the hundreds of medieval homesteads residing there since the 15th century.

1914 - 1942

WWI & WWII By the first week of September 1914, the Germans had come within thirty kilometres of the Cathedral of Notre-Dame de Paris. During October, a German bomb struck nearby, however there was little to no damage to the cathedral. To ensure no further damage was caused by the war, the West façade was sealed using sandbags to protect it.

To celebrate the end of WWI the two bells rang in celebration, 1918. Not only celebrating the end of the war but the fact there was no damage to the Notre Dame cathedral.

In WWII Paris became occupied by Germans. Many of the stained-glass windows were removed in order to protect them bombing. During Nazi-occupied Paris German military concerts would take place outside the cathedral, however it remained open to the public as both a church and a tourist destination.

Adolf Hitler had ordered that Paris to be left a “heap of burning ruins”. However, German General Dietrich von Choltitz (commander of Nazi-occupied Paris in 1944) disobeyed these orders to destroy the city, instead he surrendered it to Free French forces. He is named the “Saviour of Paris”. Although the cathedral was hit by bullets during the war (which only caused scratches to the surface), it emerged largely unscathed.

On August 26th, Notre Dame hosted a special mass of thanksgiving to celebrate the liberation and preservation of Paris. The cathedral undamaged features as the backdrop to many post-war photos, capturing the heart of the city untouched by the threats of the war.

The timeline of Notre-Dame

2019

Notre Dame burns On the 15th of April 2019 at 6:20pm, a smoke alarm sounded during mass, however there were no signs of fire. At 6.43pm, a second alarm sounds and a fire is declared, located on the roof of the cathedral. It spreaded from the area covered by the scaffolding (in place for current restoration work on the cathedral) out to the whole roof, as well as the spire. The fire caused the collapse of the 19th century spire as well as major irreversible damage to the wooden roof. The remainder burnt roof lies on the floor of the nave. The stone walls and structure are undamaged by the fire, however major damage was caused by falling debris to the inside of the cathedral.

Thousands of people gathered around the scene, watching as the fire consumed the cathedral’s roof. Some sang Catholic liturgies, whilst other sank to their knees and cried. An atmosphere of sorrow overwhelmed Paris as they watched their beloved cathedral burn.

The following day at 7am, officials confirmed that the “danger of the fire had been removed� with up to a dozen firefighters still on the scene. The main structure hadbeen saved, with the bell towers intact and no major damage to the main rose windows. However, two-thirds of the roof has been destroyed with the spire among other debris fallen into the nave, as well as discolouring of the North and South facades (above the rose windows) caused by the flames and smoke.

The damage caused by the fire has sparked major controversy about the restoration of the Cathedral. The damage to the Notre Dame may not just be caused by the fire, but by an insensitive and unthoughtful perservation project on the building.

Group work

The timeline of Notre-Dame

The crackling sound of Notre Dame de Paris illuminates the sky of Paris, and once again shakes our hearts "When we miss the loss, what are we missing". How sad Quasimodo will be. In the past year, we have countless When I think about it again, I feel sorry and can do nothing, because we have lost too much.Macron said: "Five years, we are going to repair Notre Dame", but it may take more time. One piece of wood and one nail are exquisite. When Quasimodo’s home is repaired, let’s go and see together. If not, , Then we sigh beautiful.

"Repair" rather than "build", and building a church in five years is certainly more than enough for the whole country, but we have to go back to the time of Pope Alexander III to watch the feast of the coronation of Napoleon, to experience religion and architectural aesthetics. We can wait, But not for too long.

"There are thousands of floors in this building, and scientific dark caves criss-cross the interior; on its surface, art is extremely pleasing to the eye, arabesques, rose windows and various small floral ornaments compete for beauty..."

Hugo The medieval Gothic church depicted is magnificent.

Gather countless designers, engineers, architects, and craftsmen, hoping that Quasimodo’s home will heal.

On April 15, 2019, the Gothic building in Paris, France, Notre Dame de Paris burned a big fire, which eventually caused the spire at the top of the building to collapse.In terms of restoration of cultural relics and historical sites, mankind has almost the same idea: we are all for the preservation and inheritance of precious cultural heritage so that our waiting zone can also see these treasures that we can see today. But in some details, everyone's thinking is a little different, which cannot be simply measured by right and wrong.

There is a very important issue in the preservation of cultural relics, and this is also a problem that must be clarified at all times during the restoration of every cultural relic and every historical building. How far is our repair completed? Is it exactly the same as the original, or is it enough for people to see with the naked eye? Some things are gone before we see them and leave a record. What should we do then? Moreover, when repairing, we must also think about whether the part we are repairing will cause harm to cultural relics/buildings? In fact, the restoration of cultural relics is really not that simple.

On the surface, Notre Dame de Paris does have three holes and one missing spire. But in fact, this is not the case in the eyes of the people involved in the restoration. They have to consider the impact of these large holes on the entire building of Notre Dame de Paris, including whether the weight of the scaffolding above will affect the building. The pressure in this area exceeded its capacity, which directly caused the entire building to collapse. When repairing, can you still find materials similar to the original construction, make it into the original shape and then install it back to the damaged place. So how do you find materials that are as similar to the original materials as possible? This requires testing, and a large amount of testing data is needed to compare with current materials to determine the final repair materials.

