toward_an_underground_architecture-libre.pdf
TRANSCRIPT
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Toward an underground architectureAn essay on underground
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Toward an underground architectureAn essay on underground
Li rza E leza j , Mar ine F leury, Beno t Jacques
helvet underground designlaba press, basel, 2013
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Alors fous-moi la paix avec tes paysages!
Parle-moi du sous-sol!
Samuel Beckett, En attendant Godot
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Toward an underground architecture
Foreword
The perceptions of the underground
Light and vision
Form and tacti l i ty
Sound and air
Live the nature
The architecture of the underground
Form and inhabit space
Cast the l ight
Relate to the exterior
Afterword
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Toward an underground architecture
In the midst of a l l the issues of dens i f icat ion, people
are st r iv ing to be invent ive and f ind a way to dea l wi th
the increas ing populat ion. When at tempt ing to f ind new
p laces to bu i ld, an in terest in the subter ranean r ises
and d iscuss ions spur.
We decided that instead of see ing underground bui ld-
ing as a so lut ion we ca l l for because of a press ing
problem, we wanted to v iew i t as a land of oppor tu-
n i t ies wi th new arch i tectura l potent ia ls and qua l i t ies.
We are aware that the underground is perce ived as
the negat ive subst i tu te to the sur face. But we are
a lso aware that not on ly the underground possesses
many qua l i t ies, but l ike wi th everyth ing, i ts l imi ts can
st i r creat iv i ty and lead to beaut i fu l works. Michel Fou-
caul t , when speak ing about our percept ion of space,
c lear ly puts both k inds of spaces in the same pedes-
ta l o f dream and pass ion: The space of our pr imar y
percept ion, the space of our dreams and that of our
pass ions ho ld wi th in themselves qua l i t ies that seem in-
t r ins ic: there is a l ight , etherea l , t ransparent space, or
aga in a dark, rough, encumbered space; a space f rom
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Toward an underground architecture
above, of summits, or on the cont rar y a space f rom
below of mud; or aga in a space that can be f lowing l ike
spark l ing water, or space that is f i xed, congealed, l ike
stone or cr ysta l .
I t is in th is sp i r i t that in th is essay we wi l l f i rs t lead you
through a journey that tends to descr ibe how we, as
underground t rave l le rs perce ive the underground spac-
es. We wi l l then determine i ts qua l i t ies and issues and
tempt to car r y i ts atmosphere. Based on th is , we wi l l
propose cer ta in bu i ld ing pr inc ip les that wi l l not on ly t r y
to he lp to des ign arch i tecture in the underground, but
they wi l l a lso a im to preserve the d is t inct ive character
of the subsur face.
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Toward an underground architecture
Entering underground it is l ike submiting ourselves to new
principles. Our entire body is involved. While at the sur-
face we face a mult i tude of vanishing points, the under-
ground has an other dynamic. Solid surrounds us. Fa-
cades disappear taking away their streets and traff ic, the
horizon gets a new aspect and the sky tends to melt into
a black mass. The underground is marked by darkness as
well as by sti l lness. It is not impossible to feel enclosed.
It is therefore necessary to set up a mult i tude of st imuli.
Our senses are thus more sol l icited and a par t icular am-
biance of the place can emerge. Light and vision, form
and tacti l i ty, sound and air take here another dimension.
Each in its own manner has the power of representing the
space they occupy.
The underground travel ler needs famil iar points of refe-
rence in order to establ ish a l ink with the overworld as
we know it. Natural l ight is that possible l ink with the out-
side world, between ear th and sky. Light and vision are
the underground space guides. They define forms and
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materials and do not stop to indicate where we stand.
They are proof of t ime, of hours and seasons. They re-
veal. They emplify. Natrual l ight being rare and precious,
the suppor t of those spaces with ar t i f icial l ight becomes
matter of impor tance and design. Being source of control,
i t incarnates the eventual creation of an other real i ty. I t
fashions new atmospheres. It suggests. It overwhelms.
But l ight is not the only impor tant thing in the unerground
feel ings. Al l our senses are different. We are more awake.
