Detail of the project ed. 2024

eglise-notre-dame-du-lac / France

Design­er	Emi­lie Lovato-brochet
Loca­tion	Avenue André Rein­son 33300 Bordeaux
Nation	France
Design Team	Agence Émi­lie Lova­to ‑Bro­chet, mandataire Agence d’ar­chi­tec­ture B.L.P, asso­ciés ( Brochet-Lajus-Pueyo)
Year	2018
Pho­to credits	toutes les pho­tos sont de Jean-François Tremege , pho­tographe à Bordeaux.

Pho­to external

Project descrip­tion

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.

Explana­to­ry report of the project
Down­load report

Pho­to internal

Tech­ni­cal drawings

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