It’s simple to say, but what does the original look look like? Is it based on our memory? Based on a few photos taken by tourists? How is it possible. What we need is data, and we need to use regular equipment for testing. The data obtained by using the processing power of a computer. The embodiment in this documentary is 3D scanning. The scanned data has to undergo complicated processing to show the final 3D effect, and this work is basically impossible for non-professionals. Come.

The fire at Notre Dame de Paris is undoubtedly unfortunate for Notre Dame de Paris, but it is an excellent opportunity for other historical buildings around the world. The painful lessons of Notre Dame Cathedral have made the staff of other historical buildings in the world pay more attention to the protection of ancient buildings from fire. From this point of view, we should be grateful that perhaps a fire that will occur someday in the future has not occurred due to fire prevention measures designed by people now. As for Notre Dame de Paris, this restoration is not just a restoration. On the basis of restoring its building itself and precautionary protection of the newly restored building, we must also leave traces of restoration for future generations. Including all the data, the records at the time of restoration... are for future generations to see, so that they can be protected.

What we can repair is only the materials of this cultural relic/architectural material and we cannot alter its authenticity. Our preservation can only repair its material part, but we cannot change the information its original author wants to convey to us. While repairing, we must also think about the protection after the repair is completed, not just after the repair is over.

Primer exhibition

Primer exhibition

During the field trip, we visited almost all styles of church buildings in various periods in Europe. After returning, I conducted in-depth research on the structure of the church and slowly evolved my design.

Field Trip

Field trip photos

Field trip photos

I think the arch voucher structure of Notre Dame Cathedral is a very core part of it, and I hope to create my building by using this part of the structure. Therefore, I studied the evolution of churches in various periods in Europe, and finally came to the conclusion that history is cyclical. I tried to simulate the arch voucher structure, and built my own arch voucher shape, and used it as my design basis.

STAGING

The timeline of Ancient Western Architecture I put all western architectural styles in a timeline and did research on typical churches in each period, in which I found a very interesting thing that in fact, ancient western architecture has been self-denying and self-development.

Byzantine Empire in Eastern Europe

Hagia Sophia Centralized form 400 AD to 900 AD

Parthenon Temple Ancient greek architecture 800 BC to 300 BC

St. Mark's Church Byzantine architecture 900 AD to 1400 AD

Differentiation

Tempietto of San Pietro 1400 AD to 1600 AD Renaissance architecture

S. Carlo alle Quattro Fontane 1650 AD to 1800 AD Baroque architecture Maneuverism

PanthĂŠon 1850 AD Neoclassicism

Differentiation

Ancient roman architecture 300 BC to 365 AD

Basilica style Cross arch and circular arch structure 500 AD to 900 AD

Romanesque architecture 1000 AD to 1200 AD

Pantheon

St. Paul's main hall

Pisa Cathedral Western Europe Middle Ages

Gothic style architecture 1200 AD to 1600 AD

Classical architecture Dogmatism/rationalism 1600 AD to 1800 AD

Rococo architecture 1800 AD to 1850 AD

La Sainte-Chapelle

St Paul's Cathedral

Pilgrimage Church of Wies

The Analysis of Ancient Western Architecture I have divided the timeline into five big stage: 1: Classical architecture period (advocating classical) 2: Gothic period (anti-classical) 3: The Renaissance (advocating classical) 4: Baroque Rococo (anti-classical) 5: Neoclassical period (advocating classics)

This cycle didn’t stop until modern times. After experiencing the exploration period of the arts and crafts movement and the Art Nouveau movement, architecture generally appeared in two branches—Modernism appeared in Germany and artdeco appeared in France. Various architectural theories developed from the two branches have continued to this day.

Ancient Greece and Ancient Rome created a precedent for the proportions of Western architecture. However, ancient Greece was mostly temple buildings. From ancient Rome, secular buildings, such as the Arena, Baths, etc., were well distinguished. They represent the classics.

The architecture of the early days of ancient Rome basically inherited ancient Greece. The early temple form was a gallery style, with the temple in the center, and the base of the temple was different from that of ancient Greece. The pillar style also changed from the three types of ancient Greece. Five kinds. The temple was built in the city. Due to the many surrounding buildings, the corridor style was abandoned and the front corridor style was used instead. The appearance of the arch voucher structure makes the building space rich. The three common arch voucher forms are: cylindrical arch, cross arch, and vault.

It is good natural concrete that promotes the development of ancient Roman architectural structures. Its main ingredient is a kind of active volcanic ash. After adding lime and crushed stone aggregate, it has strong coagulation power, firmness and imperviousness. At first, it was used to fill the voids in the stone masonry foundation, foundation and wall masonry. Later, around the 2nd century BC, it began to become an independent building material. By the middle of the first century BC, natural concrete almost completely repelled stones in the arch structure, and natural concrete was used from the foot of the wall to the top.

Pantheon

Romanesque architecture is not a revival of ancient Roman art, but a combination of various artistic styles.

