Chapel of the ex-Apeca

Timeline

Heritage classified

Key figures

Origin and history

The chapel of the former Apeca, located at the Plaine des Cafres in the municipality of Tampon in La Réunion, was built in 1965 on the initiative of Sister Marie-Suzel Gérard, member of the congregation of the Sisters of Saint Joseph of Cluny. This place, originally dedicated to the Association de Protection de l'Enfance Coupable et Abandonée (ACOA) since 1936, was opened in 1946. The chapel, conceived as a gathering space, adopts a star plan inspired by a flower of lilies, a strong symbol for Sister Marie-Suzel. The architect Guy Lejeune, known for his local achievements as the Barachois swimming pool, integrates this plan into the movement of renewal of the post-Vatican II sacred art, mixing raw concrete, smooth or boucharded, and stained glass signed Guy Lefèvre.

The stained glass windows, the first creation of Guy Lefèvre in Reunion, develop the theme of the litany of the Virgin with the recurrence of l-ora pro nobis. They integrate harmoniously with the concrete structure, the dominant material of the building. The chapel, classified as a historical monument since 26 May 2023 after an inscription in 2018, also obtained the label "Heritage of the twentieth century" in 2016. It is now managed by the Association Aide et Protection de l'Enfance et de la Jeunesse, which is part of the SOS group, and is one of the sites proposed for the fourth edition of the Heritage Lotto.

The site of the Plaine des Cafres, where the chapel rises, was originally a place for children in difficulty, with a boys' home opened in 1936 and that of girls in 1946. Under the direction of Sister Marie-Suzel from 1960 onwards, the complex is modernized with new premises and this chapel, thought to unite the community. Its bold architecture and social history make it a unique testimony to the heritage of Réunion, combining spirituality, architectural innovation and memory of child protection.

The chapel is distinguished by its radiant plan with multiple entrances, reflecting the desire to open and include its sponsor. The various techniques used to treat concrete (projected, crude de-formulation) and the integration of stained glass into the structure illustrate a global approach to sacred art. Ranked entirely with its sitting ground, it now embodies both a place of worship, a remarkable architectural heritage and a symbol of social engagement in Réunion.

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