7 novembre 2002 Alexis DOSSIN - Vincent LUBINEAU1 Renaissance.

7 novembre 2002 Alexis DOSSIN - Vincent LUBINEAU 1

Renaissance


Renaissance

Warning to New Yorkers Neither the arguments nor the architectural project developed henceforth should be allowed to be side-tracked by dishonest criticisms. The purpose of the team is not to lecture anyone or to try to convert anyone.

No one in the team intends to lecture anyone about anything.

This project is influenced by the European Christian culture of its members and more particularly of its author. His cultural references are the values imbuing the society in which he lives. As a Frenchman he is interested in architecture and sculpture and is familiar with churches and cathedrals, the work of Rodin and Brancusi (and even that of Bartholdi ). This project is not about setting one principle against another, one philosophy against another and even less one religion against one another. It is only about putting forward one architectural project that could enhance the lives of New Yorkers.


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Project philosophy

The architecture of the grandest cathedral or the humblest church or chapel bespeaks a wish to raise oneself towards God, a desire to rise above the human condition, to forget one’s selfish actions. The building of skyscrapers follows this aspiration to rise higher, to the highest point possible. It is a pagan version which is closer to the tower of Babel, that attempt at vying with God which was ultimately punished for its arrogance.

Let us try to find a more noble meaning again, to return to the spirit of the cathedrals builders by building a modern cathedral, although pagan as it is not dedicated to God. A cathedral that nevertheless gives a meaning to these previous buildings and particularly to the following one.


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Architectural inscription


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Spiritual et Solemn

A spiritual dimension and its solemn character, it is a reference to cathedrals. Although it looks like a humble church from the outside, it is akin to a cathedral because of its dimensions and its meaning.


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It echoes the cathedrals of Old Europe such as Notre Dame in Paris or the Cathedral of Amiens or Laon, the cathedrals of the New World such as the Golden Gate Bridge, the Arch in Saint-Louis or the Twin Towers.

It looks like La Cathédrale by Rodin holding L’Oiseau dans l’Air by Brancusi.


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Under the transept crossing, in its centre, under the vault, in the most sacred place, where in consecrated places lies the altar and under which often lies a crypt, there will be shaft of glass surrounded by a theatre, thus combining the idea of altar and crypt.

The shaft will plunge deep into the ground as if to remind men that they are between two states, between two worlds.

The building will combine the height of the transept symbolising the canopy of the sky, the stars and the mind with the bottom of the shaft, the abyss, action, two opposites echoing the human condition.


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SymbolicThe project symbolises the shadow of Bartholdi’s torch over Manhattan.

The Avenue of Liberty represents the pole of the torch and the arm carrying it.

The two buildings flanking the esplanade represent the hand around the torch.

The « cathedral » represents the hilt of the torch.

The shaft and the theatre of memory represent the incandescent point of light.

The four small prism-shaped buildings represent the flames of the torch.


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DynamicFrom a dynamics perspective space is divided in three parts which all have a clearly separate function.

From the edge of the ocean where the Statue of Liberty is visible to the cathedral, the space is dedicated to life. The Avenue of Liberty will be developed on the same pattern as the Champs Elysées in Paris with shops, festive places for daytime or night time. It will be the place where New Yorkers will spontaneously gather to celebrate major events. The Avenue of Liberty opens onto the Esplanade flanked and closed by two buildings whose slanted walls will form gigantic tiers . Each level will have shops, restaurants, a vast promenade like the Planches in Deauville with railings from where strollers can watch other people standing on the Esplanade


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The “cathedral” made up of three buildings will constitute an area specifically for offices or/and dwellings.


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The third part, from the shaft to the four prismatic buildings (the pyramids) will be a space dedicated to memory and contemplation.

The foundation of the central building of the “cathedral” will be designed like the fault of the transept crossing in a religious cathedral and will fulfil the same function, namely to invite to modesty, introspection, to a preliminary step towards contemplation.

The shaft of glass, a shaft of light for underground floors will open onto a vast theatre whose lateral two walls will be inscribed with the names of the victims of September 11. This theatre will be a natural location for patriotic ceremonies or ceremonies of remembrance.


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The four small prismatic buildings closing the space of memory will stand in a tree-filled area of transition between the theatre and the city.


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New-York City


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Project teamPascal Alberti : Project manager

Dania Sfarghiu : Graphic design

Pierre Dragon : Architectural conception

David Fee : Translator

Address e-mail : [email protected]

7 novembre 2002 Alexis DOSSIN - Vincent LUBINEAU1 Renaissance.

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