쇼윈도 안에 진열되어 있는 예수의 성상은 상점에
진열되어 있는 장난감 같다. 그것은 지금의 교회가
가지고 있는 상업적 행태를 비판하고 있다.
예수를 믿고 하나님을 섬기는 것이 더이상 종교가 아닌
예수라는 오브제를 파는 가게와 별반 다른 것이 없는 것이다.
하지만 건축가는 이 점을 다시 한번 비틀어 새로운
세계로 사람들을 인도한다.
마치 다른 경계에 서 있는 듯한 건축물의 형태는
교회의 형태를 모티베이션하여 함축적인 언어로 정리,
구축하였고 외부로 나 있는 3개의 오픈(2개의 창, 1개의 문)
으로 이 성스로운 공간을 연결하였다.
예수의 성상은 밖으로는 교회밖의 사람(비기독교인)과
안으로는 교회안의 교인을 인도하는 내용을 2개의 창을 통하여
전달하고 있다.
하나는 고측창으로 부터 빛이 유입될때
예수의 성상을 외부를 바라보도록 배치하여
외부인들을 인도하고
두번째는 낮은 창으로 빛이 유입될때
예수의 성상을 내부를 바라보도록 배치하여
내부 교인들을 빛으로 인도한다.
어떻게 함축적인 메스와 두개의 창으로
이 많은 것들 담아 낼 수 있을까?
비 종교인이 나로 하여금 가슴뛰게
하는 프로젝트가 아닐 수 없다.
참고로 말하면 나는 어렸을때 크리스마스 이브날 밤새는 것이
좋고 아이들과 노는 것이 좋아서 교회를 다녔고,
나이들어 고즈넉한 분위기가 좋아서 절을 다닌 사람이다.
종교라는 것이 사람이 살아가는 하나의 보탬이 되는 것이지
더이상의 의미를 갖지 못하는 보통사람일 뿐이다.
종교적 신념이 투철한 사람도 아니고
종교를 비판하는 사람도 아님을 말해둔다.
in 2008 a spiritual modernity opened its doors in Portugal’s Figueira da Foz. The chapel ‘Capela de Santa Filomena’ was designed by architect Pedro Maurício Borges and it did not go unnoticed. A bold, sexy, angular and dominant structure in the middle of a suburbia type area were everything else stands still and pay their respects to this holy place of architecture.
Looking at this chapel from afar you cant help but say ‘ What is it and What is it doing here?’. It is as though you have spotted a ‘CHANEL’ store in the meat packing district. You are gloriously happy to have found it but keep thinking that you are hallucinating. This glorious feeling is instantly projected in this case by two factors. Firstly, the protruded angular shape of the building leading to the sky and secondly the simplistic façade finish which stands out from its surroundings. The actual structure is built on a sloping pavement, as if it has been dropped from the sky. A sloping surface towards either the underground or the holy over world.
Consisting of just three openings (entrance and 2 windows) the main attraction is what we would call the rectangular display window. Clear cut protruding opening with a visible depth and one single powerful display that is understood worldwide. The window is perceived as a picture frame placed on the façade to attract and symbolise what this architectural brand stands for. This idea is made even stronger with the second window acting as a complete reverse. Here the frame is punched inwards from the exterior shell, bringing it levelled with the interior walls. A clear and contrasting approach between a protrusion of ‘In God we Trust’ to invite you in and an inset detail to express the respect and focus of the subject at hand.
Once inside, the simplistic and light essence is of prime importance. Clean cute, pure white, natural daylight directly form the nave with a black framed office desk and monasterial seating benches. Everything is discreet with a language of subtleness and openness. In an all white interior The Crucified Christ brings deeper meaning and certainly a more meaningful one. You know what you are here for you don’t need tassels, murals, and vitros to remind you that you are on holly ground. After all we are all here for the man in the window. The recherché that has invited you in and now will rotate around to face you and you will open your heart and soul to him without the feeling of judgement or betray. This comes easily in a chapel such as this. In a chapel were the divine light is entering from either sides of the holy figure in the window and you are left to admire and feel. The dramatic angular lines pointing towards the heavenly clouds through the upper window is a dynamic element filed with symbolism. One main attraction, one man show with many hidden meanings and a world of magic that you have never seen. What else can we ask for in order to enter.
This monument is a true factor in all that it stands for. No excess, no frills no pretend. A strong architectural approach to a strong belief. At the end of the day this is our equivalent religious hierarchy to that of a CHANEL store and we are ready to buy whatever is for sale. However what we want to buy comes with a powerful question ''Is the man in the window for sale?''.
Project Title: Capela de Santa Filomena
Location: Lugar de Netos, Ferreira-a-Nova, Figueira da Foz
Client: Câmara Municipal da Figueira da Foz
Arquitect: Pedro Maurício Borges
Assistants: Rita Curica, Tiago Hespanha, Vitor Canas, Filipe Ferreira
Structural Engineer: ARA – Alves Rodrigues & Associado, Lda (Eng. Fernando Rodrigues)
Watering Engineer: Rita Martins
Electrical Engineer: Camâra Municipal da Figueira da Foz (Eng. Antonino)
Construction: Andrade & Teles, Lda.
Project: 2004 - 2005
Construction: 2005 - 2008
photographer: Fernando Guerra, FG+SG Architectural Photography
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