Ameller & Dubois Associates have shared with us their proposal for a Russian Orthodox Church in Paris. For additional images of their project and a description of their concepts please follow after the break.
Architecture canonical Orthodox faithful to the principles but without pastiche. This project closely articulates three elements: a base for the local cultural and open to the city and the church as a contemporary monument rising on this base, and the central garden as outdoor space for contemplation and back outside. The rehabilitation of the building located rue de l’Université and the development of the Palais de l’Alma row finishing touches to the listing of the entire city.
While the proposed composition incorporates and clarifies the guidelines of the site, the church offers the opportunity to question the current interpretation of the aesthetic and symbolic principles of the Orthodox church architecture in the context of Paris, near proximity to a strong and historic fabric of iconic buildings (Eiffel Tower, Trocadero, Pont Alexandre III).
Redrawn according to the aesthetic and constructive knowledge of the twenty-five graceful bulbous cupolas symbolize the grace of Jesus Christ and the four evangelists. Their delicacy almost immaterial refers to the immateriality of the divine presence. Their bold structure (for off-center rings, alternating gold and crystal) is a fervent hymn to the courage of the apostles and martyrs. The visual purity of this group of domes, almost vibrating, vibrating evokes the purity of heavenly light.
In compliance with the principle of symbolization Orthodox earth by a building forms orthogonal, the church adopts a cruciform plan whose evocation is canonical without enigma. This cruciform plan is also that of a critical venue for culture and the Russian Orthodox spirituality. The access steps reinforce the solemnity of the climb to the church. By varying heights arranged with precision, its morphology is faithfully echo the horizontal lines of the Palais de l’Alma, and fully respects the local plan for the City of Paris.
Detached stone walls, a titanium cladding enshrines the entire building as a stylish jumper. Iterative geometric pattern of a cross with equal arms flourishes as it rises. Opacity fades from earth to heaven. The silvery tones of titanium exalt solar gold and brass rolled. This green leaves radiate the light within the site and guess the artistic content of the church, while maintaining its serenity.
Detached from the main body of the church, a belfry with three bells still lies at the foot of the stairs. The church was elevated by a pedestal marking the passage of the city to a holy place. This position adds high visibility and solemn processions of the cross, which will take place in the upward movement of the base.
Mainly devoted to cultural activities, this element in architectural treatment sober and clear and is located on Garden Street. Not only does it in any firm views on the church, but he presents it to the city. It has a high input (square) and a low input (wharf). His plan opens to the surrounding garden, the river and on the Quai Branly. It has a beautiful conference room in a central position and a reception room facing the prestigious Palais de l’Alma.
Creating a breakthrough between the center of the plot and the Quai Branly, the garden also opens the avenue Rapp, there is the main entrance of the site. It is planted with species endemic to Russia (birch, oak) that extend their branches high in the nips of the building and participate Phillips and its harmonious integration into the city.
The garden surrounds the foundation of the church and extends west reception rooms of the cultural center. It saves a beautiful space back that reveals the spiritual dimension of the place and power of form.