The preponderance of landscape in the history of the region has proven to be a conceptual generator towards a rooted and open architecture. The project appropriates the landscape by fixing itself to it and establishing links with the land and the sea.
Form accessibility and visibility
The positioning of the rectangular and angular form on the site testifies to a desire to indicate access to the building and to take charge of the entire project. The landscape is structured by a large wooden shell and a long ribbon of vegetation. The shell itself becomes a sun screen while indicating the location of the cultural hall. It is a visible signal from the road, the city and the sea. The vegetal ribbon becomes for its part a prelude to the reception.
Interior/exterior relations
Both the siting and the organization of the public spaces generate, within the "new" museum, a richness of spatial sequences that open onto the landscape, its history and its actuality. The strategic position of the main entrance and the cultural hall has the effect of re-establishing the museum's links with its main urban, regional and tourist clients. It is by walking along the stone wall (see south elevation) that one enters the double-height cultural hall, which is open to both the York basin and the city. Behind the reception, the window of the documentation center and the large staircase that leads to the first floor, we discover between the exhibition rooms and the landscape, a contrast of light that updates the architectural concept: the presence of a place that is both rooted and open.
Functional clarity, flexibility and materiality
The new cultural hall, like its linear and vertical extension along the existing museum, is centrally located in the functional hierarchy of the building. While facilitating the sense of orientation, it enhances the old museum.
The success of a building, such as the regional museum, is also due to a materiality to which the community refers: the project makes good use of wood, stone and copper, three materials from the Gaspé region. The choice of materials, the layout of the building and the form of the extension take into account the energy and temperature control aspects inside the museum: the sunshades protect the interior from undesirable energy gains and the windows allow for natural ventilation and lighting.
Integrating the Arts
Three works of art contribute to the enhancement of the landscape: a garden of crosses, witness to the discovery of the New World, extends the ribbon of greenery to the sea. A sculpture garden located on the roof of the existing building brings art and landscape together. A final link is provided by lighting that extends from the cathedral through the promenade, the future boathouses, the agora and the cultural hall of the museum itself.
(From specialized magazine)
(Unofficial automated translation)
The jury appreciated the appropriateness of the architectural design and the quality of the site, the rationality of the planning of the Museum's components, the relevance of the construction and the realism of the project in terms of its implementation, the sensitivity of the approach and the consideration of the points of view of the various stakeholders (users, staff, public), the users of the park and those of the Museum.
Planning.
The great clarity of the spatial organization and the rigor of the planning, the relevance of the flexibility and functional versatility offered by its arrangements, the simplicity of the volumetric response of the whole project.
Integration and landscape
The visibility of the Museum through its size and its integration through the use of traditional materials, the urban presence offered by the positioning of the Cultural Hall and the link it maintains with the Bay of Gaspé and the city, the desired links between the exterior and interior spaces and their complementarity. Finally, the links with the landscape and the city that the project suggests, beyond the limits of the building.
(From specialized magazine)
(Unofficial automated translation)
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