Wooden bridge in Paris

Building design

The first wooden bridge in Paris to cross a highway. Photo: Michel Denancé

With the wooden bridge over the A1 highway, the Société de livraison des ouvrages olympiques (SOLIDEO) has created the gateway to the 2024 Olympic and Paralympic Games. More precisely – the connection between the media village in Dugny and the sports and school park in Le Bourget. The planning and construction was carried out by the engineering firm Miebach from Lohmar and AIA Life Designers in collaboration with Explorations Architecture. The bridge remains as a permanent crossing and improves the connection to the Parc Georges-Valbon, the third largest green space in Île-de-France.

The 100-meter-long bridge is a special feature in French bridge construction. Wood is rarely used there for large engineering structures. The engineering firm Miebach from Lohmar contributed its expertise to the project and worked together with the French engineering firm AIA Life Designers. Together with Explorations Architecture, they won the competition for the bridge construction in 2020.

The structure consists of a three-span beam bridge with a stepped supporting structure made of block-bonded glulam. The deck was made of precast concrete elements, the railing of architecturally shaped round steel, the handrail is made of steel. A total of around 330 cubic meters of glulam made from French Douglas fir was used.

Despite widespread preconceptions about the durability of wooden bridges, load tests have shown the high resistance of the structure. The bridge was designed to withstand a two-hour fire on the highway below. While steel loses its load-bearing capacity when exposed to heat, wood forms a protective carbonization layer that preserves the inner structure. The architectural design also ensures a high level of structural timber protection. A 30 centimeter protruding concrete edge and beam edges inclined at 30 degrees protect the wood from direct rain.

The design of the bridge is both minimalist and sculptural. The shape is inspired by the minimal art of the artist Carl Andre. Two inclined pillars lend the structure dynamism and make it stand out from the wooded surroundings. The lines in the ground plan and elevation were designed with particular care to create harmonious proportions. Another model for the construction was a wooden bridge in Neckartenzlingen, Swabia, which was also realized by IB Miebach. There, too, the appearance is characterized by an inclined support.

In line with the sustainability goals of the Olympic Games, the bridge was designed with a particular focus on the carbon footprint. The timber construction significantly reduces the carbon footprint compared to conventional materials. The Douglas fir used comes from sustainably managed forests in the Morvan region of France.

Concrete was only used for the foundations, pillars and abutments. A light-coloured road surface minimizes heating from solar radiation, while the intensive planting in the surrounding area reduces the phenomenon of the urban heat island. Excavated material from other Parisian construction projects was also used for the backfill. The total CO₂ footprint of the project is 1100 tons of CO₂ equivalent.

The wooden bridge in Paris is an example of a construction method that takes aesthetic, functional and ecological requirements into account. It connects city districts and improves access to green spaces. The structure demonstrates the possible uses of wood in bridge construction and serves as a reference for sustainable constructions in urban areas.

Read also: a bridge from the 3D printer by Zaha Hadid Architects.

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Elisabeth – a figure on the threshold of two wills

Building design
The depiction in which Mary meets Elizabeth has been depicted particularly frequently in art. Photo: Domenico Ghirlandaio, Public domain, via: Wikimedia Commons

The depiction in which Mary meets Elizabeth has been depicted particularly frequently in art.
Photo: Domenico Ghirlandaio, Public domain, via: Wikimedia Commons

Elizabeth is one of the few female figures in the New Testament whose theological significance extends far beyond her brief presence in the text. As the mother of John the Baptist, she stands at the intersection of Old Testament expectation and New Testament revelation – a position that has fascinated both the Bible and the visual arts. Hardly any other biblical figure combines prophetic witness, maternal authority and spiritual insight so impressively in a single figure.

Within the story of Jesus’ birth in the Gospel of Luke, Elizabeth plays a structurally indispensable role. Her story opens the first curtain of the drama of salvation: long childless and living in a priestly environment, she becomes the mother of John the Baptist through divine intervention. Luke’s Gospel thus deliberately draws on Old Testament narrative patterns – think of Sarah, Hannah or Ruth – in which barrenness is understood as a trial and overcoming it as a sign of election. In this literary tradition, she is not a marginal figure, but a theologically calculated intervention: the miraculous pregnancy of the old woman prepares the even more miraculous pregnancy of the young Mary.

The first chapter of Luke’s Gospel portrays Elizabeth as righteous before God, which is particularly important in the ancient context, as childlessness was considered a social and religious stigma. When the angel Gabriel announces the impending birth to her husband Zacharias, this marks a turning point that characterizes the entire narrative structure of the Gospel. The change from barrenness to fertility is no mere miracle – it is a signal of salvation history. The figure reaches its theological climax at the moment of the so-called Visitation, when Mary visits her relatives. At the sound of the greeting, the child leaps in Elizabeth’s womb – a prenatal recognition of Jesus, which is interpreted in the exegetical tradition as the first prophetic act of John the Baptist. Elizabeth’s words spoken in response – “Blessed are you among women, and blessed is the fruit of your womb” – were incorporated into the later Ave Maria, making it one of the most quoted phrases in the Christian liturgy. Here she does not act as a passive observer, but as a prophetic witness who names the identity of Jesus’ salvation even before his birth and thus linguistically crosses the boundary between the two testaments.

