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Notre-Dame Design Competition

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+ Designer's Choice Winner

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Zeb Lund

ID: 428

Designer's Choice Award

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Voting Ends: Jul 22, 2019
ID: 428
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The impact following the fire at Notre-Dame was felt on a global scale, as strangers and friends alike were united in mourning the destruction of the day. This proposition is a spire to symbolize the unity and celebrate that spirit- a moment of the world putting down its guard for each other. Funding the rebuilding was an event that unified. Rebuilding will require unity and the new spire is an ample opportunity to symbolize all the good in the world that emerged in the tragedy. The proposed spire would be an opportunity to be a symbol and a continuation of this unity as an accessible clear glass obelisk. Naturally, this symbol itself would unite the cathedral through time and culture. Already significant in Egypt, Rome, London, New York, Washington D.C., and Paris for religious, political and public purposes, the symbol is ready to be adapted again. The last, and largest erection of this symbol had it put in beaming white limestone blocks. Having been carved and erected from stone, it is ready to be modernized with the glass and steel construction of today. As the stones of the gothic churches of the time were light and airy, so will be the new spire. Also important to the glass material is to not distract from the iconic towers. More important to the glass obelisk is architecture unifying of the church with other Parisian gems. The nearly all glass of the exterior form puts the obelisk in conversation with the Louvre in more than one way. To thoroughly celebrate the improvements to the Louvre, there would be an inverse obelisk. This inverse form serves to literally and figuratively bring the light down to those seeking it approaching the altar. The purpose of the church has always been to bring people together and to God. The exterior obelisk is a symbol serving unity on the exterior. The necessity of the church to tell the biblical narrative has regressed, but the inverse form can bring the heavens down to the people. The form through the interior and above the roof is a visual communication of the churches transparency. To thoroughly celebrate the restoration of the Luxor the cap at the “top” of each form would be aluminum. Positioning this within touch of persons on the stone floor can make the soaring ceilings, the divine, somehow seemingly attainable, at least relatable through some sense of scale.

Zeb LundZeb LundZeb LundZeb Lund

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