Destruction of the Church 1940 (≈ 1940)
Bombardments during the Battle of Amiens.
1953
Project rejected
Project rejected 1953 (≈ 1953)
Modernity criticized by local elected officials.
1955
Adopted draft
Adopted draft 1955 (≈ 1955)
Supported by the Ministry of Reconstruction.
1960
Church completion
Church completion 1960 (≈ 1960)
Inauguration of the current building.
Aujourd'hui
Aujourd'hui
Aujourd'hui Aujourd'hui (≈ 2025)
Position de référence.
Key figures
Jacques Antoine - Architect
Author of the first project (1953).
Jean Faugeron - Architect
Co-author of the first project (1953).
Emmanuel Gonse - Architect
Co-author of the first project (1953).
Origin and history
The church Saint-Nicolas de Dury, located in the department of the Somme, was completely destroyed in 1940 during the fighting of the French countryside, especially during the Battle of Amiens. This destruction marked a turning point in the history of local heritage, requiring complete reconstruction after the war. The decision to rebuild the building was taken immediately after the war, but tensions between modernity and tradition marked the process.
A first architectural project, proposed in 1953 by Jacques Antoine, Jean Faugeron and Emmanuel Gonse, was rejected by local elected officials because of its style deemed too modern. This rejection reflected the debates of the time on the integration of contemporary architecture into traditional villages. A second project, supported by the Ministry of Reconstruction, was finally adopted in 1955, paving the way for innovative construction.
The new church, completed in 1960, is distinguished by its prestressed concrete structure covered with bricks decorated with saw teeth. His elongated plan, his nave to false sidelines and his bell tower surmounted by an arrow in slate make him a remarkable example of post-war religious architecture. Natural lighting, provided by a large window on the east gable, and the roof descending to the ground, reinforce its originality.
This monument illustrates the French reconstruction of the 1950s, combining technical innovation and respect for local materials. It also demonstrates the social and political challenges associated with the modernization of the campaigns after the Second World War.
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