Det­ta­glio del pro­get­to ed. 2016

san-nor­­be­r­­to-parish / Car­los Cam­pu­za­no Arquitectos

Pro­get­ti­sta  Archi­tect Car­los Cam­pu­za­no Castello
Loca­tion  Bogo­tá, Colombia
Desi­gn Team  

Archi­tect Ange­la Hernández
Archi­tect Dia­na Galvis
Archi­tect Zul­ma Garzón
Anno  2011
Cre­di­ti Fotografici  

Pic­tu­re 1 — Car­los Campuzano
Pic­tu­re 2 — Ange­la Hernandez
Pic­tu­re 3 — Coque Gamboa
Pic­tu­re 4 — Car­los Campuzano
Pic­tu­re 5 — Car­los Campuzano
Pic­tu­re 6 — Coque Gamboa
Pic­tu­re 7 — Coque Gamboa
Pic­tu­re 8 — Coque Gamboa
Pic­tu­re 9 — Coque Gamboa
Pic­tu­re 10 — Ange­la Hernandez

Foto ester­ni:

Descri­zio­ne del progetto

From the auste­ri­ty in its archi­tec­tu­ral desi­gn, the sim­pli­ci­ty of its struc­tu­re throu­gh the puri­ty and geo­me­try of the sha­pes and the usa­ge of con­cre­te and light as con­struc­tion mate­rials it crea­tes an inti­ma­te spa­ce, straight­for­ward and una­dor­ned, that invi­tes to the emo­tion and medi­ta­tion. A sin­ce­re archi­tec­tu­re that also seeks to stand up the ideals of the Catho­lic Church of the 21th Century.
Immer­sed in a resi­den­tial area of Nor­thern Bogo­ta, it is loca­ted in a urban plot of 900 m², the Temple’s volu­me is a big enclo­sed box with high con­cre­te sur­fa­ces that wraps the nave, and rece­des in order to gene­ra­te public city spa­ce. The entran­ce thru the ramp pro­mo­tes a cere­mo­nial and pau­sed walk and invi­tes to pere­gri­na­te into the building.
The pro­gram­me is deve­lo­ped in four sto­ries. It coun­ts with wor­ship areas, ora­to­ry, clas­srooms, choir, offi­ces, the Priest’s hou­se, fune­ra­ry urns and a par­king lot at a semi-base­­ment, with a total con­struc­ted area of 2.038 m².
The main sto­ry ‑ele­va­ted half floor from the public spa­­ce- is wal­ked at the same level. The choir is a brid­ge that goes across the nave and distri­bu­tes music to the who­le space.
The Grand Cross of the main faça­de repre­sen­ts the open­ness and trans­pa­ren­cy of the Catho­lic Church to the world and it is a struc­tu­ral dila­ta­tion in the wall to account for ther­mal volu­me­tric changes.
The cei­ling is a big “con­vex can­vas” that covers com­ple­te­ly the nave and is suspen­ded in bet­ween two lon­gi­tu­di­nal gaps, whe­re can be found kine­­tic-art stai­ned glas­ses, desi­gned by the arti­st Car­los Cruz-Diez. During the day natu­ral light goes across the spa­ce fil­te­red by the stai­ned glas­ses, crea­ting chan­ging reflec­tions as a solar watch, and during the night, the use of lighting, spread over the incli­ned sur­fa­ces at the cei­ling, a varie­ty of chro­ma­tic combinations.
In a world full of ten­sions, the Tem­ple looks to offer a haven of pea­ce and joy, by the delight of silen­ce and natu­ral light, in an inti­ma­te envi­ron­ment con­ve­nient for reflection.

Rela­zio­ne illu­stra­ti­va del progetto
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Foto inter­ni

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