vue du projet final
vue du projet final

© architecte Michel Marin

Architectural project


The devel­op­ment of the Capucins church con­cerned the entire building: the chapel itself, but also the 19th-cen­tury exten­sions and ancil­lary premises. Initially, during the first phase, it was a ques­tion of inter­vening only on the ground floor, to accom­mo­date the entrance, exhi­bi­tion rooms, space ded­i­cated to the public (con­fer­ences, meet­ings, work­shops, etc.), reser­va­tions, as well as an office with san­i­tary facil­i­ties. During the next two phases, the cre­ation of other offices and rooms open to the public - mainly upstairs -, the layout of an artist’s res­i­dence and his studio fol­lowed.


In order to clean the base of the walls as much as pos­sible, the existing con­crete paving was demol­ished in order to install a ven­ti­lated floor. Which breathes on the periphery of the nave, the choir, and the recep­tion. The old wooden floor and all the posts have been removed. The infill walls between the nave and the choir, between the nave and the side chapel, were demol­ished for rea­sons of scale, spa­tial flu­idity, and reading of the existing. Various open­ings were made in the chapel, in line with the niches of the old facade wall, as well as in the side chapel. Work on the struc­ture included the rest of the devel­op­ment, with the aim of lim­iting a pos­te­riori heavy inter­ven­tions on the struc­tures car­ried out during the first phase. All the ver­tical walls of the chapel were stripped and re-coated with hydraulic lime mortar, with poz­zolanic addi­tives in the lower part. The vaults, arches, cap­i­tals, and pilasters were cleaned and white­washed with lime, with the recovery of very degraded areas. The painted dec­o­ra­tions were kept in place, also brushed. On the facades, all the bays have been pre­served, except in the north where span­drels have been placed at the entrance and access to the reserves. To the south of the choir, a bay of more recent con­struc­tion than the main body (XIXth?) as close in order to release the orig­inal high bay. The cur­rent parts of the facades have been main­tained as is, as has the roof on which occa­sional water­proofing is car­ried out. The down­spouts have improved so as to avoid runoff degrading the plaster.


In order to har­mo­nize the treat­ments of the entire Delaroche space, the fore­court and the ramp were made of deac­ti­vated con­crete. The out­door space bringing together the two facil­i­ties (dance hall and art center) is not part of this pro­ject but has been the sub­ject of a joint reflec­tion taking into account the overall layout of the site. its accesses, (including for people with reduced mobility) parking, pos­sible plant­ings …


The open­ings of the floors not affected by this first sec­tion were tem­porarily sealed off by flat gal­va­nized steel sheet, care­fully detached from the tables, sills, and lin­tels. This mate­rial is intended for the facade treat­ment unit. For this pur­pose, it was also used on most of the other holes where opacity was requested by the pro­gram. Particularly in the west, where the large doors have been blocked without actu­ally being so, the con­ceal­ment being done in-depth so as to restore the influ­ence of the bays and accen­tuate the thick­ness of the facade. The exte­rior joinery is made of steel, nat­ural color.

Architecte - Michel Marin