Add To Collection
Add to Collection
The New ROOM XIX at United Nations of Geneva
The New ROOM XIX at United Nations of Geneva
Geneva, Switzerland
View Original
Add To Collection
Add to Collection
View Original
Add To Collection
Add to Collection
View Original
Add To Collection
Add to Collection
View Original
Add To Collection
Add to Collection
View Original
Add To Collection
Add to Collection
View Original
Add To Collection
Add to Collection
View Original
Add To Collection
Add to Collection
View Original
Add To Collection
Add to Collection
View Original
Add To Collection
Add to Collection
View Original
Add To Collection
Add to Collection
View Original
Add To Collection
Add to Collection
View Original
Add To Collection
Add to Collection
View Original
Add To Collection
Add to Collection
View Original
Add To Collection
Add to Collection
View Original
Add To Collection
Add to Collection
View Original
Add To Collection
Add to Collection
View Original
Add To Collection
Add to Collection
View Original
Add To Collection
Add to Collection
View Original
Add To Collection
Add to Collection
Featured products in this project 3
The New ROOM XIX at United Nations of Geneva
Geneva, Switzerland
Firm
Type
STATUS
Built
YEAR
2019
SIZE
3000 sqft - 5000 sqft
The UN, the most important and multilateral institution of Planet Earth, lives and
survives with the proportional contribution to its wealth by each of the 193 member
states and with specific donations. Thanks to the generous donation of the state of
Qatar, the XIX Hall of the United Nations in Geneva has been completely renewed
with the project of the PEIA architectural firm.
The capacity of the new Hall is 800 seats, with 320 seats and desks for the delegates
of the States, plus same number of assistants, as well as observers and the press,
making this Hall for Plenary Assemblies of 4000 square meters, the largest room and
with the most advanced technology of the UN. The architectural design reflects the
ideals of the United Nations through its concentric and radial circular design that
exemplifies the concept of equality. Instead of large counters with different radius, a
single and equal module of desk is designed for each member to be aggregated to
others in according with the geometry of the different radius rows, in order to
promote individuality and identity of nations, and at the same time express the
strength of the union as one body to solve together the world problems.
The United Nations confirms the achievement of the goal as per initial request: to
build the ideal matrix of any conference room, a model for any future project for the
United Nations.
This democratic tool allows to minimize maintenance and energy consumption and
maximize sustainability and flexibility. The key features of this space are its ability to
provide most seats and wheelchair accessibility, being the first room equipped with
10 simultaneous translation booths including, first in the world, a booth dedicated
to the interpreters of the sign language, establishing new standards of inclusiveness
in the organization.
The room is equipped with high-definition screens enhanced by a state-of-the-art
lighting system and the largest 4K LEDwall, guaranteeing the highest technological
levels for communication. The individual 400 audio and video monitors are
equipped with state-of-the-art translation systems, providing the most sophisticated
tool for exchanging dialogues between all nations. The Room XIX, or Hall of Qatar,
(the "donated" rooms are traditionally called even by the name of the donor
country) is equipped with new high-definition motorized cameras and a new
sophisticated communication system. Thus, for the first time, a UHD system enables
the best image quality of the assemblies and conferences.
For the first time ever an innovative and unique lighting system was installed in a
conference room to maximize comfort for United Nations delegates during long
meeting sessions. Using the circadian lighting system, the room can pass through
different lighting scenarios that imitate the rising and setting of the sun that
emphasize the sculptural irregularity of the ceiling. In order to introduce another
comfortable light source, an automatic motorized opening system was introduced to
offer a view of the park, Lake Geneva and the majestic Mont Blanc. Not only to offer
a pleasant view, but also to constantly remind the planet's environmental
emergencies, including the melting of glaciers, poles and Iceberg that UN is
monitoring.
A further feature of the space are its high acoustic performance: with the help of
parametric software, the shape and aggregation of 7.000 thin wooden eco-panels
aggregated with a particular technology that makes them in different shape,
allowing the management of high and low frequencies in the dynamic wooden
architecture of the ceiling and internal walls, which covered the original wooden
walls that survive in the inner layers, as a respectful “archaeological stratification”
for the heritage.
These sculptural components represent the natural beauty of Qatar: the geometries
that represent desert dunes, the sky and the sea, break the rigorous circular
symmetry of the original room, giving spatial dynamism and providing a
metaphorical representation. The panels form "waves" that change shape based on
the differentiation of the acoustics of the circular space, but also contain a symbolic
meaning that alludes to the efforts of the United Nations to promote and facilitate
peaceful and diplomatic resolutions: stormy waters calm down as they approach the
presidential stage.