Its architectural form basically continues the style of the ancient Roman era. The structure basically uses Roman arches. The materials of many churches are even from Roman architecture. It was moved directly from the ruins, but the application was not mature enough.

The Romanesque church feels more stable overall, with thick walls to support the weight of the roof. The windows are generally not large, and some are very small, creating a dark feeling. The Romanesque church is a church style based on the early Basilican architecture and blended with Byzantine art, so it has many similarities with the Byzantine style. But the Byzantine round high roof is similar to the onion head logo, but the Roman church has a round vault, which shows people's perception of the universe at that time: the universe is round. Unlike the early Christian churches, the front yard (the part of the corridor and the baptistery) was cancelled in the church at this time, the tower became part of the building, placed on the front facade (other parts are also available), and the transept was added. , Forming the Basilica Latin cross.

The typical representative is the Cathedral of Pisa.

Pisa Cathedral

The Analysis of Ancient Western Architecture

In the Middle Ages, Catholicism became the only religion in Western Europe. The era of theocracy is coming. Absolute power brings absolute corruption. After the Catholic Church is dominated by Western Europe, the so-called divine power is greater than imperial power. So Romanesque art gradually developed into Gothic art. Catholics believe in the four things that life must face at the end: death, judgment, heaven, and hell. So people at that time wanted to build the church taller, so that they could get closer to God. It turns out that the Greek, Roman, and Byzantine domes all cannot be requested.

Because of the weight of the roof, thick and heavy stone walls were used to support it, which caused the building to fail to rise. Instead of using minarets, in order to make the building taller, flying buttresses were invented. In addition to pointed arches, arch ribs and flying buttresses are also features of Gothic churches. Because the Gothic church was built very high and the flying buttresses reduced the weight of the wall, there were many windows and stained glass was added. While reducing the overall weight of the building, it can be built higher, and the light can be used for religion.

The sense of mystery is expressed, so people in the Gothic architecture will feel a mysterious and magnificent atmosphere as if they are in heaven. The stained glass creates a mysterious and splendid scene inside the church, which changes the dull and depressing scene of Romanesque buildings due to insufficient lighting, and expresses people's inner ideals of yearning for heaven. (The glass coloring is mainly blue and red. Blue represents heaven, and red represents the blood of Christ).

Duomo di Milano

In the 14th century, Italy, where the urban economy was prosperous, resistance to Christian culture first appeared. The architecture of this period referred to the form of ancient Greek architecture on a large scale, and they used the form of reviving ancient Greek and Roman culture to express their cultural propositions. This is the so-called "Renaissance", and this wind has blown across Europe from Italy. Column style and proportions have returned, and mountain flowers and gables have appeared again.

Therefore, the architecture of this period is simple and elegant. The Renaissance architecture mainly began in Italy. There are many famous architects, Palladio, Santovino, Michelangelo and so on, they are active in all fields of architecture, building churches (not sponsored by churches, but churches built by merchants).

Simply put, it is to revive ancient Roman architecture (practice) under the banner of ancient Greek humanism (thought). Pursuing the rigorous proportions of the classical column style, the plane composition adopts a centralized style with a circle as the center.

It starts with the dome of the Florence Cathedral and ends with a Basilica-style hall in front of St. Peter’s Basilica. Renaissance architecture pursued monumental effects, and there was not much breakthrough in technology

Tempietto of San Pietro

The Analysis of Ancient Western Architecture The late Renaissance architecture went to two extremes: On the one hand, it is to challenge the strict and complete rules of the column, pursue novelty, pile up decorations and sculptures, play tricks, and develop into Baroque architecture. wOn the other side is dogmatic worship of ancient architecture, and neoclassical architecture that focuses on rationality.

After the start of the Italian Renaissance against the archbishop, France also won in the struggle against the archbishop. However, the main force in the French struggle was not merchants but the royal family. At this time, the Bourbon dynasty was in power, and Baroque appeared in both Italy and France. The most representative of France, they are starting to be anti-classical again.

Baroque architecture is characterized by freedom of appearance, pursuit of dynamics, preference for rich decoration and carvings, strong colors, and often interspersed curved surfaces and oval spaces.

The difference with classical architecture is: 1. Based on classical art, adopting classical composition principles, but breaking the convention, the upper part of the facade, arc mountain flowers, double pilasters, etc. 2. The shape is chaotic, forming a subtle sense of light and shadow. 3. Murals like to play with perspective, with bright and bright colors, strong contrast, and dynamic composition. Paintings often break the boundaries of architectural surfaces and volumes. 4. Sculpture penetrates into the building, concealing the structural characteristics of the building. 5. Planar arc, flowing space (early Basilica: vertical extension, Gothic: vertical and vertical extension, Renaissance: center, Baroque: Flow space).

S. Carlo alle Quattro Fontane

Neoclassicism appeared in the 18th century and was fundamentally based on the irrational criticism of Baroque and Rococo architecture. Neoclassical architecture is relative to classicism architecture, and it can also be said to be a modern interpretation of classicism. It is a reflection and pursuit of classical architectural aesthetics. Classical architectural aesthetics is different from modern architectural aesthetics relying on large-scale industrial production.