Contrasts being maybe the source of that sensit ivity. We
are less distracted by mil l ions of images, motions, speed
and noises. Inside the Ear th, there is only one t ime, one
action. Things are more precise. The underground space
l ives for i tself and we can feel i t. Maybe it is that feel ing
of which we are afraid. We think it can surprise us and
keep us there. But let us not panic, the underground only
wants to offer us something that does not exist in the
same manner in the overworld. It is a wolrd of romantism,
safety, retreat and protection. These are the feel ings we
come to feel underground when in presence of enough
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Toward an underground architecture
famil iar points of reference.
Most of our sensory neurons that go to our brains, come
from our eyes and less from the other senses. That is why
it comes natural to think that we only perceive with the
eyes when in fact, the other senses play a crucial role.
When we go underground, we brace ourselves to discov-
er a new world of form and tactil ity whose nature we do
not know, and we had no way of anticipating from the out-
side. An underground building system is not visible in its
entirety on the sur face. At f irst, we do not know its scale,
i ts form, its organizational plan nor its depth. This may
lead to the uneasy feel ing of being lost and not control l ing
the situation. We can not posit ion ourselves in our mind
map as a dot in a volume. We do not know how deep we
can go, how large the bui lding is and we may get the con-
stant dead-end feel ing, the dead-end that may or may not
be just around the corner. That is why we want to grasp
our immediate surroundings and materials. The need or
even the desire to touch reveals itsself. Our hands be-
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Toward an underground architecture
come a tool that we reach out to in order to understand
better. Touching awakens our conscience about our en-
vironment. we need to know what the rock feels l ike, its
temperature, its texture. When in an underground space,
especial ly in a natural one l ike a cave, but even in a man-
made one that has natural characterist ics, we undergo a
new sett ing. Rudolf Arnheim says Order is a necessary
condit ion for anything the human mind is to understand.
Is the accidental space of a cave orderly to us? Are its
non-Euclidian walls that come in different angles comfor t-
ing to us? Pierre von Meiss describes texture as a cer tain
pattern that is so closely repeated that our eye perceives
it as a whole. Are strat i f ication of a natural rock even per-
ceived as texture by us? We often speak of walls or col-
umns that generate spaces. Euclidian shapes, star t ing
from circles, squares then rectangles etc, have cer tain
focal points, they have determined centers, determined
diagonals and therefore we have spaces that we handle
as architects and grasp immediately as travel lers. But an
underground space is a different story. Here we have a
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Toward an underground architecture
void of a what we cal l i rregular shape that is contained by
a big sol id mass. The atmospheric tension in it is differ-
ent and we do not handle materials but we undergo the
proper t ies of the local rock. But these are also different
potentials that the underground offers. The fact that we
ca not perceive the whole bui lding in the outside, gives
room for different designs that have labyrinthian qual it ies
and contain elements of surprise. When it comes to the
rooms in its-selves, what can also be associated to them
is a feel ing of seclusion, a feel ing of safety and that great
feel ing of l iv ing the ear th, the symbol of fer t i l i ty.
As a last perception, sound and air have also the power
of representing a space. It is through the reverberation
and its movement that we are able to perceive the extent
of the area. Sound speaks about space. It amplif ies it,
mult ipl ies it or minimizes it. Because we can hear so-
mething we are able to understand that we are par t of
that real i ty. In the underground this feel ing is major be-
cause of the recurrent feel ing of being shut in. There, the
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presence of sound is wanted. Background noises gives
us indications. It could be discussions, machines, steps,
transpor ts or music, it always makes us feel that we take
par t in the underground activity. I t can al lude to safety,
consciousness and the feel ing of belonging to a place.
I ts indications evoke the space character to which it be-
longs. They can give rythm to it, soften it, mesure it and
our body gives proper value to them. Sound represents
everyday motions while natural l ight describes t ime.
