The chapel of Our Lady of the Miraculous Medal, which acts as a gateway to Ħamrun, sits at the apex of the central house of the Society of Christian Doctrine, more popularly known as the MUSEUM. The chapel, which is circular in plan, shares a wall with the Society’s large elliptical auditorium: seen together on plan, one is reminded of an architectural exclamation mark!
Paula Agius Vadalà (left) and Katja Abela (right) have been working on this project for almost five years.Although the buildings that make up the headquarters of the Society of Christian Doctrine were built in the middle of the 20th century the chapel was redecorated in 2001 to the designs of Prof. Richard England in preparation for the reception of the sacred remains of San Ġorġ Preca before his beatification and the visit of Pope John Paul II in May 2001. The chapel is the resting place of San Ġorġ Preca, Malta’s first saint of modern times, canonised by Pope Benedict XVI on June 3, 2007.
More recently, the Society commissioned the architectural practice Atelier Maison to renovate the 750-seat auditorium adjacent to the chapel. Atelier Maison is a young practice founded five years ago by principals Paula Agius Vadalà and Katja Abela Cassar, who graduated from the University of Malta’s Faculty of the Built Environment in 2010 and 2009 respectively.
The architects stress that their primary objective is to offer fresh and innovative solutions; they do this by getting to know each client’s culture: namely their formal structures as well as their modus operandi. By fully understanding their client they can then propose a unique solution, tailored to that particular client rather than a generic off-the-shelf design.
Atelier Maison have been working with the Society for close on five years. They were initially one of three architectural practices selected to offer designs for the refurbishment of the auditorium. Atelier Maison won the commission; however, before detailed works started on the auditorium they were asked to redesign the Superior General’s office, as a sort of ‘trial run’.
A view of the auditorium from the head table and speaker’s podium on the stage.Atelier Maison’s concept was to give the impression that the auditorium was carved out of stone
Through this process, client and architect were able to understand each other better. A number of aspects impressed and surprised the architects. The first was the Society’s appreciation of detail. This was reinforced by the fact that most of the refurbishment work was carried out by the Society’s own members.
Detail of the perforated, honey-coloured travertine walls. The colour is warm and comforting, and the natural grain of the stone adds visual interest at close quarters.To many outsiders, the Society might be perceived as having a conservative outlook; however, the architects found that their client was open to new ideas, and once approved these were adopted with a fervent commitment. The trust that developed between client and architect meant that many design details were developed in collaboration. Being their own builders also meant that work was executed with passion; to the extent that the architects described the client as “dream” builders.
Atelier Maison’s concept was simple: to give the impression that the auditorium was carved out of stone, thus making visitors feel grounded. This is, in fact, one of the most striking and successful aspects of the design: by choosing a datum line for the top of the stone panelling, approximately 2.5 metres above the main entrance level, together with the gentle fall of the floor (also of travertine) towards the stage, both give the impression that the auditorium is hewn out of stone.
This welcoming, enveloping effect is enhanced by the use of a honey-coloured travertine. The colour is warm and comforting, and the natural grain of the stone adds visual interest at close quarters. What is particularly successful about this travertine base is its simplicity: visual distractions are avoided by the clever way that the stage as well as the ancillary elements (such as doors and loudspeakers) are incorporated seamlessly within the stone panelling.
The previous soffit of the auditorium was a dull, flat plane of generic ceiling tiles. In reconsidering the canopy the architects have introduced an architectural element which is bold and dramatic, yet totally appropriate for this space. The curving organic form of the new suspended ceiling which drops gently towards the stage recalls a traditional baldacchino, while at the same time focusing one’s attention on end of the space: a location of multiple functions and meanings.
At its most prosaic one focuses on a projection screen that can be lowered from the ceiling; at its most sacred level the eye rests on a cross of light shining through the celestial blue drapes; however, the most spiritually affecting configuration is to be experienced when the end wall is drawn aside to reveal the wax effigy of the recumbent San Ġorġ Preca and the chapel beyond.
San Ġorġ Preca’s simulacrum provides a spiritual fulcrum for both spaces. If, on its own, the auditorium embodies a language of simple secular modernism, once the serene presence of the saint is invoked the auditorium provides a timeless setting appropriate not just for secular functions but also for prayer and contemplation.
View of the auditorium from balcony level where the lowest point of the curved ceiling is seen creating focus on the stage.
Detail of densely perforated travertine wall on stage%2C which directs the eye to the central focus – the cross.
A total of 3%2C500 copper pipes create the curved ceiling%2C which also houses a number of ceiling lights and ducts.