It is a reflection and summary of nature, emphasizing rationality, pursuing harmony and unity, and thinking about static and planar architecture. The neo-classical architecture not only preserves the elegant and dignified noble temperament in the essence of traditional culture, but also seeks to meet the points of contemporary architecture to form the architecture of the times, which reflects the contemporary nature of the architecture.

Neoclassicism is an important expression of "modern concepts". The emergence and development of neoclassical architecture reflects its important historical value. Behind the classical form, the neoclassical architecture showed openness and modern spirit, and opened an important path for "how classical enters the modern". On the one hand, neoclassical architecture still adopts the composition and form of classical architecture, and retains people’s continuation and recognition of tradition in cultural psychology; on the other hand, it faces modernity, adopting modern technology in architectural technology, structure and function. Great achievement.

PanthĂŠon

In the traditional European architectural form, the shadow of "geometric prototype" can be seen almost everywhere. The plan of the Colosseum in ancient Rome is oblong. On the facade, a series of square and semicircular coupon holes are neatly arranged and repeated, overlapping layers.

This treatment maintains and fully demonstrates its geometry. The simplicity of the form, but the form does not feel monotonous, on the contrary, it appears very uniform and pure. In the Colosseum, the architectural prototypes are mainly circles and squares. These circles and squares are integrated and reorganized to create a hollow elliptical cylinder; the Arc de Triomphe is an architectural form with European characteristics, and its typical shape is: The square façade, the three-bay coupon hole, the contrast between virtual and real, the central coupon hole and the two sides of the coupon hole and the overall relationship between the harmonious proportions, the Arc de Triomphe is the simplest "geometric type".

European traditional architecture itself is full of rich emotions: from the personal worship of "gods" in ancient Greek architecture to the worship of secular and realistic people in ancient Rome; to the worship of religion in medieval Gothic architecture; and then to Renaissance architecture I want to express the humanistic emotions and the worship of absolute monarchy in classicist architecture. When workers create new architectural forms, they always treat it as the exporter of their own emotions. In most cases, the emotional thinking of the people can be more or less manifested in the buildings occupied and used by the ruling class, especially their understanding of objective structures and artistic laws. Especially in the Middle Ages, the European consciousness and culture were sluggish. Only religious culture became a spiritual symbol of this period, and Gothic architecture became a standout in the architectural cultural desert at this time. The thick and mysterious fog shrouded in the Gothic church is the sorrow and sadness of the working people. The laborers condensed their bravery and pride, sorrow and humiliation in the Gothic church. What dominates in Gothic architecture is the explicit emotion that the building is instilled by its owners or users, while the builders give the architecture the implicit emotion. During the construction of the Cathedral of Santa Maria del Fiore in the Renaissance, the church forces regarded the dome and the centralized plane as the form of a pagan temple, and strictly rejected them. At this time, the artisans completely ignored the church’s opposition and insisted on themselves. The idea of ​​freedom and openness, the courage to pursue and try boldly in creation, is completely contrary to the mentality of the builders in the Middle Ages. In the architecture of this period, we see the positive and dynamic emotions. Therefore, the dominant emotion in the architecture at this time is the explicit emotion instilled by the builders, and the owner or user of the building What we give to architecture is implicit emotion.

With the passage of time, the change of the building is only the change of the external image, and the internal structure of the building is stable and unchanging. The in-depth study of the building should not only pay attention to the "diachronic" external changes, but also the internal structure.

The relationship between the various elements. The most glorious structure in the traditional European architectural form is the voucher arch structure of ancient Rome. Therefore, I focused on the ancient Roman voucher arch structure and the Gothic skeleton voucher and started my design once. At the same time, I also studied Viollet-le-Duc’s theory and incorporated him into my design.

Urban Development of Paris

The development of Paris city originated from a small island on the Seine, which is now known as Cite Island. The urban construction of Paris has achieved unprecedented development since the Middle Ages. When the French Revolution overthrew the rule of Louis XVI in 1789, it also broke the City wall, and then Paris continued to expand north and east.

Since the beginning of the Industrial Revolution in France in the early 19th century, a large number of dilapidated buildings were demolished and many urban arterial roads were opened. At the same time, a detailed overall renovation plan was made for Paris, laying the basic structure and urban texture of the streets of Paris.

After the 1st World War, the Prost plan controlled the expansion of Paris to the suburbs, adjusted and improved the urban built-up area from the area. In 1956, the Prost plan was improved and the new Paris Regional Development Plan(PARP) was promulgated. The scope of the urban construction area was designated to limit the expansion of urban space in the Paris area, and at the same time, it was committed to reducing the density of central Paris, increasing the density of suburbs, and promoting balanced regional development.

Avant 1800

1801-1850

1851-1914

1915-1939

1940-1967

1968-1975

Urban Development of Paris

1976-1981

1982-1989

1990-1999

2000-2007

After 2008

Future development

After 1970, Paris began to plan for the construction of urban sub-centers and new cities, and paid more attention to greening and transportation construction, and pay more attention to the protection of historical and cultural heritage, with the intention of achieving balanced, healthy and overall regional development.

In the 21st century, the French President Nicolas Sarkozy proposed the development plan for the Greater Paris City.