The dune (the vaulted ceiling) and the sky (the nations) are conceptually reversed
upside down. The dune has always been seen as a unique natural phenomenon that
is somehow a line which changes and adjusts based on the wind movement creating
a meander of everchanging profiles of the desert terrain that has captured the
fascination of mankind.
Sand and water are the two greatest natural resources, the most precious and the
most dynamic materials, and commodities. Celebrating the dune is celebrating
evolution, history, traditions and culture and at the same time a challenge to guide
the necessary changes to improve our future with inventions, progress of art and
technology, while we realize value to preserve our environment, as our ancestors
did. The dome of the hall is an "inverted" dune with daily sunrise and sunset of the
surrounding and circadian lighting systeThe design is also a clear reference to the cultural values of Qatar:
Calligraphy (traditionally called Islamic calligraphy) is actually within contemporary
visual art culture, without textual meaning and relationship with religion. The end
user, the United Nations, by compulsory secular status, has understood the graphic
design proposal by our team as a contemporary interpretation of a form of artistic
expression that no longer belongs only to the culture of the vast Arab world.
Whose formal richness is also in the matrices and geometric patterns (Musharabya),
in particular with original types from Qatar, and has been reinterpreted in different
components of the project such as the perforated wooden acoustic panels, bronze
grids, fabrics, rugs and custom-made porcelain mosaics.
Finally, the history of the United Nations building was honoured through the
redesign of the chairs, with a tribute to the work of Charlotte Perriand who
collaborated on the project of the Building E in the 60s. Perriand was assistant of Le
Corbusier, the master of the modern movement who was with Oscar Niemeyer in
the team of architects for the United Nations headquarters in New York (1948-
1952).
Within the architectural project, the new chairs and furnishings are a very specific
project of extreme complexity due to the ergonomic requirements, saving space in
accordance with the functional planning of the entire space, in compliance with
safety and evacuation rules and strategies, comfort for long sessions, flexibility and
accessibility for disabled people, even with the possibility of removing any chair in a
few seconds to be replaced by a wheelchair and removing toxic materials from the
original parts, all of which made it necessary to replace the original furniture.
However, thirty original chairs designed by Perriand, restored and reclaimed, now
have a second life for visitors and schools that can participate at United Nations
assemblies from the top of the mezzanine with the reuse in memory of the past of
the Hall.
The identity and roots of the country donor with the tradition of the most important
institution on the planet. Past, present and future are in a continuous and
supranational and timeless flow, as values that can be understood by the new
generations, only if we step back from the logic of self-representation and giving
explicit symbolic meanings, not decorations, that always remind us of the
emergencies we have to face, daring and winning the challenge through true
progress for the peoples and the salvation of the planet, in a common and constant
commitment to immediate and tangible results.m.
survives with the proportional contribution to its wealth by each of the 193 member
states and with specific donations. Thanks to the generous donation of the state of
Qatar, the XIX Hall of the United Nations in Geneva has been completely renewed
with the project of the PEIA architectural firm.
The capacity of the new Hall is 800 seats, with 320 seats and desks for the delegates
of the States, plus same number of assistants, as well as observers and the press,
making this Hall for Plenary Assemblies of 4000 square meters, the largest room and
with the most advanced technology of the UN. The architectural design reflects the
ideals of the United Nations through its concentric and radial circular design that
exemplifies the concept of equality. Instead of large counters with different radius, a
single and equal module of desk is designed for each member to be aggregated to
others in according with the geometry of the different radius rows, in order to
promote individuality and identity of nations, and at the same time express the
strength of the union as one body to solve together the world problems.
The United Nations confirms the achievement of the goal as per initial request: to
build the ideal matrix of any conference room, a model for any future project for the
United Nations.
This democratic tool allows to minimize maintenance and energy consumption and
maximize sustainability and flexibility. The key features of this space are its ability to
provide most seats and wheelchair accessibility, being the first room equipped with
10 simultaneous translation booths including, first in the world, a booth dedicated
to the interpreters of the sign language, establishing new standards of inclusiveness
in the organization.
The room is equipped with high-definition screens enhanced by a state-of-the-art
lighting system and the largest 4K LEDwall, guaranteeing the highest technological
levels for communication. The individual 400 audio and video monitors are
equipped with state-of-the-art translation systems, providing the most sophisticated
tool for exchanging dialogues between all nations. The Room XIX, or Hall of Qatar,
(the "donated" rooms are traditionally called even by the name of the donor
country) is equipped with new high-definition motorized cameras and a new
sophisticated communication system. Thus, for the first time, a UHD system enables
the best image quality of the assemblies and conferences.