The air ref lects the underground environment qual ity. In
our memory it is damp, heavy and fouled. On the other
hand, i f i t is associated to some exterior elements, its
value becomes nobler. But funni ly enough, as a visitor, i f
we f ind in our journey some overworld elements l ike an
atr ium, windows or plants, breathing wil l come a lot ea-
sier. The sensation of fresh air is directly connected with
those kinds of visions. The relat ion we have with the air is
also directly connected to the fact that we are surrounded
by sol id. Exposed materials express moisture and humi-
dity. We also do not have any relat ion with the sky and
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Toward an underground architecture
sky is the perception of fresh air. Usually air surrounds us,
heats us or cools us. We are constantly in contact with
it while the underground gives the impression of being
isolated from it. One needs to create the void sensation,
the pleasure of fresh air which enlaces us. Underground
is the place where al l our sensations and perceptions are
awakened in a hidden environment and away from the
outside tumult.
As we have seen, l iv ing underground is al l about percep-
tions of the environment. But there is one more impor tant
topic to talk about, that speaks more of a spir i tual relat ion
with the environment. When we l ive underground, we l ive
in the Mother Ear th, we l ive the nature. Our t ime is un-
questionably the one of nature, which is more and more
present. The word nature is everywhere, in newspapers,
in publications, on screens and walls, and most of al l in
our spir i ts. The human being has a natural need of re-
appropriat ing the lost nature. It becomes central, even
essential, and not only due to the modern ecological con-
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Toward an underground architecture
sciousness. A cer tain unease in the city and the urban
crisis create the demand for nature. The increasing re-
moteness from nature incites the desire for i t. Gerhard
Hard described it in the fol lowing way : Mais bien qui l
nous renvoie l i l l imit, voire l inf ini, le paysage mater-
nel offre toujours l homme aussi la patr ie, la chaleur et
l abri. I l est un trsor du pass, de l histoire, de la culture
et de la tradit ion, de la paix et de la l iber t, du bonheur et
de l amour, du repos la campagne, de la sol itude et de
la sant retrouve par rappor t la frnsie du quotidien
et aux bruits de la vi l le.
Once left the city, we cant talk about l iv ing the nature
without talking about Henry David Thoreau, who was the
f irst writer, maybe the f irst architect, who describes ar-
chitecture not as a form but as a relat ionship with the
natural environment. With his book Walden or the l i fe in
the woods, Thoreau tel ls us of his retreat. His program is
famous: I was going into the woods because I wished to
l ive del iberately, face only to essential facts of l i fe, and
see if I could not learn what it had to teach. According
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to him, it is not enough to l ive in the nature, we must l ive
the nature. And in general, the ar t i fact is not opposed to
the nature, it extends and enriches it. Thoreau defines
straightaway the ideal of what wil l be cal led organic ar-
chitecture. Al l of a sudden, nature itself star ts being ar-
chitecture: My best room, my l iv ing room, is the pine
woods behind the house. Maybe in our vision, our best
room could be a cavern in the nature. The vir tue of a good
house in nature is to give the nature as house. Not only
would we be l iving in its midst, but we would contr ibute
in the protection of i ts many beautiful visual aspects, thus
preserving the sublime landscapes.
We could f inish with a sentence from Peter Zumthor, which
can say better than us can how sumptuous the nature is:
Lhomme vient de la nature et y retourne. [...] Nous nous
sentons entre de bonnes mains. Modestes et f iers la
fois. Nous sommes dans la nature, dans cette vaste forme
quen f in de compte nous ne comprenons pas et qu
l instant de l exprience vcue, nous navons mme pas
besoin de comprendre, tant nous ressentons que nous
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Toward an underground architecture
sommes par t ie del le.
In this second par t of this essay, now that we have seen
the quality of the emotional perceptions of l iv ing under-
ground, we ask ourselves, as architects, how can we
conceive the architecture of the underground? We wil l try
to answer this question, we do not have the pretention to
have the last word, but this is our personal way of think-
ing. And we are going to relate you this in three chapters.
