“The Water Cathedral is a large, horizontal urban nave for public use, discreetly exposed so that enigmatic and semi-dark atmospheres can be made out through its topographic lines of floor and ceiling. Both topographies are surface systems shaped by numerous slender, vertical components, which hang or rise like stalactites and stalagmites in a cave, varying their heights and concentrations. A physical organization with regimes of proliferation and differentiation; a series of columns, platforms, arches, curtains, domes and caverns emerge, qualifying the project spatially and atmospherically.Water embedding / Dripping, duration, delay by integrating water within its spatial and material logics, the project promotes a form of architecture that systematizes dripping pulses and speeds, consistently exacerbating the water drop as primal atmospheric matter.”

“This is accomplished through the hanging components of the roof topography, constituted geometrically and materially like textile prisms placed upside-down with a partial granular substratum filling. They are fed by a hydraulic network that continuously irrigates using measured doses. When filled with small amounts of water, these elements act as regulators or atmospheric interfaces, experiencing a phenomenon of absorption and release where, through capillarity, water drops gradually flow against gravity along the prism edges, slowing down the time of concentration and fall. This delay process that consequently produces multiple dripping rhythms over the ground topography, formally demonstrates management of duration. It materializes an architectural form in which water can be particularized in a system that has extensive effects over an area. The delay principle, established through mediation by the prisms, is translated into the possibility to define the layout and use the water as it drops.Form Principles as an abstraction and geometrical transposition of the stalactite, a three-dimensional spatial component, is developed. A three-phase prism with an equilateral base that varies in height and area. These elements proliferate in a grid system, forming curves of different lengths and intensities. This variation capacity component, allows to effectively producing diversity of spaces, textures, patterns and interactions with environmental dynamics based in a principle of material abundance.Geometrical studies from two dimensional curve variation and three dimensional arrangements constrained to equilateral modules. These forms of proliferation deliver rich arch formations, defining interiorities, structural points and modular connectivity.”




via WATER CATHEDRAL | GUN Architects.

Author: Arthur Mamou-Mani

Arthur Mamou-Mani AA dipl, ARB/RIBA FRSA – is a French architect, director of Mamou-Mani Architects, specialised in a new kind of digitally designed and fabricated architecture. He is a lecturer at the University of Westminster and owns a digital fabrication laboratory called the Fab.Pub which allows people to experiment with large 3D Printers and Laser Cutters. Arthur has been selected as one of the RIBAj's 2017 cohort of Rising Stars. He has won the Gold Prize at the American Architecture Prize for the Wooden Wave project installed at BuroHappold Engineering and since 2016, he is a fellow of the The Royal Society for the Encouragement of Arts, Manufactures and Commerce. Prior to founding Mamou-Mani in 2011, he worked with Atelier Jean Nouvel, Zaha Hadid Architects and Proctor and Matthews Architects.

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