For the first time ever an innovative and unique lighting system was installed in a
conference room to maximize comfort for United Nations delegates during long
meeting sessions. Using the circadian lighting system, the room can pass through
different lighting scenarios that imitate the rising and setting of the sun that
emphasize the sculptural irregularity of the ceiling. In order to introduce another
comfortable light source, an automatic motorized opening system was introduced to
offer a view of the park, Lake Geneva and the majestic Mont Blanc. Not only to offer
a pleasant view, but also to constantly remind the planet's environmental
emergencies, including the melting of glaciers, poles and Iceberg that UN is
monitoring.
A further feature of the space are its high acoustic performance: with the help of
parametric software, the shape and aggregation of 7.000 thin wooden eco-panels
aggregated with a particular technology that makes them in different shape,
allowing the management of high and low frequencies in the dynamic wooden
architecture of the ceiling and internal walls, which covered the original wooden
walls that survive in the inner layers, as a respectful “archaeological stratification”
for the heritage.
These sculptural components represent the natural beauty of Qatar: the geometries
that represent desert dunes, the sky and the sea, break the rigorous circular
symmetry of the original room, giving spatial dynamism and providing a
metaphorical representation. The panels form "waves" that change shape based on
the differentiation of the acoustics of the circular space, but also contain a symbolic
meaning that alludes to the efforts of the United Nations to promote and facilitate
peaceful and diplomatic resolutions: stormy waters calm down as they approach the
presidential stage.
The dune (the vaulted ceiling) and the sky (the nations) are conceptually reversed
upside down. The dune has always been seen as a unique natural phenomenon that
is somehow a line which changes and adjusts based on the wind movement creating
a meander of everchanging profiles of the desert terrain that has captured the
fascination of mankind.
Sand and water are the two greatest natural resources, the most precious and the
most dynamic materials, and commodities. Celebrating the dune is celebrating
evolution, history, traditions and culture and at the same time a challenge to guide
the necessary changes to improve our future with inventions, progress of art and
technology, while we realize value to preserve our environment, as our ancestors
did. The dome of the hall is an "inverted" dune with daily sunrise and sunset of the
surrounding and circadian lighting systeThe design is also a clear reference to the cultural values of Qatar:
Calligraphy (traditionally called Islamic calligraphy) is actually within contemporary
visual art culture, without textual meaning and relationship with religion. The end
user, the United Nations, by compulsory secular status, has understood the graphic
design proposal by our team as a contemporary interpretation of a form of artistic
expression that no longer belongs only to the culture of the vast Arab world.
Whose formal richness is also in the matrices and geometric patterns (Musharabya),
in particular with original types from Qatar, and has been reinterpreted in different
components of the project such as the perforated wooden acoustic panels, bronze
grids, fabrics, rugs and custom-made porcelain mosaics.
Finally, the history of the United Nations building was honoured through the
redesign of the chairs, with a tribute to the work of Charlotte Perriand who
collaborated on the project of the Building E in the 60s. Perriand was assistant of Le
Corbusier, the master of the modern movement who was with Oscar Niemeyer in
the team of architects for the United Nations headquarters in New York (1948-
1952).
Within the architectural project, the new chairs and furnishings are a very specific
project of extreme complexity due to the ergonomic requirements, saving space in
accordance with the functional planning of the entire space, in compliance with
safety and evacuation rules and strategies, comfort for long sessions, flexibility and
accessibility for disabled people, even with the possibility of removing any chair in a
few seconds to be replaced by a wheelchair and removing toxic materials from the
original parts, all of which made it necessary to replace the original furniture.
However, thirty original chairs designed by Perriand, restored and reclaimed, now
have a second life for visitors and schools that can participate at United Nations
assemblies from the top of the mezzanine with the reuse in memory of the past of
the Hall.
The identity and roots of the country donor with the tradition of the most important
institution on the planet. Past, present and future are in a continuous and
supranational and timeless flow, as values that can be understood by the new
generations, only if we step back from the logic of self-representation and giving
explicit symbolic meanings, not decorations, that always remind us of the
emergencies we have to face, daring and winning the challenge through true
progress for the peoples and the salvation of the planet, in a common and constant
commitment to immediate and tangible results.m.