The main content of the plan revolves depopulation in the central area of the city. Using the suburbs of the city to develop a multi-center urban structure, building a new satellite city and developing a regional transportation system, rationally use of resources, and protecting the natural environment.

Site location

Cite Island is the origin of Paris. There has many representative historical buildings of the Middle Ages left on both sides of the island. Many of which have become Paris landmarks.

Arc de Triomphe

Champs-ÉlysÊes

Eiffel Tower

Garnier Palace

Grand Ducal Palace

Notre Dame de Paris

Louvre Museum

LIE DE LA CITE

The Île de la Cité remains the heart of Paris. All road distances in France are calculated from the 0 km point located in the Place du Parvis de Notre-Dame, the square facing Notre-Dame's pair of western towers.

The Île de la Cité is the oldest place in the center of Paris. Many of the island's historic buildings still serve their purpose today. It was the only town in Paris in the 3rd Centruy BC. Louvre, the Bastille, Paris City Hall, place DE La Concord, Champs-Elysees and arc DE Triomph were built around the island with the constant change and expansion of Paris.

SITE

Traffic Analysis

Main road Secondary road

Metro

Building Age Analysis

Avant 1800

1915-1939

1851-1914

1968-1975

Axis Analysis

Main Axis

Grid Analysis

Boundary Inner grid

Public Space Analysis

Public space

Landscape Analysis

Green space

Case Study - Church of St. Moritz

The church of St Moritz has been through many changes since its foundation nearly a thousand years ago. Devastating fires, changes in liturgical practice, aesthetic evolution and wartime bombing have each left their mark on the fabric of the building. The purpose of this latest intervention has been to retune the existing architecture, from aesthetic, functional and liturgical perspectives, with considerations of sacred atmosphere always at the heart of the project.

The work has involved the meticulous paring away of selected elements of the church’s complex fabric and the relocation of certain artefacts, to achieve a clearer visual field. Drawing on existing forms and elements of vocabulary, an architectural language has evolved that is recognisable in subtle ways as something new, yet has no jarring foreign elements.

Case Study - James Simon Galerie

David Chipperfield's James-Simon-Galerie has opened on Museum Island in Berlin. The project serves as a new entrance between the Kupfergraben canal and the Neues Museum. The design was made to welcome large numbers of visitors while housing all the additional facilities needed by the museum. Featuring an iconic colonnade above a stone plinth, the project was made to express a classical piano nobile.

Along the gallery's facade, slender columns become a leitmotif. They continue Stüler’s colonnade that originally ended at Neues Museum in a contemporary form, creating a new small colonnaded courtyard between the Neues Museum and the James-Simon-Galerie.

The program includes the museum shop, a large cloakroom, temporary exhibition spaces and an auditorium.

As David Chipperfield Architects outline, the architectural language of the James-SimonGalerie adopts existing elements of the Museum Island, primarily from the external architecture, such as built topography, colonnades and outdoor staircases, making reference to Schinkel, Stüler and the other architects involved in the creation of Museum Island.

Case Study - Erasmus University Rotterdam Library Renovation

The renovation of Erusmas University Rotterdam Library brings back these excellent qualities while adapting the structure to the current demands.

The re-introduction of transparency, openness and a clear structure has lead the design process from that moment on. All the essential interventions were made in a way to enhance the harmony of the building and create a new and coherent reality.

Meetings, working together and studying together are the main objectives of the library design; all interventions are aimed at opening up the building and introducing light, transparency and spaciousness. In addition to the existing entrance from the footbridge to the main building, the building has got a new main entrance.

Large voids were introduced in the interior to connect the floor levels and create a greater sense of space; roof lights were added to bring in more light. A new main staircase connects the two entrance levels and guides the visitor in a natural and intuitive way. The staircases and fire separations that divide the building are made of glass, greatly enhancing spatial continuity between the western and eastern parts of the building.

The core-business of the library is to facilitate places for individual studying; the ones we have created here are the most quiet on the campus.

A great variety of study places is offered; most of them are structured along the east-west aisles, were the bookcases work as an acoustic screen between the routes and the study area at the facades. One can sit around the voids, in an individual cloister niche or more relaxed in one of the lounges.

Case Study - Concordia Design

MVRDV has completed construction of Concordia Design, a mixed-use building containing coworking spaces, an event venue, a food hall, a café, and a rooftop terrace on Słodowa Island in Wrocław, Poland. The project is a renovation and extension of a 19th-century listed building, retaining the façade of the existing building and adding a contemporary extension to create a focal point for the neighbouring park and a destination that will enhance the experience of the island for visitors.

The informal end of the building faces the park and hosts the food hall. Reflecting the energy given to the park by the city’s young people, this end of the building is transparent, modern, and inviting, with a three-storey glass wall that opens up to the park revealing a large mural by Polish artist Alicja Biała. The main theme of her work is slow pace, respect for everyday life, deceleration, and contact with nature. Realistic characters are depicted side by side with imaginary creatures.

The design of the extension is respectful to the existing building, continuing its roofline. The window openings on the extension match those on the historic façade, becoming wider and more transparent closer to the informal end of the building. Besides the café and food hall in the entrance spaces, the rest of the 4500m2 building hosts co-working office spaces, while the uppermost floor features an open-air terrace, protected by glass walls on all sides, providing views onto the city.

