Church
The project starts with the aim of re-designing the Church as an architecture that doesn't take away any attention to the real meaning of this place, the prayer, the personal concentration and the meeting with God. With two thousand years of history, ecclesiastic architecture has seen important changes with well defined styles such as romanic, gothic and baroque. In the past century instead, there has been an uncertain and hybrid expression that mixed elements from different styles, mismatched among them, resulting into incoherent spaces, lacking balance, strength and own identity. What we can see in most of the churches today are superfluous elements, excessive decoration and irrational ornaments which are simply distracting from what the real meaning of this sacred space should be. This project tries to define a pure, clean and essential space, where anyone who enters it can find spiritual concentration, inner harmony and balance for facing daily life. Thanks to the employ of traditional and natural materials such as stone and wood for most of the interiors, the effect is a mix of soft ambience that infuses a sense of harmony, order and peace. Essential feature of the project is the constant and symbolic relation with the light, both natural and artificial, due to the tight connection with the outdoor spaces surrounding the only nave, two private open air patios. The constantly changing indoor environment is strongly influenced by the climate, due to the sun's path during the day, the changing of the seasons, the fog, the snow, the moving shadows of the trees in the wind and the colors of dawn and dusk. The only presence in the patio is the tree, which represents the synthesis among nature's cycles, human beings and time. The falling leaves represent the fragility of human life.
The project's scheme is simple and organized around rational and rigorous principles, divided in 3 bays of equal width, where the central one is taken by the church's nave and the lateral ones are for the patios and the extra functions as the priest's home, the sacristy, the parish meeting room and the storage room. Quite rational is also the construction system: the church's shell is enclosed by two longitudinal walls lifted from the ground, which run for the entire length of the system, cantilevering over the entrance as an invitation for the parishioners and allowing to look out from the interior of the nave. The roof and the head enclosures are inserted between these two planes, and connected with a glass envelope which runs on every side to allow natural light to come in and wash the white surfaces, which draw different shadows and tones with the changing of the light during the day. Wood is the main material adopted for the interiors, applied for the pews, the head walls and the dropped acoustical ceiling. The presbytery is a simple wood platform where the only elements that should catch all the attention are the altar, carved by two rough-cut stone blocks placed one next to the other, and the ambo. On the side there are two niches with the seating for the acolytes on one side and the readers on the other. The tabernacle is inserted in the head wall and it's represented by a flame which constantly burns. The entrance head wall instead includes the confessionals at its base and, on top of them, the organ and the choir area. Even the pews have been designed for maximum spiritual concentration, as shells who balance the human presence in a sacred space.