Philippe Barthélémy from France and Sylvia Griño from Uruguay were projecting constructions in France, nice Britain, Germany, Greece, Iceland, Brazil and the a long way East for greater than two decades. among their so much well-liked tasks are a few boutiques for the dressmaker of luxurious presents and add-ons, Louis Vuitton, in Germany, Taiwan, Thailand, Japan, South Korea and Brazil. as well as different awards, Barthélémy-Griño have been nominated for Le Moniteur’s popular Equerre d’argent prize for his or her activities centre in Nanterre with its cutting edge wooden development. This e-book records intimately the main major tasks from Barthélémy-Griño.
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Extra resources for Barthélémy-Griño Architectes
A drawing in the sketchbook shows the final plan: 16 south walls and east concave curves; the west wall folding back to house a side chapel in the south-west and another in the north; the north wall as it follows the same loop (although this time in the opposite direction) to accommodate the third side chapel; the positioning of the three doors; the overhang within which the south door is set; and lastly the two chinks where the secondary doors open – one in the east and the other between the two towers in the north.
As regards the bare surface of the west wall, Le Corbusier devised an ingenious way of embellishing this in the definitive version. ); consequently, two phases in the design process can be distinguished. The first was from May 1950 to January 1951, the period between Le Corbusier’s first visit to the site and the presenta tion of the scheme to the Besançon Commission d’Art Sacré. The second lasted from January 1951 to September 1953, when c onstruction began. During this second phase, the design scheme underwent several modifications before being accorded its definitive form.
Recesses designed to hold religious objects are hollowed out within this reverse side. Other secondary elements are extremely simple in form, and consequently produce a stabilising effect within the overall com position. The primordial component – the altar – is a block of white stone, a parallelepiped placed on two orthogonal bases, shaped according to Modulor proportions. Other elements include geometrical concrete volumes, which as in the south, mark the right angle in the façade. They act as the geometrical counterpart to the curved forms of the structure, such as those that make up the choir gallery and the sheath encasing the pier.
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