VIOLLET-LE-DUC

Rational architecture and structure In the process of his own investigation and restoration practice, viol Le Duke has accumulated a lot of knowledge of medieval architecture. While lamenting the beauty of architectural form, he found that the rationality of structure is the origin of real architecture. He thinks that the beauty of Gothic architecture is the artistic expression of its structure. He thought that Gothic architecture not only changed the original static architectural state, but also found the dynamic balance between different tensions. Because of this, Gothic deserves to be called a "style". So he began to explore the "rational" interpretation of the construction technology of "ideal" Gothic architecture, just like dissecting a machine. Finally, he thinks that Gothic architecture is a kind of rational architecture.

Later, he began to analyze the architecture of ancient Greece, ancient Rome and Byzantine, and concluded that they were also rational. This kind of analysis from special to universal makes viol Le Duke convinced that all excellent architecture is rational. He believes that "as long as people sincerely and calmly use rationality, a style will be produced". At the same time, "the construction method and use function of the building are the factors that really determine the building.

VIOLLET-LE-DUC

The true principle of perfect architecture Therefore, from his point of view, the perfect unity of structure and shape makes perfect architecture. And this truth has always been in great architecture, and has always been around us.

As a discoverer, he not only peeped into the mystery of architecture, but also constantly verified and inherited this truth in practice. Whether in architectural design or in restoration, he always practices this principle. Viol Le Duke claims that the design of buildings is an application of rational procedures: "there is absolute good and evil in the field of morality, but it is very different in the field of architecture. There are no fixed rules for architecture, and the advantages of this place and now can not be applied to other places. We must judge the advantages and disadvantages according to the climate, customs, material characteristics and various environmental factors. Ethics is feasible, but we can't establish architectural conventions. Experience, reason and deliberation will play an important role in the process of building production. The focus of his discussion is not the imitation of style, but the abstract presentation of his rational principles, which is also a further interpretation of modern science. For him, art depends on the intuition of the public, which originates from the innate rational thinking, just as he gave the Gothic style a rational connotation like morality, and called it "the principle of truth".

Rib Vault

Facade Features

Interior treatment

Square towers were usually built on either side of the main entrance to increase the width and grandeur of the main facade.Spire was not only set on the main tower, but also built in proportion on buttresses, walls,railings,window lattice, etc. The overall appearance of the building was reminiscent of the mysterious paradise upwards.

The spatial scale of the middle hall highlights the towering and far-reaching sense, which leads to forward and upward momentum; The vertical trend is highlighted in the division of columns, and the pier is carved into beam column shape, which strengthens the vertical sense;

Rib vaults, pointed arches, flying buttresses and a large number of detail decoration that was took pointed vault as the theme, the architectural style and structural methods into an organic whole. The left picture shows the gable at the main entrance of Notre Dame. The square towers on both sides are not covered by spires. The center of the whole facade is a huge rose window, and other doors and windows are all made of pointed coupons. The picture on the right shows Stefan Cathedral in Vienna. A main tower is built outside the altar.

Because the structure is lighter and the window is huge, it can produce a bright effect in the room.

In order to increase the vertical rising lines, all the piers are shaped into bundles of columns, upward into radial bifurcations into arch ribs. The arch ribs are crisscrossed into 4-axis symmetrical complex patterns, and the flower window glass on both sides of the central hall is clearly visible.

Rib Vault

The Basic Characteristics of Rib Vault

Development of Rib Vault

Most of the typical gothic architecture is churches. Compared to the Romanesque church, Gothic architecture replaced all Romanesque semicicles with pointed arches. The artistic conception follows the change in the lines.

The country represented by France was constantly consolidated and developed after the 12th century. New social classes were growing and the city has entered a new era of prosperity and development.

Pointed Vault is more pravtical than Round Vault in that it can raise the top of the arch over the same span. Side thrust that generated by Pointed Vault is smaller, therefore, it's more conducive to reducing the structure. In addition, Pointed Vault can also adapt to a variety of spatial shapes. The semicircular arch can only cover the square.

Urban development means circulation. Trade with the Arabs of the East at that time brought not only wealth but also recognition of the spires of Arab architecture that have existed since the 7th century.

Rib Vault Structure Notre Dame is a typical example of rib vault structure. The basic structure unit of Gothic Church is that double centroid rib vault is made on four corners of a square or rectangular plane, and set on four sides and diagonals. Roof flagstones are placed on the ribs to form vault roof, it's also called pointed rib vault.

In order to balance the side thrust of the middle hall arch foot, the flying buttress were set from pillar outside the side hall. Minarets are usually built on the piers, so as to invrease the stability of the structure. It can be seen that the unique frame structure of Gothic Architecture.

Cross-section of the structure of Notre Dame

A. Masonry Method of Roman Cross Vault B. Commen Masonry Method of Gothic Vault C. Four Petals Gothic Vault Rib D. Six Petals Gothic Vault Rib

Sketches

Test Model

Function Analysis

The function of the project is relatively comprehensive, with functions open to the public as well as part of private office. In the overall layout, the open hall on the 1st floor is used as the center to organize every functions.