The f irst one is the foundation, to conceive architecture
into the ground, before everything, we have to understand
how to form and inhabit the space. Contrary to the
above ground architecture, we form spaces by a process
of matter subtraction. Therefore, to be in harmony with the
underground, the shape must change and adopt a proper
language. As we are not used to the underground, let us
do the exercise of imagining how this extraction should
be. The extraction generates the void which defines the
form and the space. We can al l imagine those two words;
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we have thousands of images of forms and spaces. The
space hollows the rock, leaving form behind and some-
times goes on to creating an other room. If we repeat
this exercise, we can imagine different spaces, and we
understand that an impor tant fact of the underground ar-
chitecture is that only one void puts everything in relat ion
and binds al l spaces. Jean Houel describes very well this
process, in his Voyage pittoresque des Isles de Sici le, de
Lipari et de Malte in 1787: Ce qui est remarquable, cest
quon agrandissoit son logement mesure que la petite
famil le saugmentoit. On creusoit alors dans le rocher : au
fond de la dernire chambre, une por te, puis une autre
chambre de la grandeur quon vouloit ; ou bien on creu-
soit dans le plafond, et l on se pratiquoit un appar tement
au-dessus du sien.
We have seen that for most of people, being in the un-
derground provokes a feel ing of claustrophobia. In order
to remedy this bad sensation and the feel ing of an under-
ground labyrinth, the system should show a direction, it
should be anisotropic and heterogeneous.
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If we now talk about the form, how do we show the qual-
it ies of the underground? The f irst thing, maybe obvious,
is that we should respect cer tain data inherent of mineral
elements, and express their different characterist ics. For
example, stones have trouble in bending resistance, that
is why we wil l prefer a system of vaults and arches which
are the best shape to discharge forces and can espouse
dist inct forms according to the morphology of the rock.
The range varies depending to the environment and the
quality of the stone. At the same time, arches help to
control spaces, i f one is lower than the others, it creates
two different spaces. It reminds us of a sentence from
the painter Alexandre Hollan, La forme est ncessaire,
trouver les bords pour ne pas tre aval par la profond-
eur. He was talking about a drawing of an oak-tree l ike
this one, but we can easi ly imagine this sentence for an
underground space (maybe even more).
When we think about a nice underground space, we al l
imagine some strong rock walls, and we feel good and
protected. We touch this wall, we approach our ear and if
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we l isten well, we can hear the sound of the water f lowing
somewhere behind it. And what provokes our visual emo-
tion is the story that the rock tel ls us, shaped by the va-
garies of the t ime, the pressures, the cleavages, showing
different stratums, and sometimes rests of the passage
of dynamites or crowbars. For al l of those reasons in the
drawings of the excavation forms, we must respect the
stone and its strat i f ication. In a cer tain way, we have to let
the ear th l ive, i f we steri l ize the underground, it wi l l lose
the qual it ies of being an underground.
We know that in a cer tain par t of the underground con-
struction, the rock is loose and it is not possible to let
the rock visible. But we sti l l can express the fact of be-
ing underground and preserve its character. For instance,
thanks to geometry, i f the walls are not ver t ical but a bit
leaned and come closer at the top, we obtain a simple
tectonic effect that immediately gives the feel ing of an
underground. Or we also can express it by the material i ty
or the texture of the retaining wall; i t can reveal the exca-
vated material.
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Once we form the space, we arr ive to an impor tant point:
how do we transform this void to an inhabitable space?
Today, we cannot l ive just in a nude cavern, as prehistoric
men, we need to add more separation walls, furniture and
al l todays techniques. So in order to express the differ-
ences between underground and what we know above
ground, what is added to make the place inhabitable
should be expressed as such. This does not prevent us
from doing it l ike in tradit ional troglodyte houses, where
the furniture and the stairs are included in the mass; nich-
es, cupboards and benches carved in the rock can coex-
ist with added wooden furniture.
One other special characterist ic of the underground is the
disappearance of the local identity, which means the dis-
appearance of different cultures. The underground under
the Alps, Nairobi, or Tokyo must be different and show
somehow his own above ground culture. The rock walls
would not be enough to express it, so what is added
should belong to the local identity and knowledge.
Once underground, an eminent question comes up: How
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do we cast the light? The f irst vision that comes to mind is
that of obscurity. Coming with the latter, coldness, fouled
air, and feel ings of no-return are the regular impressions.
We al l have known a dark and damp cellar, a hidden cave
enclosing an unobtainable tresure or again an obstructed
and insalubrious basement. These common underground
preconceptions are not here by accident. The lack of
views and natural l ight evokes a feel ing of confinment.
