The Church of Pope John Paul II in Páty, Hungary, is a crescent-shaped constructing that includes skewed angles and whitewashed concrete that goals to show “passive observers” into lively contributors of worship.
Native observe Robert Gutowski Architects stuffed the church within the village of Páty in Budapest with trendy takes on conventional points of Medieval, ecclesiastical structure.
The intention was to shift the emphasis in direction of the altar and the congregation to make the act of worship extra participating.
The Church of Pope John Paul II options an elliptical format
Conventional church buildings usually have an oblong flooring plan and are made up of a nave – the central a part of the church – and an apse – the semicircular or polygonal space on the finish of the aisle, often situated behind the altar.
The Church of Pope John Paul II, nevertheless, has an elliptical format, made up of the crescent-shaped constructing of worship that wraps round an adjoining oval-shaped out of doors area.
Due to this fact what would usually be the nave of a traditional church capabilities because the churchyard or backyard, whereas the liturgical area is located the place the apse could be.
The church inside options whitewashed strengthened concrete ceilings and partitions
As studio founder Robert Gutowski explains, this format was designed to position extra emphasis on the communal expertise of the Eucharist and to “invite individuals nearer to the holy act” on the altar.
“If you happen to like, we invite individuals into the apse, surrounding the altar, forming a group,” the architect defined. “It’s also much like the liturgy of early instances, when Paleochristians merely surrounded a desk in their very own residence – what is named Domus Ecclesiae.”
The design goals to position extra emphasis on the Eucharist and the altar
“The church clearly defines its objective: whereas the Creator and the almighty God are on the centre of conventional liturgy, trendy liturgical efforts have shifted emphasis to the recreator God, the picture of a perpetually redeeming Christ,” Gutowski added.
“The Church of Pope John Paul II represents a aware response to liturgical modifications in latest a long time, rendering it a mannequin church experiment in modern church structure,” he continued.
“Emphasis is shifted towards the lively involvement of worshippers.The group shouldn’t be a passive observer of occasions in a sanctuary, however fairly actively experiences the holy act.”
The church constructing itself has a crescent-like form
A number of rooms lead off of the central, liturgical area, together with a communal room, a service room and an workplace on the bottom flooring, and an academic room, visitor room, the priest’s dwelling quarters, and entry to the bell tower on the primary flooring.
Every of those rooms are enclosed in a single, complete elliptical flooring plan – a type chosen to symbolise “perpetuity” and to create a holistic area.
“The idea is that after we say ‘church’, this doesn’t refer solely to the a part of the chapel, however fairly to the entire group constructing in a single singular type,” defined Gutowski.
Angled partitions and off-centre particulars signify the damaged physique of Christ
The 2 ellipses shaped by the crescent-shaped church and the adjoining yard have been set at totally different axes. That is following the traditionally “inaccurate” format of conventional church buildings, whereby the nave and the apse are usually barely off-centre of one another.
“We can’t title one single church that sits on the identical axis, as a result of just about the entire historic church buildings in Europe have this tiny ‘mistake’, which really grew to become an emblem of the damaged physique of Christ,” added Gutowski.
This image of Christ’s damaged physique has been prolonged to the church inside, which options partitions set at slanted, uneven angles.
Spotlights and skylights illuminate vital areas within the church
The domed ceiling, made out of strengthened concrete, is lined with spotlights that illuminate varied sacral capabilities corresponding to the realm of the altar and surrounding alcoves crammed with non secular artworks.
An oblong cutout within the ceiling additionally fills the room with pure mild, which is directed significantly on the centre in direction of the altar.
The altar is carved from a single block of deep inexperienced stone
Whereas the vast majority of the inside has been painted white – bar the natural-wood pews – the altar is carved from a single block of deep inexperienced onyx stone, standing out from its environment to function the point of interest of the area.
The construction itself is symmetrical however each element is asymmetrical, such because the alcoves. The altar is the one aspect that sits on the principle axis of the constructing.
Steps fabricated from white Carrara marble lead as much as the altar, which have trapezoid-shaped surfaces with rounded corners to permit gathering across the sanctuary area.
A curved staircase leads as much as the primary flooring
The design and building of The Church of Pope John Paul II was carried out with the assistance of the local people. The church was constructed primarily utilizing donations, and was consecrated in 2019.
The church has been shortlisted within the civic and cultural inside undertaking class of this yr’s Dezeen Awards.
Crematorium Siesegem by Kaan Architecten rejects “pompous monumentalism”
Different initiatives on this class embrace a crematorium in Belgium designed by Rotterdam-based studio Kaan Architecten, which is made up of 1 rectilinear quantity made out of blocks of unfinished concrete.
A museum for youngsters in Pittsburgh has additionally been shortlisted within the civic and cultural inside undertaking class, which US agency KoningEizenberg Structure renovated from the stays of a historic library that was struck by lightning.
Architect: Robert Gutowski
Design staff: Ákos Boczkó, Gáspár Bollók, Barnabás Dely-Steindl, Hunor László Kovács, István Kövér, Attila Révai, Béla Ákos Szokolay
Artworks: Csaba Ozsvári, István Böjte Horváth
Panorama design: Attila Páll
Engineering: Zoltán Klopka, András Lantos, Gáspár Sándor, Gellért Mérő, János Mészáros
Images: Tamás Bujnovszky