a) The Museum, Museum Axis and Archives: horizontality
Spatial devices will help visitors understand the constructive and mystical meaning of the site, i.e. to show the way and to give meaning to the route. The first step is to establish the anchor point: the peripheral walkway to the museum, the museum axis and the physical organization of these spaces are marked by the focal point of the basilica's nave, located above, and the view of the Axis Mundi, in the heart of the archives. From the main hall on level 159, visitors are already drawn in to the museum and are encouraged to take a peripheral corridor featuring artifacts and photos that contextualize the stories in the narrative experience. Bathed in natural light and affording views of the treetops, it introduces the aim of the new interior pilgrimage's museum circuit. The main axis of the basilica's nave, defined by its columns, is reinforced by transparency, from the hall toward the museum area and ultimately into the heart of the archives; a cabinet of curiosities. A display case that gives onto the archives emphasizes the site's symbolic and historic value, and delineates the Axis Mundi with a "column of light": anchoring the upward path.
The museum concept supports this theme of anchoring to the earth, the site's archeological and foundations by covering the floors with materials derived from the earth and platforms in the same natural material as the floor that can display showcases or other artifacts. An aisle of central showcases defines and reinforces the horizontal axis, transforming rigid angles into organic curves. This floor extends toward the peripheral flow and unifies the museum area and the temporary exhibition gallery. Erected in the centre of the museum area, with controlled access, the peripheral walls rise up and define framed views, niches and display cases that visitors can see on their way in and out. The concrete structure of the ceiling is exposed, and there is a suspended technical grid for the museum lighting and access floor for mechanical and electrical services.
b) The Entrance, Procession and Promontory: initiatory passage between the horizontal and the vertical
Ascent by the entrance in the north turret is preferred. The stairs, with more than 190 steps, provide interpretive "moments" where visitors are invited to pause, sit and take in the surrounding landscape. Some of these open onto interior openings that highlight the structural expression of the dome's columns. The arrival at the Procession level (197) is underscored by highlighting the construction system and the vision of architect Dorn Bellot.
From this "moment" at the base of the two domes, a scenography is orchestrated in the existing interior landscape, using minimal components and appropriate lighting. This place is marked by peripheral introversion and transparency toward the empty space of the basilica. Museum interpretation and the site's tectonic poetry are installed below the mezzanine floor. Markings on the floor in the nave and transept facilitate understanding of the basilica's orientation. High natural light emphasizes these effects by modulating the structural framework. The natural light is transformed as it is filtered through the orange stained-glass windows. Visitors are invited to stroll along this linear walk to experience the pilgrims of old, the "miraculés" of Saint Brother André. This interpretive area features a sound environment that evolves as the pilgrims pass by. Testimonials by the "miraculés" left along the walk are enhanced with the sounds of footsteps that accompany visitors and intensify during their walk, symbolizing the presence of each pilgrim. At the Promontory (mezzanine), the space turns toward the exterior, where it is possible to view the surrounding landscape. A new balcony facing the empty space of the cupola, emphasizing the axis of the nave, offers an unobstructed view of the Altar.
c) The Path: verticality
There is a ramp from the staircase and elevator tower in the inter-dome. The ascent: a landscaped path wending its way to the top of the hill _ an experience associated with pilgrimage. The path serves as to condense the interior landscape, like a map or an interpreter, which preserves and enhances the quality of the site: along this route are a series of tableaux vivants, viewpoints on a new, spectacular interior landscape. The vault of the exterior dome, which is left as is, is dappled with visitors' shadows and other subtle and sometimes abstract projected shadows cast by the original forest: an analogy for the relationship between nature and the humans who wander in it. Seating placed here and there allows visitors to pause for a moment and watch the spectacle around them. Alternating and superimposed, the projections draw us into these stories from the past in anticipation of the Opening, which radiates, supported by the highlighting of the architecture.
