The strategy adopted for the project goes beyond format evocation to reawaken the actual memory of the site and its environs. Yet, evoking such a memory of place - and particularly of a building - is indeed a delicate task. Working with immaterial and invisible elements both specific to the site and from a particular moment in its history, this project creates a new place, at once dynamic and full of the symbolic presence of a building that once was. In projecting the shadows from the last day of the building's life and by tracing its form with a contemporary spirit and methods, the Premier Palais can once again come to life.
The Planning of the Site
The proposed restructuring of l'Ilot des Palais opens up the centre of the square in order to hightight the cour d'honneur and simultaneously create a processional path between rues Saint-Nicolas and Vallière. The new cour d'honneur takes the form of a raised plane with respect to ifs original positionin order fo become level with and link to rue Saint-Vallier and the entrances to Pavillon Jean-Talon and the Second Palais. The formal central axis is completeiy open, free of encumbrances of form or view, beginning at the large exterior stair from Côte de la Potasse. The site of the soon to be moved firehouse, on rue Saint-Nicolas, becomes a small exterior amphitheatre for performances. At the northeast of the square will be a park with trees and barley plants, recalling the historic brewing industry of the site. At the visitor drop-off on the side of rue Vallière, a ramp ascends from a zone of earth to the plinth of the cour d'honneur, where visitors can access Pavillon Jean-Talon and the Second Palais.
Pavillon Jean-Talon
The parti of the future Museum of History and Archaeology consists of a suspended glass object--at times transiucent, and at times opaque-floating above Ihe ruins of the Premier Palais de l'intendant. Ifs format definition is guided by two principies--the shadows which the old Palais wouid have cast on the day of the Ore that destroyed it and the internai void created by the removal of a volume corresponding to the 'ghost' of the Premier Palais.
II was on January 7th, 1713 that the first Palais de l'intendant was devastated by fire. Still, given that there were undoubtedly many other phenomena chat occurred on the first day of the building's life - even in its last moments - we were especially interested to discover the 'trace' of shadows that a building so unusual and unique would have cast onto its site. Using 3-D digital modeling techniques, a sun study was done for January 7 between 10 AM and 3 PM, the brief window of time that the building is exposed to the sunlight given its proximity to the cliff. Due to the low position of the sun in Quebec's winter sky, the shadows cast by the Palais stretched to the northeast corner of the square. Moreover, the shadows created by the spire and the numerous dormers of the old Palais were particularly dramatic, giving one the impression that he or she was witnessing the dematerialization of the building. This study of shadows led to the projecting forms of the upper portion of the new building, whose large slices allow for views outward and light into the museum's interior rest area. While the new bullding's shadows suggest the form of the old building, the shadows of the old Palais are also refleded on the ground plane by a change in material on the cour d'honneur, in the park, and at the outdoor amphitheatre.
At the same time, the volume of the Premier Palais has been subtracted from the interior of the hovering white object, whose glass is silkscreened with a texture recalling snow, an important cultural symbol of the region. The space resulting from this 'operation,' when superimposed with the ruins, recreates the interior or the first Palais, as if it were a ghost trapped in the mass of snow of the new building. This 'trace' volume of the old Palais is in turn materialized by a shell of glass tinted the colour of oxidized steel. In this space, a system of ramps and walkways makes up the main promenade through the museum, and from these, the historical vestiges below can be seen from various vantage points. Beginning on this specific path of walkways, the visitor embarks upon a scenographic journey through the museum, which descends to the multimedia room. After seeing a muli-sensorial presentation, visitors will proceed to the permanent exhibition level and the ruins. From there, they will ascend to the temporary exhibition space, after which they will arrive at the rest area. Each visitor can likewise go dlrectly to the higher level with the elevator accessible from the main hall.
The New Second Palais
The City's desire to rebuild a Second Palais de l'intendant similar to what existed before seems to us to be a sensible decision in that it creates an opportunity for the juxtaposition between the contemporary architecture of the new Pavillon Jean-Talon and the older architecture of the Second Palais, thus creating a contrast of epocha. However, we believe that this 'reconstitution' must retain indications that it is also a building of the twenty-first century. In this regard, an exterior materiality close to that of the old building - yet with a degree of abstraction - is desirable. At the same lime, on the interior, contemporary volumes will mark the present. Some elements of the building's circulation would actually perforate the masonry façade, thus re-establishing a dialogue with the Pavillon Jean Talon by using a similar formal and material language. Below, at the level of the vaults of the Second Palais, a link is established between the two permanent exhibition halls to ensure a continuous path between the museums functions.
It is in the spirit that this project makes its mark on a very special and historical place in Quebec, ensuring that character and sense of place will last for future generations.
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