The repetition of spruce arches gives
rhythm to the interior decorative style of
the hulls. The intention here is not to offer
an optimal structure, calculated to the
finest degree, nor to display any technical
prowess, but to characterise the density
of a sacramental space. There are as many
arches as intertwinning possibilities at
the top of the dome. The boat of Peter,
fisher of souls, is also suggested here.
Outside, the cladding of the hull and
the steeple are also handled in wood,
following the same parallel geometry
of the arches. The wooden strips of
Douglas fir are pre-shaded to ensure an
aesthetically uniform ageing. Wood is a
natural, living material, at once humble
and noble. It lends itself perfectly to
the design of the building’s curves.
Its warmth also serves as a pattern of
a fraternal community, united in the
celebration of the sacraments of the
Church.
And By The Light
Another mouvement, another axis,
perpendicular to the previous one,
crosses the space of the cathedral. This
axis is the one of the stained glass, whose
colored light encircles the space from its
zenith. There is also an ascending path
that rises to the source of this light: a
mouvement from the altar to the two
access steps to the gallery, which is
extended by the curve of the stained
glass. A path of light hangs vertically from
the altar, climax of the composition of
the Udo Zembok’s magnificent stained
glass. The cross thus signs this space in
three Dimensions, a space that vibrates
to the rhythm of day and seasons, the
orientation of the cathedral on the points
of the compass — give or take a few
degrees — and the positioning of the
stained glass at the head of the southern
hull, allowing the building to receive
sunlight throughout the day.
crosssection wooden ribs interrupt the
continuous ribbon of glass. Our artistic
response to the given architectural shape
is based on the idea that the incident
sunlight artistically metamorphoses and
thus should enter equally „sublimated“
into the sacred space. Paradoxically,
however, light itself is invisible, because
it is only perceptible to our senses when
it reflects on material or flows through
filters. The simplicity of the concept
and composition opens up a range of
different levels of understanding for the
observant visitor. The spectrum ranges
from our delight in chromatic filtered
colours and their effects on the interior
architecture of the cathedral, to the
concept of the three primary colours
of light, their spatial positions and the
symbolism of the Holy Trinity.
The Cultural Centre
The architectural concept of two
intersecting shellshaped spatial forms
celebrate a space which unfolds like
a border along the interface of the
two volumes. This space, designed
as a glass arch, is the field of play for
this commission. Spatially, the semicircular arc opens up from east to west.
As the only source of natural light the
arc culminates at the zenith, vertically
centred over the altar. At regular intervals,
The extension of the cathedral included
the creation of a cultural centre intended
to offer cultural and artistic events to the
Val-de-Marne’s inhabitants. A conference
room and a small auditorium occupy
the space originally dedicated to two
multipurpose rooms. These spaces
are accessible through an exhibition
gallery that connects the two entrance
narthexes. At its centre, a skylight allows
a glimpse of the cross on the steeple.
The sunlight goes trough a skylight and
illuminates the entrance to each room.
Near the large narthex, a bookstore café
creates a friendly space at the entrance of
the cathedral.
Structure And Support
Page 49 - Archetech
The main structure of the timber framing
is composed of approximately 130
glue-laminated arches (16x75cm) ; the
longest extrados arch is 26.5 metres and
the smallest bending radius is 6 metres.
The arches are arranged in a system of
parallel beams placed 56cm from one
another. The arches are jointed on the
bottom by fittings, bolts and a metal axis.
The coupling on the top of the two hulls
is achieved by assembling alternately the
northern and southern arches resting
on a connecting laminated glued beam
with fittings, bolts and nails. The roof
deck batten is then attached directly to
the main structure; the cross-laying of
battens allows them to bending on the
glued laminated arches.