minÂistry-of-the-disÂÂÂplaced-lebanon / Lebanon
DesignÂer | Maroun Lahoud | |
LocaÂtion | Beirut — Lebanon | |
Nation | Lebanon | |
Design Team |
Maroun Lahoud — Principal |
|
Year | 2016 | |
PhoÂto credits |
Maroun Lahoud |
|
PhoÂto external
Project descripÂtion
St-Elie project is locatÂed in Mtaile Brih, meanÂing panoramÂic in AraÂbic, 50km from Beirut, a region charÂacÂterÂized by its terÂraced topogÂraÂphy and vegÂeÂtaÂtion abunÂdance. It is also a region with a heavy hisÂtorÂiÂcal herÂitage, which led to vioÂlent clashÂes durÂing the civÂil war between 1975 and 1990, resultÂing in the near-total destrucÂtion of housÂes, places of worÂship and the disÂplaceÂment of vilÂlagers. St-Elie is the first project symÂbolÂizÂing the recÂonÂcilÂiÂaÂtion in the region.
The project arose with the will to gathÂer by celÂeÂbratÂing the eleÂments of nature. It comÂprisÂes the church and its square, all dressed in white, solemnÂly setÂting on a dry stone walled base, that remodÂels the topogÂraÂphy of the hillÂside to house the mulÂtiÂpurÂpose hall and its annexes.
RadiÂant with its white bush hamÂmered stone cladding, the church inspires renewÂal. Its aspect embodÂies the charÂacÂterÂisÂtics of the Maronite Church: pure massÂing and flat roof. With a square base of 17x17m, St-Elie can gathÂer up to 250 peoÂple. The sacÂristy and the conÂfesÂsionÂal are locatÂed at the back to clear as much as posÂsiÂble the altar.
The posiÂtionÂing of the stones rangÂing from 25 to 45cm in height and disÂposed in a ranÂdom manÂner uniÂfies the enveÂlope. With the same gesÂture, the bell towÂer was erectÂed to creÂate the entrance of the church; the thickÂness of this entrance filÂters the pasÂsage from the proÂfane world to the sacred world.
From the entrance we are drawn to an imposÂing slit that draws a cross; oriÂentÂed north, it avoids any unwantÂed backÂlightÂing effect durÂing mass. In this natÂurÂal light box, white walls seem to difÂfuse light, the CarÂrara marÂble floorÂing, with its milky, proÂfound and livÂing appearÂance, reflectÂing it in turn.
The inteÂriÂor is craftÂed and hierÂarÂchized by indiÂrect lightÂing schemes that define its spirÂiÂtuÂal dimenÂsion: zenithal lightÂing above the altar, sacÂristy and conÂfesÂsionÂal, pariÂetal along the latÂerÂal cirÂcuÂlaÂtions, and disÂcreet at the back.
The liturÂgiÂcal codes are expressed by the numÂber of openÂings. Three light nichÂes along the latÂerÂal cirÂcuÂlaÂtions refer to the TrinÂiÂty; disÂposed on both sides, with two openÂings each, they totalÂize to 12 openÂings, referÂring to the way of the cross.
A new page is writÂten, howÂevÂer it is rootÂed in the conÂtext by the use of local stones.
The vilÂlagers helped build the base by bringÂing what was left from their demolÂished housÂes and churchÂes; the rest extractÂed from the site by local artisans.
The 500 m² mulÂtiÂpurÂpose hall is natÂuÂralÂly lit by five large bays, openÂing to the courtÂyards and the landÂscape, and is served by sevÂerÂal annexÂes glidÂing in the interÂstices of the structure.
Due to its locaÂtion and the conÂtrast of its mateÂriÂals, the project tends to creÂate a new focal point in the Shouf’s valÂley of Gold and writes a new page in the hisÂtoÂry of Mount Lebanon by honÂorÂing its heritage.
ExplanaÂtoÂry report of the project
DownÂload report
TechÂniÂcal drawings