The ritual is underscored by the use of natural light-the Procession and the Top- as well as with stage lighting combined with architectural lighting. The projection of shadows onto the interior cupola of the inter-dome, from the circular ramp and the central tower, subtly and mystically brings the site to life, with minimal lighting effects for maximum effect, without resorting to expensive and often ineffective multimedia equipment. The spiral ramp reveals the passage along the periphery (tambour and mezzanine) toward the centre of the Axis Mundi. It slows movement and has a calming effect, in addition to heightening our awareness of movement. It magnifies the initiatory passage from the tambour to fully reveal the interdome. The crossing of a horizontal threshold is gradual, with an ascending spiral path. Emotion is generated primarily by the synthesized vision of the inter-dome space and the appeal of the platform of the Opening (oculus), expression of the focal point of the vertical axis at the crossing of the basilica's transept.
d) The Opening : base of the Rising
Treated here like a glass prism, without any obvious framework, the oculus radiates in a gap formed by the peak of the interior dome and the floating platforms of the central tower. Like an observatory, a moment to pause, it opens up generously onto its perimeter. The expression of this space, consisting of smooth, reflective surfaces, dematerializes the tectonic and structural elements, with the intention of lifting the tower. One staircase takes visitors up and another down, toward the elevator and the stairs located on the periphery.
e) The Ascent : floating platform
In contrast to the radiant, horizontally open and shimmering quality of the oculus, the floating platform at the base of the tower is dressed with absorbent surfaces, and equipped with a high guardrail and continuous steel-plate bench. The guardrail's horizontal obstruction frames and directs the gaze upward. The emphasis is on creating an aural environment as emotional support for the lighting, which speaks to us in whispers: the rustling of nature and silence, and after, giving away to the sounds of the organ and hymns from the basilica. The access to the tower provides more ample space on the west side, without interfering with returning visitors. This level and that of the oculus are expanded to accommodate those waiting for the final ascent and form a perfect disk: the purity of the circle.
f) The Rising : to the top
The Rising, like a resonator of the inter-dome, is a place of convergence that marks the focal point of the Axis Mundi. The final part of the ascent passes through the central tower to the observatory. Two staircases separate the ascent and descent. The tower's existing steel structure is covered with fine-mesh fireproof netting, which is stretched on a metal frame and serves as a projection screen. This covering is applied to the two main faces, leaving the landings completely open to the inter-dome. Between the staircases, a continuous opaque acoustic wall limits interface between visitors. A resilient treatment of the concrete steps and landings contributes to creating a muted ambiance. On the way down, two oversized landings allow visitors to pause and to share; they are outfitted with devices for lighting (flameless) votive candles and seating from which they can see the path they have travelled.
g) The Top : observatory
Here, one encounters the source of natural light, penetrating the inter-dome from the observatory. This activator of the ascending promenade heightens the site's mystical character. The portions of floor projecting from the tower are in frosted glass, allowing natural light to filter downward. LED light plates are installed in the circular stairwell of the spiral staircase to enhance the effect of the natural light. The ascent culminates in the octagonal observatory, the highest vantage point, with panoramic views of Montreal. Indicators on the ceiling and below the windows guide visitors as they exit the dome and point them toward unparalleled views of Montreal.
Our main goal is to make the building readable and make movement the defining element in an expressive architecture that is above all adapted to its museum and interpretive functions : Between dispersal and concentration, individuality and commonality, contemplation and sharing, nature and building.
At the top of the inter-dome, visitors ascend to the platform, still inside but in proximity to the outside.
(Competitor's text)
Initial comments
The concept is based on the will to adapt the interventions according to the existing elements, with the aim of respecting the site; an approach of great simplicity. This is translated into a variety of interventions, of a multiple nature. To this is added an understanding of the stakes involved in bringing the building up to standard. The visit circuit proposes different stopping times and experiences in the ascent, and in the descent, by the addition of a footbridge, the modification of the staircase leading to the lantern and that of the 'north' tower; this demonstrates a good perception of the visitor's effort. The museum is encircled by circulations.
The jury appreciates the simple conceptual approach that stems from a great knowledge of the restoration; however, it notes the diversity in the architectural language, which hinders the perception of an identity and a conceptual continuity between the museum and the inter-dome. The treatment of the routes, offering time to stop, is a distinctive quality of the concept. The museum proposes a flexible idea, since the entire surface respects the museum conditions; the exploitation of the reserve is an asset. However, the duplication of the circulations reduces the space available for the exhibitions. The position of the store is questionable if all visitors come from the main hall. Mechanically, the presentation clearly demonstrated a thorough analysis of the constraints.
Comments from May 15
Very good heritage approach, deep and sensitive at the technical level; slight spiritual tinge. Functionally effective proposal, good tour circuit where one plays between seeing and being seen. The diversity of the treatments creates a conceptual blur, a lack of architectural unity; good strategy of interventions but deficiency of the architectural language. The mechanical part is a copy of the feasibility study.
(From jury report)
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