But despite these prejudices we have never theless expe-
rimented in some undergrounds, there are many ver tues
and elements that can be handled better in those mystical
spaces. Jules Verne, one of those who best describes
the wonders of underground spaces, writes: Je pensais
seulement que les tnbres sont bel les aussi. Si tu savais
tout ce quy voient des yeux habitus leur profondeur! I l
y a des ombres qui passent et quon aimerait suivre dans
leur vol! Par fois ce sont des cercles qui sentrecroisent
devant le regard et dont on ne voudrait plus sor t ir !... Vois-
tu Harry, i l faut avoir vcu l pour comprendre ce que je
ressens, ce que je ne puis texprimer!
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We understand well that the main underground topic
seems to be the lack of natural l ight. Sunlight provides
the feel ing of being connected to nature, the feel ing of
warmth and most of al l, the sense of t ime. However, we
should face the fact that it wi l l not always be possible to
bring in natural l ight in the subsur face. The dayl ight wil l
be rare there and the deeper we are the rarer it wi l l be.
And yet, what is rare is precious and even more beautiful
and should be treated as such. Spaces benefitt ing direct
natural l ight wil l be the jewell of a bui lding.
When we talk about l ight, we talk about obscurity too.
Any space is f irst of al l a black hol low in which we inser t
openings that bring in beams of sunl ight. The latter is able
to enhance the feel ing of a spacious or of a confined inte-
rior. The end of l ight, or the beginning of obscurity marks
the l imit of space.
As much as natural l ight is power ful l in assuming diffe-
rent statuses according to exterior characterist ics (t ime
of the day, atmosphere, seasons), ar t i f icial l ight can be
designed in different ways; colours, intensity, directions,
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shadow and l ight patterns. Most of the t ime, undergrounds
are enl ighted conventional ly and uniformly which creates
monotonous spaces. Fur thermore, ar t i f ical l ight does not
even have the physiological benefits of the natural l ight.
But natural l ight has drawbacks too. It bl inds, to overheats
and is moody depending on the weather.
We can ask ourselves, how is it possible to give the un-
derground space qualit ies through the architecture of
l ight?
A good l ighting needs to consider the space characteris-
t ics, sur face colours and material i ty. They are revealed
thanks to the l ight which describes it.
Natural l ight enables the visitor to understand where he
is in space but also in t ime. It is the l ink with the ex-
terior which makes this possible. We can use different
techniques to reach very deep underground spaces with
natural l ight l ike transmission and reflection through wells,
canals or cables. But we have to confront the fact that at
a cer tain depth, natural l ight is hard to come by and the
use of ar t i f icial l ight becomes mandatory. But let us not
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despair! Ar t i f icial l ight has much to offer and being iso-
lated from the outside, thanks to it we can create a whole
new real ity.
Ar t i f icial l ight, unl ike natural l ight which is constantly
changeable, is stable and able to underl ine detai ls, sha-
dows, to glori fy sur faces; it is constant in its action but
can also be modif ied attending to some precise desires.
I l luminating does not only mean giving the r ight quantity
of l ight to objects and spaces, but well mesuring, domina-
ting, control l ing and interpreting the surrounding space.
Also each type of l ight can have a different function in the
sense of Michel Malet: La lumire ar t i f iciel le agit comme
un accompagnement slectif et intel l igent du parcours en
nous aidant observer tel ou tel de ses composants.
La lumire naturel le, el le, agit comme un guide faci l i tant
notre orientation. Ar t i f icial l ight being the mostly used lu-
minous source in the underground due to the rarity of na-
tural l ight, represents an impor tant tool. We are individual-
ly able to control i t and the present technology gives back
the possibi l i ty of f lexibi l i ty from colours to quantity. Most
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Toward an underground architecture
of the posit ive physiological effects created by natural
l ight come from ultraviolet waves and the visible por t ion of
the spectrum. With our technological means, it is possible
to use an ar t i f icial l ight which has these characterist ics.
Also, the temperature of the l ight source can be chosen
according to the colours of the i l luminated areas and thus
enhance the character of their material i ty. Another thing
we have to be careful with when casting ar t i f icial l ight,
is the orientation of the source. It is better not to use an
or thogonal projection on the sur faces (walls, cei l ings) but
a mult i tude of incidence angles which produce a uniform
rendering of the space and a feel ing a spaciousness. For
example, when indirect l ight is projected on the whole
cei l ing, we get the feel ing it is higher. Another cleverness
to amplify spaciousness is to let periferic sur faces in the
shadow in order to give an impression of inf inite spaces.