No pictorial motif in which Elizabeth appears has had such a lasting impact on art history as the Visitatio – the Visitation. Since the early Middle Ages, it has been part of the established canon of Marian picture cycles, and the motif unfolds its full iconographic complexity in the High Renaissance at the latest. Giotto di Bondone depicts the encounter between the two women in the Cappella degli Scrovegni in Padua (around 1305) with physical immediacy: the intimate embrace becomes a visible form of divine grace that takes place in human contact. Giotto’s composition thus sets a standard for all subsequent depictions.
Domenico Ghirlandaio adopts the motif in his fresco of the “Visitazione” (1491) in Santa Maria Novella in Florence and anchors it in the spirit of Renaissance humanism: the two women meet in a balanced, almost symmetrical composition against a moderate architectural backdrop. The age difference – Maria is youthful, Elisabeth more mature and experienced – becomes a formal device that emphasizes the miraculous nature of both pregnancies. In northern Europe, Albrecht Dürer takes up the theme in his woodcut series The Life of Mary (around 1502-1510): The scene is more narratively condensed, embedded in a richly detailed everyday setting that transfers the sacred into the familiar.

In addition to the Visitation, Elizabeth can also be found in the depiction of the birth of John the Baptist. In late medieval panel paintings, she often lies in childbed surrounded by servants while the newborn is being bathed – an iconographic parallel to the birth of Mary, which embeds her role as mother in family and social contexts. A particularly impressive example is Rogier van der Weyden’s altarpiece with the “Birth of the Baptist” (c. 1455, Gemäldegalerie Berlin), in which the reclining Elizabeth forms the center of a carefully arranged group of women with quiet dignity.
In the Baroque period, the emotional energy of the visitation scene intensifies considerably. In his “Visitation” (c. 1612), Peter Paul Rubens lends it a dynamic physicality: Elizabeth confronts Mary with sweeping gestures, while light and color heighten the spiritual excitement of the moment to a pathetic level. Here she is not a silent companion figure, but a woman whose devout joy is directly expressed in her movement and posture.
Characteristic of her portrayal across all epochs is the pictorial emphasis on age. Greyish hair, finely drawn facial features and a measured posture allude to her advanced years and emphasize the wonderfulness of her motherhood. At the same time, these features lend the figure a special dignity: she stands for constancy and fidelity in faith, for a depth of experience that complements the youthful Mary.
The enduring presence of the figure in painting, sculpture and stained glass – even in contemporary interpretations – demonstrates how productive the few verses of Luke’s Gospel have remained as an artistic template. In Elizabeth, female experience of faith, prophetic clarity and maternal authority are condensed into a figure that asserts its own unmistakable voice between restraint and theological effectiveness.

Drought as an extreme weather event

Building design
Drought: Desolate landscapes and parched soils illustrate the increasing challenges posed by climate change and water scarcity. Photo: Brent Olson via Pixabay

Drought: Desolate landscapes and parched soils illustrate the increasing challenges posed by climate change and water scarcity. Photo: Brent Olson via Pixabay

Drought is no longer a rare phenomenon in Germany, but an increasingly significant environmental problem that has far-reaching consequences for nature, society and the economy. The persistent dry periods pose considerable challenges for water supply, agriculture and ecosystems. In view of global climate change, the issue of drought is becoming increasingly urgent and requires a comprehensive understanding of the causes, effects and adaptation strategies.

Drought is caused by the interaction of various natural and anthropogenic factors:

  • Lack of precipitation: a prolonged period of significantly below-average precipitation leads to a deficit of soil moisture and water in rivers and lakes.

  • High temperatures: Rising temperatures increase the evaporation rate of water from soils, plants and water bodies, which exacerbates drought.

  • Changes in land use: Intensive agriculture, drainage of wetlands and deforestation reduce the ability of the landscape to store and balance water.

  • Climate change: Man-made climate change influences all of the above factors, changing precipitation patterns and increasing the frequency and intensity of droughts.

These factors often interact and reinforce each other, making drought in Germany an increasingly complex and multi-layered problem.

The consequences of drought are manifold and affect almost all areas of life:

  • Agriculture: lack of water leads to crop failures, reduced plant growth and increased stress for crops. This jeopardizes food security and the economic existence of many farms.

  • Water resources: Falling groundwater levels and dried-up rivers affect the supply of drinking water, industry and energy production. Water scarcity can lead to conflicts of use between different sectors.

  • Ecosystems: Wetlands, peatlands and forests suffer from a lack of water, leading to a loss of biodiversity and habitat degradation.

  • Society: Water scarcity can exacerbate social tensions, reduce quality of life and also lead to economic damage in the long term.

The economic costs of drought and associated extreme weather events are considerable and highlight the need for sustainable management of water resources.

In order to effectively meet the challenges of drought, a variety of measures are required at different levels:

  • Sustainable agriculture: by adapting cultivation methods – such as mulch sowing, crop rotation and the use of drought-resistant varieties – soil moisture can be better conserved and the resilience of crops increased.

  • Efficient water management: The promotion of rainwater harvesting, the renaturation of wetlands and the unsealing of land help to strengthen natural water cycles and replenish groundwater reserves.

  • Forest conversion: Conversion to climate-resistant mixed forests improves the water storage capacity of the landscape and reduces the risk of forest fires.

  • Political measures: The introduction of water user charges, the promotion of adaptation projects and continuous monitoring of water resources are important instruments to promote the economical use of water.

  • Innovative approaches: Concepts such as agri-photovoltaics, which combine agricultural use with solar energy production, offer forward-looking opportunities to combine agriculture and climate protection.

Drought is a complex phenomenon with far-reaching effects on the environment, the economy and society. The increasing frequency and intensity of dry periods calls for a rethink in agriculture, water management and spatial planning. Targeted prevention and adaptation strategies can improve resilience to drought and limit the negative consequences. At the same time, addressing the issue opens up opportunities for innovation and sustainable economic activity.

Responsible use of water and soil is essential to ensure a livable environment for future generations.

If you are looking for further information on regional adaptation measures or support programs, there are numerous advisory services available from environmental authorities and specialist institutions.

Find out more about Beat the Heat here.