Auditorium VIP Cafeteria Exhibition

Exhibition, cafeteria, lecture hall and book exhibition are placed on the first and second floor, which are open to the public. At the same time, use open escalators to connect these public open space. The private office areas are located in the upper floors, which can be reached by the vertical elevators.

Auxiliary Terrace

Circulation

Library and architectural research centre

Auxiliary

VIP

Auditorium

Lobby

Lab

Terrace

Lobby

Office Circulation

Cafeteria

Exhibition Office Lab Library and architectural research centre

Function Analysis

Hall for temporary exhibitons (700 m2)

Library and architecturlal research centre (1000 m2)

Office (1000 m2)

Lab (2000 m2)

Public Auditorium (120 seats)

VIP rooms

Exhibition/Gallery

Cafeteria

Restrooms

Lift

Staircase

Terrace

Site Model

Site Model

Masterplan

Site Condition

SITE

The project site is a relatively flat rectangle. The short side faces the main faรงade of Notre Dame de Paris, three sides are enclosed by existing buildings, and the south side faces the Seine River. The area of the site is around 3000 m2.

Design Generation Diagram

According to the site area and the design requirements of the brief, the basic massing volume is generated. Considering the context, the height of building should be controlled and the massing should have relation to the context.

Design Generation Diagram

In order to talk with the surrounding buildings. I use different strategies for different sides. On the side facing the Notre Dame, platforms are created for people to view the Notre Dame at the same time make the massing less invasive.

Design Generation Diagram

Main axis of the city

The elements of arches and arch windows of Notre Dame de Paris are applied. The design combines modern and classic architecture, connecting the past with future.

Main axis of the city

Design Generation Diagram

According to the brief, different programs are arranged in the massing.

Public programs are arranged on lower floors.

Office and labs are arranged on higher floors.

Design Generation Diagram

The elements of arches and arch windows of Notre Dame de Paris are applied. The design combines modern and classic architecture, connecting the past with future.

Progess Models

I test different forms of windows and skylight.

Considering with the plan layout and relationship with Notre Dame, I finally choose the test 4 for the windows.

The windows of elevation can have many different combinations.

Facade test 1

Facade test 2

Facade test 3

Facade test 4

Progess Models

Masterplan

Masterplan

Ground Floor Plan

6

2

1

1

4

3

5

1. Hall for temporary exhibition 2. Exhibition/Gallery 3. Cafeteria

4. Auditorium 5. VIP rooms 6. Restrooms

0

5

15 m

First Floor Plan

4

1

2

3

1. Hall for temporary exhibition 2. Library and architectural research centre 3. Cafeteria

4. Restrooms 0

5

15 m

Second Floor Plan

5

2

1

4

3

1. Open office 2. Large office 3. Middle office

6

4. Small office 5. Restrooms 6. Terrace

0

5

15 m

Third Floor Plan

5 2 4

1

6

2

3

1. Open lab 2. Closed lab 3. Meeting room

4. Storage 5. Restrooms 6. Terrace

0

5

15 m

Fourth Floor Plan

5

2 4

1

3

2

1. Open lab 2. Closed lab 3. Small meeting room

4. Storage 5. Restrooms 6. Terrace

6

0

5

15 m

After I finalized my model, I thought his internal space was very interesting, so I tried to study the internal structure. I want to construct an underground passage to connect to Notre Dame by building a pool. At the same time, at a certain angle, the Notre Dame can be reflected on the pool to form a peculiar landscape.

REALISATION & SYNTHESIS

Elevation

Elevation

Section

1m

2m

4m

8m

Section

Section 1

Section 2

Section 3

Section 4

Function and Circulation Analysis

Cargo lift Lab Terrace

Restroom Staircase Lab

Restroom Office

Terrace

Library and architectural research center Lift

Hall Exhibition Cafeteria

Public Library Office Lab BOH Evacuation

Structure Analysis

Primary structure Prefabricated in factory, assembled and joined on site.

Tertiary structure Double laminated low-E glass window system

Secondary structure 200mm thick partition wall Light steel and gypsum board system

Primary structure Prefabricated in factory, assembled and joined on site.

Tertiary structure

The maintenance structure of the building mainly uses prefabricated UHPC components, these components not only create the form but also have structural fuction. The roof adopts steel structure with transparent glass. The elevation mainly adopts window system.

Double laminated low-E glass window system

Construction Progress

Doing the foundation and underground conncetion to Notre Dame.

The sturcture of units are pre-manufactured in factory and transported to the site. Different type of units are mounted according to design.

Finish the lower levels and start the higher levels. Fill back the foundation.

Finish mounting the structure of all units.

Building the structure of sky light.

Mounting the glass and sun shading.

Doing the finish of terrace.

Mounting the glass and mullions

Sustainability Analysis - Sunlight

Natural light can enter the building through the windows. The building is also equipped with blinds. So during summer when the sun light is stong, blinds can help save the energy of air conditioning. The sky light uses transparent solar glass, which can generate electricity using sun light.

