*신과 인간의 매개체 종교건축 로만 카톨릭 교회 [ Tamás Nagy ] Roman Catolic Church

붉은색 벽돌, 모놀리틱한 건축물의 모던함은 중세시대부터 내려오는 성당의 고유한 인자를 현대적인 공간, 함축적인 건축언어를 통하여 구현된다. 건축물은 총 3개의 구역; 교회, 교구, 커뮤니티 하우스로 구성되며 중심부에 하늘을 비롯한 사방으로 열린 중정이 배치된다. -향후 정원은 중심부에 분수가 설치되며, 나무와 꽃들이 만발한 정원으로 조성된다.- 외부로 열린 중정의 건축적 이미지는 세상의 모든 것으로부터의 열림, 무한한 소통공간을 상징하며 신과 인간을 접점하는 첫번째 소통공간으로 지리한다. 중정을 둘러싼 건축물은 U형태로 좌우측에 갤러리를 중심부에 예배당을 배치하며 인도된 공간을 다시 건축물 내부로 유입시킨다. 이어서 중정에 면한 리니어한 갤러리를 통해 유입된 공간의 흐름은 좌우측에 위치한 숙박공간과 교구 사무실 그리고 갤러리 하우스로 확장되는 동시에 중심부의 예배당에서 갈무리된다. 단상이 배치된 반원통형의 독특한 공간은 후면 63개의 컬러 글래스로 부터 쏟아져 내리는 빛의 소리와 함께 신과 인간을 접점하는 두번째 소통공간으로 자리하며 교회 전체공간을 완성한다. 클래식, 공간이 갖고 있어야하는 전통적인 공식은 충실히 수행하되 본연의 취지는 상실하지 않는다. 이는 종교건축물이 가져야 하는 메타포를 충실히 수행, 신과 인간을 연결하는 매개체로써 건축이 지향해야 할 방향을 정확히 짚어낸다.

reviewed by SJ,오사

The three elements of the building – the church, the parish and the community house – surround a regular quadrat-shaped courtyard. The courtyard will be soon a garden with trees and flowers and with a fountain in the middle. As long ago in the monasteries.

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Architects: Tamás Nagy
Location: Gödöllő, Hungary
Area: 1,340 sqm
Year: 2007
Photographs: József Hajdú

Collaborators: Tamás Lévai, Ildikó Bujdosó, Anna Meditz

Because the model comes from there. The difference is that this courtyard is opened in its fourth side – it is bordered only by a tracery fence – and this is an important message to the World: come in, we are open. If once the park is finished as well, the water of the fountain will flow as a vein to there and swell into a lake. This movement strengthens the previous idea: the connection between inside and outside is relevant.

The system of the service seems emblematic: the glassed corridors lead along the courtyard and broaden to a forefront in front of the community area. The certain functions as the resident and office part of the parish, the rooms of the community house and the space of the church are strung into this „U” shaped system.

The central space of the church is oriented to the apse. As the three building wings surround the courtyard, so the „U”-shaped gallery does surround the apse, the main central point of the building. The apse, the only arc in the house differs not only by its form from the other elements, but by its colour as well.

The 63 colour glass window contain a hidden message. As the result of the dutch componist Alexander Skrjabin’s research he created a matrix, in which every single note matches to a single colour. Applied this note-colour code I wrote the gregorian tune of our prayer Kyrie eleison to the windows of the arc wall. It is a non-designed surprise that the colour glass windows are even burning when the sun does not shine outside.

The colour world of the church – perhaps too pure and strange for some – is to strengthen this exaltation. Depending on the time of the day the space of the church is swimming in light stream or dawning in dusk, but the place of the eucharisty remains at the centre of our attention.

The chapel next to the church is purposely simpler, with its transparent windows I tried to support one’s inside-turning. It will be hopefully a space of the calm prayer. And at the end about the tower. Building a church without a tower was stylish in the modern sacral architecture of the 20th century. I think the church should be a sign at the beginning of the 21st century in Hungary, in Europe, where the evangelism seems to be needed. I hope that the seven-storeyed tower of the Roman Catholic Church of Gödöll will be the symbol of the presence.

from  archdaily