A SPIRITUAL JOURNEY MARKED BY DIFFERENT INTENSITIES OF LIGHT
The architectural concept sets the stage for a spiritual journey that begins at Queen Mary Road and ends at the top of the dome. Light effects that modulate the perception of time and space guide the visitor through the contemplative walk.
Originating at the exterior sacred axis, the invitation to walk the path is presented in the form of a light marker composed of an imposing brass base embedded in the ground. This marker interacts directly with the visitor as it reflects light both day and night. Once inside the Oratory, 3 other light markers accompany the visitor's ascent to the lantern: the first, at the Museum reception desk; the second, at the oculus; the third, at the observatory.
The guiding thread of the journey, light accompanies the pilgrim from the first to the last marker. Present from the entrance to the Museum, then on arrival at the drum level, it is naturally highlighted by the stained glass windows. It then traces the path of the ascent, either by the elevator or by the staircase of the dome. The ramp also carries floor lighting that sweeps the surface while guiding upward. Built-in sensors allow the lighting to be modulated according to movement. This creates an engaging interactivity and symbolizes the meeting, considering the activation of a brighter light with the concentration of more visitors in one place. Upon reaching the oculus, the third marker is located there and invites one to enter the illuminated staircase to the lantern.
Everything, in the punctuation of the architectural and lighting elements, concurs in creating a sensory experience that predisposes the visitor to pilgrimage. Indeed, the team favored the conception of a very sober space, as a setting for the spiritual journey, thus distancing itself from the more common experience of the observation tower. Thus, the visitor has a purified reading of his environment, accentuating the effect of appeasement and meditation. By their spatial qualities, the bare and raw spaces create an intimate relationship with the pilgrim. The monumentality contributes to enhance the spiritual and sacred character of the path, and immerses the visitor in a state of emotional condition conducive to reflection.
Upon arrival at level 159, the visitor is naturally led to an obligatory passage combining the reception, the ticket office and the checkroom. The new space is completely open and receives abundant natural light. Circulation is fluid around the perimeter of the museum, which exhibits works from the permanent collection. The centerpiece, exhibiting the pieces requiring a controlled environment, occupies the center of the space. In coherence with the markers of the course, its treatment is of bronze glass from which a glorifying light emerges. Inside, one circulates as in a place of discovery and calm.
Upon exiting the museum, the visitor continues on his way and takes the elevator or the staircase leading him to the drum level. The transition from the Museum to the spiritual experience begins with this ascent. The elevator is transformed to create a muffled airlock, with controlled light and sound. The objective is to prepare the visitor for a new stage of the journey.
Upon arrival at the Drum level, the space that is revealed is bathed in natural light and engages the dialogue with the exterior and interior of the Basilica. At the same time, this space is closed in, creating a protected environment that does not immediately reveal the space between the domes. A tulle stretched over the structure forming the sloping roof of the mezzanine allows light to filter through slightly, contributing to the creation of two different but interrelated places. The white lighting creates a pure, theatrical, raw place, exposing the concrete structure and highlighting the stained glass windows.
Walking around the dome becomes an additional step before engaging the climb.
The journey then continues by discovering the inter-dome, a new and spectacular place, highlighted by a treatment that emphasizes the uniformity of materials and colors, thus allowing to highlight the path traced by the light towards the summit. White is the predominant color, with the exception of the exterior dome which remains in its raw state. The vertical ascents, from the drum to the oculus, then from the oculus to the lantern, are made of reflective material, disappearing into the space and revealing the multiple facets of the structure. The dome and its surrounding ramp symbolize the path of reflection, a source of prayer and renewal. This gypsum railing of a brilliant whiteness is hardly distinguishable from the dome, whose pearly white treatment reflects the richness of its volume.
One last step to take to get to the lantern, the existing scissor stairs are enclosed in a reflective material, a continuous vertical opening in each of the walls allows a glimpse of the inter-dome from our ascent. This same opening is bright and attractive when viewed from afar and from outside the tower. At the top of this staircase, before the entrance to the lantern, an enlarged platform welcomes the visitor for a moment of respite and silence, with a unique view of the inter-dome. A final staircase leads the visitor to the lantern, turning around a beam of light, the visitor arrives above the dome of Saint Joseph's Oratory, the panorama of Montreal is presented to him.
THE NARRATIVE - THE JOURNEY WITHIN
This quest for light supports the crossing supported by visual and sound effects of low intensity. A 360-degree projection at a height of 20 meters creates a narrative that can take its meaning in the liturgy or in the quest for recollection and the journey into oneself in a more general way. The visual equipment is totally integrated and invisible to the visitor, leaving room for the story.
3 MOMENTS
- THE OCULUS (The desert - The journey, the awareness of the dome's magnitude) At this point, a medium intensity of light, warm, golden, sunny tones. A white smoke at the level of the oculus accentuates the beam of light coming from the lantern and crossing the oculus towards the Basilica.
- THE OVERVIEW (The sky - The accumulation of 10,000 candles, prayers) A strong luminous intensity, with a white tint. Visual effects showing 10,000 candles, the accumulation of all the prayers. The dome is entirely lit, from bottom to top, and leads the pilgrim to feel that he is an integral part of the space.
- THE RAMP (Playing with the water - The path of reflection, silence) An atmosphere allowing introspection, a low light intensity, shades of purple, in reference to the sacred colors. The bands of light in the railing react to the passage of people, creating a stronger light intensity where the character is located.
(Competitor's text)
(Unofficial automated translation)
Initial comments
The concept is based on the notion of light, a path of light that calls out to visitors from the street entrance and leads them to the lantern. The space between the dome is treated in a play of light and reflection, allowing the ramp to appear and the lantern staircase to disappear; the concept relies on wall projections that unfold on the dome in horizontal sequences. This scenario provides different experiences, surprises, in the visit circuit. The museum level proposes a good museum approach, an adequate and supportive organization of the areas and reserves, which demonstrates a good knowledge of this type of development.
The jury regrets that the presentation neglected to highlight the good ideas of this proposal; the museum, the visual closure of the drum, the succession of different atmospheres. The jury retained the futuristic aspect of the treatment and the volumetry, judged out of context and was not convinced by the light column. The vision seems to have been lost in a counter-productive treatment. The jury did not recognize the conceptual text submitted in stage 1 of the competition. The mechanical proposal relying on multiple small systems is worrisome in terms of the integration challenge it poses.
Comments from May 15
Concept based on a thread that is not very convincing from a heritage point of view, leading to a proposal that is unbalanced between the futuristic treatment of the inter-dome and the sensitive and modest treatment of the museum. The whole concept of the inter-dome is based on a control of the light out of mandate. The strength of the proposal lies in the museum level, which is efficient and creates a clear and controllable circulation. The type of museum layout does not match the Oratory's collections.
(From jury report)
(Unofficial automated translation)
32 scanned / 31 viewable
- Presentation Panel
- Presentation Panel
- Presentation Panel
- Perspective
- Perspective
- Perspective
- Perspective
- Perspective
- Plan
- Plan
- Plan
- Plan
- Plan
- Plan
- Plan
- Plan
- Plan
- Plan
- Plan
- Plan
- Plan
- Plan
- Plan
- Section
- Section
- Section
- Axonometric Drawing
- Construction detail
- Construction detail
- Diagram
- Diagram