Blinds

Transparent solar glass

Transparent solar glass Solar energy panels

Solar energy panels

Natrual lighting

Natrual lighting

Blinds

Blinds

Sustainability Analysis - Ventilation

Indoor air conditioning and fresh air equipment are under the floor. The cool air comes from the diffusor and is closer to people, so the cooling effect is better. The warm air returns to ceiling and goes back to cooling machine room.

Water supply

Circulating water tank

Cooling tower

Fan coil units

Host, evaporator, condenser

Cooling pump Temperature measuring resistance

Temperature Controller

Cooling pump

Linear diffusor

Round diffusor near seating

Temperature measuring resistance Temperature Controller

Natrual ventilation Under floor ventilation Ceiling air return

SUSTAINABILITY ANALYSIS - HEATING

Indoor heating adopts the mode of ground heating. The hot air comes from the diffusor and is closer to people, the heating effect is good. A heat recovery is used to provide recovery of heat from both the air and water systems.

Fuel

Heat supply

Heating intallation

Surplus Heat

Temperature Control

Cooling Water/Air

Synchronous Generator

Stirling Engine Heat

AC Power

Under floor ventilation system

Elevated floor

Speed Control

Cold air

Under floor heating Ceiling air return

MATERIAL

The main material of the projects is prefabricated UHPC, ultra white glass and steel. The quality of these three materials are stable and can last a long time. UHPC can have different textures. The coating of UHPC has water proof effect. By choosing the right transparency of glass, we can have natural lighting at the same time decrease the air conditioning load of the building. The glass of sky light is solar glass which can generate electricity with sun light. All the main materials can be recycled and used for new buildings in the future.

ultra white glass

steel structure of skylight

different textures of UHPC

Steel structure

Transparent solar glass

Prefabricated UHPC components

Double laminated low-E glass

Sustainabe Strategy

Factory prefabricated concrete modules are used to reduce field operation and protect the overall environment of the historical protection area where the project is located.The main building materials are concrete, steel and glass. These basic materials have mature recycling and recycling treatment methods, which are convenient for the secondary treatment of materials in the future.

Waste UHPC Components Recycling

Waste concrete block is not only high-quality concrete aggregate, but also has many advantages. For example, after the building is disintegrated, the high-quality broken and screened concrete block and silt can be used as concrete recycling.

Waste Butimen

Vibrating Feeder

0-5mm Waste Material Slag

Roil Crusher

Coarse and fine aggregates and a large amount of micro powder can be directly used as raw materials for cement. The concrete prepared by recycled cement and recycled aggregates can enter into the next cycle. In the whole cycle process, waste can achieve zero emissions.

Vibrating Screen Recycled Aggregate

Recyclable Glass

Building glass with less additives and harmful substances is selected to facilitate future recycling and reuse.

New glass is usually made with about 20 % broken glass to facilitate the mixing of ingredients. The air pollution can be reduced by 6% ~ 22% when the amount of broken glass is 60% of the mixture.

Waste Construction Steel Recycling

The recovery of waste iron and steel can reduce the discharge of waste gas, waste water and waste residue, which is beneficial to clean production and green manufacturing.

Impact Crusher

Facade Details

A

1mx2m solar energy panels 50mm thick fine aggregate concrete 2mm thick water proof membrane, two layers 80 mm thick PIR rigid-foam thermal insulation Concrete structure, various thickness 20mm thick white plaster

2mm thick Anti weather coating 20mm thick prefabricated UHPC panel Water proof cement One layer of glass fiber mesh

B

2mm thick water proof membrane, two layers 2mm thick water proof membrane, two layers 80 mm thick PUR rigid-foam thermal insulation Concrete structure, various thickness 20mm thick white plaster Sun shading

C

Double laminated glass 80mm thick window frame

Floor finish according to need

Parapet detail

Exteral wall detail

Floor detail

Apron detail

D

300mm thick elevated structure MEP shafts and pipes 50mm thick fine aggregate concrete Concrete structure, various thickness 20mm thick white plaster

30mm thick landscape stone tiles 50mm thick fine aggregate concrete 50mm thick gravel cushion

E

Earth

Wall section and elevation

Aerial View

Aerial View

Perspective

Perspective

Interior Rendering

Interior Rendering

Interior Rendering

Underground Connection to Notre Dame

Underground Connection to Notre Dame

Model

Model

Model

Model

Model

Field Trip Case Study

Bibiliography

https://www.comeetie.fr/galerie/BatiParis/#12/48.8593/2.3565 https://www.archdaily.com/456312/interior-remodelling-st-moritz-church-john-pawson https://www.archdaily.com/926033/james-simon-galerie-david-chipperfield-architects?ad_ medium=widget&ad_name=selected-buildings-stream https://www.archdaily.com/938429/erasmus-university-rotterdam-library-renovation-defeschevan-den-putte-architecture-plus-urbanism https://www.archdaily.com/943957/concordia-design-wroclaw-mvrdv?ad_ medium=widget&ad_name=most-visited-index Li Sheng, Eugene Emmanuel Viollet-le-Duc's Rational Thought and Its Influence, 2015 Li Chunxia, Chen Shaorong, The Symbolic Connotation of the Structure in Notre Dame de Paris, 2010 Yang Yuehua, Reasearch and Practice of Architecture Typology, 2010