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All French heritage classified by regions, departments and cities

  2. Patrimoine
  3. Nouvelle-Aquitaine
  4. Charente-Maritime
  5. 17200 Royan

  6. Notre-Dame-de-l'Assumption de Royan Church

Notre-Dame-de-l'Assumption de Royan Church en Charente-Maritime

Charente-Maritime

Notre-Dame-de-l'Assumption de Royan Church

    5 Avenue Saint-François
    17200 Royan
Photo de Notre-Dame-de-l'Assumption de Royan Church
Crédit photo

Timeline

XIXe siècle
Époque contemporaine
1900
2000
1946
Start of Masses in the open air
6 août 1950
Laying the first stone
juin 1951
Effective start of work
3 août 1952
Consecration of the altar
1954
Completion of work
1955
Addition of the bell tower and sacristy
1957-1958
Creation of stained glass windows
Aujourd'hui
Aujourd'hui

Key figures

Père Martin Laurent - Capuchin and Cultural Manager Project initiator and fundraiser.
Jean Bauhain - Architect Co-conceptor of the modernist church.
René Baraton - Architect Co-conceptor of the modernist church.
Marc Hébrard - Architect Co-conceptor of the modernist church.
Monseigneur Louis Liagre - Bishop of the diocese Consacra the altar in 1952.
Maurice Rocher - Expressionist painter Creator of glass slab windows.
Jean Barillet - Master glass Settler of stained glass in 1958.
André Trébuchet - Painter and ceramicist Author of ceramic tympanum.

Origin and history

The Notre-Dame-de-l'Assomption de Royan church was built between 1951 and 1954 in the residential area of the Park, under the direction of architects Jean Bauhain, René Baraton and Marc Hébrard. It replaces a chapel destroyed during the bombings, dedicated to "Our Lady of Sands". The initiative returned to Father Martin Laurent, a capuchin, who organized open-air Masses in 1946 before launching a subscription to acquire land on Avenue Emile-Zola. The first stone was laid in 1950, but work started only in June 1951.

The site was completed in 1954, with the consecration of the altar in 1952 by Bishop Louis Liagre of the diocese. The sacristy and bell tower were added in 1955, while a project to cloister behind the bedside was abandoned. The church, not oriented, adopts a rectangular plan without central pillars, with a nave lined with five unequal chapels and a baptistery illuminated by bays in the middle of the hang. Its structure rests on reinforced, semi-elliptic, reinforced concrete interior foothills integrated into the walls.

The stained glass windows of the nave, created in 1957 by the painter Maurice Rocher and laid in 1958 by Jean Barillet, use the innovative technique of glass slab (pieces bound by concrete). The facade is distinguished by a ceramic tympanum representing the Assumption of the Virgin, a work by André Trébuchet (1998-1962) with plates from Gien's earthenware. This mixture of concrete, stone and ceramic combines modernism and references to Romanesque architecture, as the concrete parable evoking a harmonic facade.

Inside, rhythmized by five self-supporting concrete parables, avoids carrier poles and supports a roof placed directly on diaphragm arches. An initial project of side stands was simplified between 1950 and 1951. The wall of the choir, mobile, allows to open the space on the outside for outdoor services, doubling the capacity of reception. This building embodies post-war reconstruction and architectural innovation of the 1950s.

External links

Page Wikipedia