Indirect l ight and hidden sources also avoid dazzl ing.
This variety of types of l ighting causes many shadow
and l ight patterns. The latter produce visual st imulations
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which are very helpful especial ly in the circulation areas.
They are supposed to guide us through the bui lding. Cir-
culation spaces should offer the comfor table sensation
of not being lost. Therefore indirect l ight coming through
the rooms to the corr idors for example, whether ar t i f icial
or natural, can lead us forward. In this case, it is the l ight
as cue.
Lastly, we wil l talk about the ways we can relate to the
exterior and enl ighten, even open the underground. The
act of entering the subsur face could be an abrupt one
that takes us from l ight to darkness, from warmth to cold,
from heat to dampness. When we think of i t we imagine
staircases going down, manholes or cave doors. But it
does not have to be that way. Not only the act of going
down does not have to resemble that but also the under-
ground spaces do not have to be black and cold. We wil l
talk here about four main topics: the frontal window, the
skyl ight, the entrance and the in-between space.
Frontal windows are a very current architectural element in
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Toward an underground architecture
the sur face but are hard to come by in the underground.
A typical situation where the frontal window can be pos-
sible, is when a bui lding is implemented on a hi l lside.
The frontal window offers a view to the landscape. Since
it wi l l be a rare element in the underground, it wi l l have
to be designed and placed preciously. We propose that
this window over the view goes to individual rooms. When
it is possible it is impor tant that it is these spaces that
benefit from a direct connection to the landscape and to
natural l ight. These rooms are places where we spend a
lot of t ime alone. They are places of meditat ion, work,
int imacy and personal well-being. Which spaces they are
exactly, i t is to be interpreted in each case depending on
the program.
It is therefore impor tant that they do not have the monoto-
ny of isolat ion, but that they offer the evolution of dayl ight
and the distraction or enter tainment that offers a window.
It is the window of the view.
Since al l windows can not be ver t ical, the use of skyl ights
wil l take an impor tant place. We propose that skyl ights go
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to common areas. Common areas are spaces where con-
tact with people is more frequent or where we are in the
presence of other distractions. Here, other architectural
elements such as height, propor t ions and connections to
other rooms take more impor tance.
A skyl ight which offers abundant l ight and a gl impse of
the mood of the sky, raises these rooms to a higher sta-
tus. This is why a window of the view is not the main
priority here. It is the window of the external reference.
Windows and skyl ights do not have to be the only l ink to
the exterior and looking outside does not have to be the
only way of communication with the sur face. What we
cal l in-between spaces are spaces that even though they
are below the ground level, they are greatly l inked to the
sur face. One example of in-between spaces are patios.
A patio offers an outside room, surrounded by walls but
open toward the sky. These proper t ies make it no differ-
ent from a sur face patio.
An atr ium is also a great connection to the exterior. The
atr ium has the advantage of containing circulation areas
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Toward an underground architecture
and frontal windows of the spaces that it distr ibutes, thus
giving natural l ight. Both these spaces not only soften
the relat ion with the sur face but also help us perceive
the bui lding as a whole and guide us through it. They
might turn out to be crucial elements of the underground
architecture.
When it comes to the action of going underground, the
threshold may be too brusque. A cer tain transit ion should
be offered one way or another, unless of course, re-
producing a rabbit hole is an intention of design. As we
mentioned before, the benefit of the atr ium is that it can
contain circulation, we can go down through it and have
a constant relat ion to the underground and the sur face
at the same time. When under, we have a real view of
the sky and abundant natural l ight, and when outside,
we perceive how deep we are going and the scale of the
bui lding. Another way of going underground, is the pavi l-
ion entrance. That is to say a room on the sur face through
which we go f irst and where we f ind our way through. It is
a project in itself which is meant to guide us through the
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Toward an underground architecture
entrance and offer an element of surprise.
