eglise-notre-dame-du-lac / France
| Progettista | Emilie Lovato-brochet | |
| Location | Avenue André Reinson 33300 Bordeaux | |
| Nazione | France | |
| Design Team |
Agence Émilie Lovato ‑Brochet, mandataire |
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| Anno | 2018 | |
| Crediti Fotografici |
toutes les photos sont de Jean-François Tremege , photographe à Bordeaux. |
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Foto esterni
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Descrizione del progetto
The church, a symbolic space.
Everything comes from the choir: the inner enveloping shape created from wooden walls, also acting as a sound trap, not parallel to the outer walls, supplemented by the shape of a ceiling with broken angles fulfils a double objective: the symbolism of the meeting of the Choir with the assembly around the altar and, the acoustic treatment of the place. This inner form is inscribed in a square, drawn by the walls, of matricated concrete, protectors of the sanctuary; in turn, they themselves are protected by an outer peristile delimited by the grid, indicating “the way”. The position of the bell tower was chosen, as a hanging point to the neighborhood, at an angle of the ground that allows good visibility of the church. For the bell tower and its wall pierced with the cross are signs of recognition. the drawing of the chorus in plan responds to an interior view of the liturgical furniture that designates it, altar, ambon, seat, cross, tabernacle. The natural light, and the lighting are always indirect, reflecting either on the wall of the choir background or on the ceiling. She’s here as a presence. The symbol of the vital, dominant element is water. The rainwater is channelled by the folded drawing of the zinc cover, which brings it back to the lowest point of the southern façade in a sculpture-gurgle, to end in a pool in the middle of the small garden placed, opposite, the baptistery inside, through the lower part of the glass wall. The glass windows are also on the theme of the 4 elements. They are from 1962, designed by the artist Raymond Mirande. The materials were chosen raw, light shade, tone on tone, to create a peaceful atmosphere. The wood, frene, inside, oak on the outside; concrete, “Thermédia” from Lafarge for its thermal qualities and for having inside and outside raw concrete. A matrix has been added to the benches to give it a vertical orientation and make it a bit alive ( matrice REKLI ). The floor is made of Luget stone of light shade charente. For the liturgical furniture, ambon, seat, baptistery and tabernacle, the wood (fren) supports the concrete ( “befup”), associated with the idea that the weak can support the strong. The altar is a twisted cube of double rotation. It was about twisting a perfect form (the cube) in the image of the man created by God in the Christian liturgy.The church, a symbolic space. Everything comes from the choir: the inner enveloping shape created from wooden walls, also acting as a sound trap, not parallel to the outer walls, supplemented by the shape of a ceiling with broken angles fulfils a double objective: the symbolism of the meeting of the Choir with the assembly around the altar and, the acoustic treatment of the place. This inner form is inscribed in a square, drawn by the walls, of matricated concrete, protectors of the sanctuary; in turn, they themselves are protected by an outer peristile delimited by the grid, indicating “the way”. The position of the bell tower was chosen, as a hanging point to the neighborhood, at an angle of the ground that allows good visibility of the church. For the bell tower and its wall pierced with the cross are signs of recognition. the drawing of the chorus in plan responds to an interior view of the liturgical furniture that designates it, altar, ambon, seat, cross, tabernacle. The natural light, and the lighting are always indirect, reflecting either on the wall of the choir background or on the ceiling. She’s here as a presence. The symbol of the vital, dominant element is water. The rainwater is channelled by the folded drawing of the zinc cover, which brings it back to the lowest point of the southern façade in a sculpture-gurgle, to end in a pool in the middle of the small garden placed, opposite, the baptistery inside, through the lower part of the glass wall. The glass windows are also on the theme of the 4 elements. They are from 1962, designed by the artist Raymond Mirande. The materials were chosen raw, light shade, tone on tone, to create a peaceful atmosphere. The wood, frene, inside, oak on the outside; concrete, “Thermédia” from Lafarge for its thermal qualities and for having inside and outside raw concrete. A matrix has been added to the benches to give it a vertical orientation and make it a bit alive ( matrice REKLI ). The floor is made of Luget stone of light shade charente. For the liturgical furniture, ambon, seat, baptistery and tabernacle, the wood (fren) supports the concrete ( “befup”), associated with the idea that the weak can support the strong. The altar is a twisted cube of double rotation. It was about twisting a perfect form (the cube) in the image of the man created by God in the Christian liturgy.
Relazione illustrativa del progetto
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Foto interni
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