A hidden glade behind the waters of Venice is ever a beauty. The project joins that beauty outlining briefly the space. Four steel beams, 8 meters long (12×12 cm thick), compose the ensemble: one is a bench, the other one is a cross. It is built on seven pieces of concrete (12x12x200cm), which give metric to the ensemble. Steel beams are made of highly polished stainless steel to reflect the surroundings: the chapel may disappear at a certain moment.
And so the shadow of the ensemble may become more evident than the object itself. The presence of history surrounds, the use of a bench and a cross is ages. Continue reading Carla Juaçaba
Perhaps it is only in Japan, but it seems that when the people think about the image of Christianity, the cross comes first of all to mind. When Christianity came to Japan in the middle of the 16th century, a cross was placed as the sole Christian symbol on the roof of the Nanban Dera, built in the capital Kyoto with traditional techniques. At the start of the 17th century Christianity was strictly prohibited and severely repressed, and Christian people were crucified. After that, for two centuries and several decades, a test was made to discover hidden Christians; people were forced to step on bronze reliefs of a cross, a cross drawn on paper, or a statue of Saint Mary, and those who refused were executed. The association between Christianity and the cross is unchanged in contemporary Japan, and even a small building surrounded with houses in the city can be identified as a church due to the fact that a cross stands atop its roof . The cross is unique as a symbol in the religious history of the world. Buddhism, Islam and Confucianism do not use scenes of death as symbols of the most important tenets of their faith. Buddha, Muhammad and Confucius were surrounded by disciples and died peaceful deaths. Designing a chapel for the first time, I decided to make the cross my theme. Continue reading Terunobu Fujimori
To be on an island and then inside a garden, allows a state of being where one’s mind can drift to a peaceful place of reflection. The garden in San Giorgio has a fan structure of walks, starting from Palladio’s Cloister towards the Lagoon. The Morning Chapel is along one of these long paths, and sits right before this walking line meets the water. Continue reading FLORES & PRATS
Reliefs on façades have been of particular interest to Hild und K Architekten for many years now. Andreas Hild, Dionys Ottl and Matthias Haber are hereby often inspired by textile structures. For the office and residential building “Schwabinger Tor”, they have created an exterior skin of clinker-covered pre-fabricated concrete, spread like a brocade throw over all storeys. Individual stones protrude from the façade like relief embroidery. The bricks are arranged in a star pattern, emphasising their non-bearing function. Like a Gobelin tapestry, the back-ventilated curtain façade covers the actual structure beneath it. Along the boulevards leading to the new quarter “Schwabinger Tor”, there are grand historical clinker-clad buildings. The brick puzzle pieces of the new building interestingly reinterpret this local tradition. The pre-fabricated concrete elements with inlaid clinker bricks are joined together with fitting pieces of light, acidized concrete. Horizontally, the joints are akin to small capitals and vertically they are continued to form pilasters between the windows. Thus elevating the joints, which are impossible to avoid in a building structure, to ornaments. Window parapets and ledges and the cladding of the supporting pillars on the ground floor are made of the same shade of concrete to harmoniously blend with the overall picture. The usage of the cross-shaped pre-fabricated element throughout creates several spaces where over-corner glazing opens up views to several sides. Continue reading Hild und K