CONCEPT
To ensure a very precise division between the public domain and the monastic enclosure. Provide a wide variety of outdoor meditation areas (to allow for isolation from the natural elements) and indoor meditation areas (to isolate from the public within the vessel). Respect the traditional uses around the cloister. To open the vessel towards the sky and to favour the diffusion of sound by edges and by inclined planes. Introduce a straight chevet from the Cistercian tradition. Introduce landscaped elements into the monastery to promote indoor-outdoor relationships through generous terraces, interior gardens and a patio. Eliminate all visual and audio communication between the guest and community spaces. Rigor in the materiality, design and treatment of volumes. Develop, from the above elements, sustainable development construction processes.
SUMMARY DESCRIPTION OF MATERIALS
If we have chosen stone as a cladding, it is because it is essential to reflect the light and to make the song resonate, in addition to having a strong symbolic value. We therefore prefer white limestone. Wooden, ceramic or stone floor in the significant places. Hardwood in the lower section of the vessel to promote acoustics. Steel gantries and structure to speed up assembly. High recycled content materials.
ENVIRONMENTAL DESIGN SYSTEMS AND STRATEGIES
The sustainability approach, which embraces the major 21st century issues of water, air, land and light, is deeply rooted in the architectural concept and is expressed in a multitude of details.
(From competitor's text)
(Unofficial automated translation)
The jury noted that the team respected the architectural program and demonstrated a strong focus on environmental design. Although the landing has a rather urban feel, the jury appreciated the honesty of the gesture. The project has a good delineation of guest and monk spaces, as well as a functional planning of the components that seems to be well ventilated. The jury underlined the relevance of the terraces and the good definition of the circulations.
However, the project gives the impression that it is less in keeping with nature; it has a rather urban feel. The atmosphere of the project lacks warmth. It was also felt that the project lacks openings to the outdoors and natural light. There was concern that the materiality of the project would change significantly between the competition phase and construction.
The jury lamented that the poetry of the hand gesture, which was apparent in the first phase of the competition, was faded in the second phase. The jury considered the scale of the church to be somewhat disproportionate to the rest of the building.
The jury felt that the design, particularly in relation to the church and cloister, was poorly served by an austere and cold material expression due to the use of grey stone.
(From jury report)
(Unofficial automated translation)
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