Whatever the architect chooses to design, we think that
these thresholds should serve two purposes. First of al l,
they should express the motion towards the underground,
and second of al l they should contr ibute to the project
image that is lacking, the emerging elements wil l suggest
the hidden ones.
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Toward an underground architecture
This text merely invites architects to ref lect on new po-
tentials even when they dont appear promising. Prejudic-
es and preconceptions can sometimes be slowdowns to
evolution.
The underground, l ike the skies, has always incited our
imaginations. By gathering our fascinations, ref lections
and keeping an open mind we are sure that through mod-
ern technology, we can design underground spaces to
great effect.
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Toward an underground architecture
Lis t o f i l lust ra t ions:
ILL. 1 EL IASSON Olafur, The Weather Pro ject , 2003ILL. 2 P IR IL Mar ja, In ter ior/Exter ior, Camera Obscura, 2004ILL. 3 DESCARTES Ren, Les pass ions de l me, 1649ILL. 4 HOLLAN Alexandre, Forces en format ion, 2007-2009ILL. 5 ARANCIO Salvatore, B i rds, 2013ILL. 6 Sound Mi r ror, Uni ted K ingdom 1920ILL. 7 COROT Jean-Bapt is te, Souveni r de Mor tefonta ine, 2002. ILL. 8 Hhle_Schweiz_2, Source: LabaILL. 9 Sami-Arqu i tectos, Gruta de Tor res 2005ILL. 10 Sami-Arqu i tectos, Gruta de Tor res 2005ILL. 11 HOLLAN Alexandre, Le dchn, 2011ILL. 12 ZUMTHOR Peter, Bruder K laus F ie ld Chapel , 2007ILL. 13 EAMES Char les & Ray, B ik in i cha i r, 1951ILL. 14 APPIA Adolphe, La Comdie Div ine, 1921ILL. 15 ZUMTHOR Peter, Bruder K laus F ie ld Chapel , 2007ILL. 16 AVOTINS Jan is, Unt i t led, 2009ILL. 17 EL IASSON Olafur, Beauty, 1993ILL. 18 TURRELL James, Guggenheim Pro ject , 2013ILL. 19 ZUMTHOR Peter, Serpent ine Gal le r y Pav i l ion, 2011ILL. 20 VERMEER Johannes, De geograaf , 1668-1669ILL. 21 PEZO VON ELLRICHSHAUSEN, Casa Cien, 2008-2009ILL. 22 MOSER Kar l , Un iver is tt Zr ich, 1914ILL. 23 SELMONI P ier ino, Gant , 1979
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Toward an underground architecture
Bib l iography:
CARMODY John, STERLING Raymond, Underground Space Des ign, A Guide to Subsur face Ut i l i za t ion and Des ign for People in Under-ground Spaces , Van Nost rand Reinhold, 1993.
CARRATU Rober to, Manualet to d i f is ica tecn ica appl icata a l l a rch i te t-tura , L i I l luminotecnica, Aracne, 2003.
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HARD Gerhard, Die Landshaf t der Sprache und d ie Landshaf t der Goegraphen. Semant ische und forschungslog ische Studien , Bonn 1970,
HOLLAN Alexandre, Je su is ce que je vo is , Le temps qu i l fa i t , 2006
HOUEL Jean P ier re, Voyage p i t toresque des Is les de Sic i le , de L ipar i e t de Mal te , Impr imer ie de Monsieur, 1782-1787
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THOREAU Henry, Walden, ou la v ie dans les bo is , Gal l imard Par is , 1990
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Toward an underground architecture
VERNE Ju les, Les Indes no i res , J . Hetze l et Cie, Par is , 2011.
VON MEIJENFELDT Ernst , Below ground leve l , Creat ing New Spaces for Contemporar y Arch i tecture , B i rkhuser Ver lag AG, 2005.
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VON MEISS P ier re, De la forme au l ieu+ de la tecton ique, une in t ro-duct ion l tude de l a rch i tecture , Presses poly techniques et un iver-s i ta i res romandes, Lausanne, 2012.
ZUMTHOR Peter, Penser l a rch i tecture , B i rkhuser Ver lag AG, 2008.
ZUMTHOR Peter, Atmosphres , B i rkhuser Ver lag AG, 2008.