Ronchamp, 47° 42 03 Nord 6° 38 02 Est

By Laurent Duport, RMHF 2014
This project of Le Corbusier is familiar to me since I participated in 1987, thanks to Danièle Pauly in setting up two exhibitions celebrating the centenary of Le Corbusier’s birth, one in Marseille at
the Museum of Old Charity (Le Corbusier and the Mediterranean), the other in Paris at the Centre Georges Pompidou (The adventure Le Corbusier).
For almost thirteen years now I went to Ronchamp three times, and each visit to different situations.
At the first, in the summer of 2000, I had the opportunity to “escort” Kenneth Frampton, Ware Professor at the Graduate School of Architecture at Columbia University in the Summer Program he leaded titled “Le Corbusier revisited”. Prof. Frampton returned there for the second time, his first was in the mid-fifties, around the opening. I, on this day, listened with great interest the comments in particular on the sense of place, on this hill side of the chapel, the pyramid of Peace, a memorial in honor of soldiers who died for the liberation of Ronchamp in 1944, on the landscape, and on the plastic of the architecture described in Prof. Frampton’s book “Le Corbusier, architect of the Twentieth Century”
The second visit, six years later, was with my 2nd year students from the Ecole Nationale Supérieure d’Architecture de Montpellier. Height of the previous visit it was to transmit a personal perspective enriched with reading articles and comments so far on the building.
The third visit, the most recent but also most personal, was held in 8 to 11 September 2011 with my parents, on the invitation of Dominique Claudius Petit to attend the opening of the gatehouse performed by Renzo Piano and his team and the landscape architect Michel Corajoud.
Without going back on the polemics related to this project it is here to witness a highlight of this place and atmosphere that emanated. Over these days, a series of events were punctuated by visits to all buildings on the site, including the chapel of Le Corbusier with a return to his original vocation of worship punctuated by moments of celebrations inside as outside in its immediate vicinity and beyond.
In January 2014 a stained glass window original of the chapel, the stained glass of the moon is destroyed during a burglary. Among all the windows painted by Le Corbusier, he was the only one to be signed. Beyond the stupidity of this gesture that recent news raises the question of ignorance of the heritage value of the building and what it consists. It is not certain that the security of the site (previously preserved, with the exception of a recent gate rightly criticized by the historian William Curtis) by fences (!) or cameras (!) is likely to prevent any future damage.
Let us bet that the year 2015, the 60th anniversary of the construction of the chapel, will be the occasion, around June 25, to get to Ronchamp to unite around this exemplary architecture, pilgrims, architecture fans young and old or simple tourists to celebrate what Le Corbusier called “the unspeakable space.”


25th Richard Morris Hunt Prize. 6 and 7 December 2013.

On December 6, the RMHF Franco-American jury, met at the Hôtel de Talleyrand in Paris and awarded, according to his rule of alternation, the Richard Morris Hunt Fellowship to a French architect, heritage specialist, Laurent Duport , which becomes the 25th RMH Fellow and has also appointed a Scholar, Axelle Macardier, which becomes the second Scholar of RMHF.

Then, Saturday, December 7, a ceremony was held at the Ecole des Beaux-Arts in honor of Richard Morris Hunt and American architects graduates like him this prestigious school.

Lalique as seen through the eyes of an expert.



by Dominique Laprie-Sentenac, ABF.
Chef de Poste.STAP Calvados.

René Lalique’s Faithful Virgin Chapel at Douvres-la-Delivrande is an exceptional work of art.
It is almost beyond description.
Mundanely, the mural structures are built of transparent glass blocks, as are the windows,the tabernacle and the communion table which embellish the choir.
Impressionably it is miraculous.
To discover it follow the Mother Superior de Reviers who will open the convent doors giving access to the chapel swathed in its luminous atmosphere.
In 1929, Lalique deposited a patent for a system composed of a vertical chromed metal framework into which slide mould ed glass (or half-crystal) elements, one on top of the other.
The assemblage of the various parts create a decorative panel.
The completed work is held in place and consolidated by a horizontal steel bar connecting the vertical frames.
The patent, however,did not culminate in industrial mass production.
The ensemble in Douvres is more a life size experiment of an artisanal nature.
A restoration program was undertaken in 1995 – 2003 under the supervision of Bruno Decaris. The framework was consolidated and the stainless steel replaced by chromed metal.
The greatest difficulty was the restoration of the chipped glass panels. Describing the techniques used would be too fastidious for a short note.
All the original block panels have been preserved. Each one is unique and not reproducible.
The design of the pattern, representing an animal a vegetable or a human, is as important as the mastering of the relief which gives off such luminous vibrations. It is impossible to imitate either the spirit or the touch of the artist who gave birth to such ethereal light.


Maya Maria Foty, Laureate of the Richard morris Hunt fellowship Prize

RMH Prize - Maya Fotty - 2013

Architectural Resources Group

Maya Maria Foty, Laureate of the Richard morris Hunt fellowship Prize

Honoring an american architect specialist in Heritage preservation

On November 13th, 2012, the RMHF French-American Jury meeting in Washington D.C recognized Mary M. Forty as the 2013 RMH Fellow.

Maya Maria Foty, AIA. LEED, AP, the 24th RMH Fellow.

Maya earned a double major of Bachelor of Art, in French and Arts History in 1991 from Mills College, Oakland, CA. She participated in the Roma Program, Palazzo Pio in Italy. In 1999, she received a Master degree in Architecture and a Certificate in Historical Preservation from the University of Washington, Seattle, WA. In 2005, Maya completed her brilliant education with a Certificate of Conservation in Historic Buildings and Archeological Sites from Columbia University in New York City.
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