Det­ta­glio del pro­get­to ed. 2020

CHÉR­REZ Y CAN­TE­RA – THE SAJ URBAN CHA­PEL OF ST IGNATIUS

Desi­gner	Xavier Chér­rez
Loca­tion	c/ Fran­ci­sco Ber­ga­mín 32 — Pam­plo­na 31004 España
Desi­gn Team	Xavier Chér­rez y Raquel Cantera
Anno	2014
Pho­to credits

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Descri­zio­ne del progetto

Who wouldn’t want to feel embra­ced by God?
The histo­ry of Sal­va­tion in many occa­sions is repre­sen­ted in the Bible, and in art histo­ry sub­se­cuen­tly, throu­gh embra­ces, hugs….paternal, wel­co­ming, mater­nal hugs, hugs of recon­ci­lia­tion, of con­so­la­tion, of for­gi­ve­ness, of self-giving , and of love.
“Para­di­se, is God’s embra­ce” Pope Francis.
From a theo­lo­gi­cal view­point this buil­ding tends to three dif­fe­ren­tia­ted dimensions.
Fir­st the dimen­sion of fee­ling “Allow for the crea­tor to direc­tly com­mu­ni­ca­te to the soul embra­cing it in his love and prai­se” Saint Igna­tius of Loyola.
At this cha­pel, in the sen­so­rial pla­ne one finds the feel of and the scent of wood, the sound of foo­tsteps over the sto­ne pave­ment, orien­ted towards a gro­wing lumi­nous back­ground, in a spa­ce con­for­med to ele­va­te us beyond our­sel­ves. In this sen­so­rial dimen­sion the cha­pel is a tem­ple that wan­ts to be enjoyed by eve­ryo­ne; by peo­ple with pro­found, varied or lit­tle faith.

The for­mal ana­lo­gy of an embra­ce con­fi­gu­res the inte­rior of this cha­pel with a woo­den struc­tu­re over the con­gre­ga­tion and the prie­st. From the entran­ce is per­cei­ved an increa­sing height, which descends with natu­ral light. The­se 7 woo­den fra­mes land on the sto­ne work and extend their pre­sen­ce as ben­ches to take in and touch the con­gre­ga­tion, accom­mo­da­ting, and embra­cing it; under an ope­ned door in the sky (the heavens).

Then comes the dimen­sion of the Announ­ce­ment, of the understanding.
The altar finds itself as the cen­ter of the cha­pel and the tem­ple is distri­bu­ted around it. In our case the enga­ge­ment is not direc­tly visual, by means of ima­ges or sculp­tu­res or sym­bols cul­tu­ral­ly assi­mi­la­ted or alrea­dy kno­wn. It inter­pel­la­tes the mind of the prie­st and the assem­bly revea­ling a, hid­den to untrai­ned eye, signi­fi­can­ce and sym­bo­li­sm by means of num­bers, pro­por­tions and sha­pes. Making the buil­ding itself com­mu­ni­ca­te the Glo­ry of God even throu­gh its joints.

Facing the altar, the prie­st cele­bra­tes sup­por­ted on 4 sto­ne tiles (four Evan­ge­lists) and, like the assem­bly, sur­roun­ded by the pre­viou­sly men­tio­ned embra­cing 7 wood fra­mes (seven sacra­men­ts), 7 doors in which, at their cen­ter, a repre­sen­ta­tion of the Vir­gin pre­si­des, pray­ing, with a posi­tion in the cha­pel that allo­ws her to wel­co­me eve­ry­bo­dy, under 3 lar­ge mir­rors of iden­ti­cal pro­por­tions (the Tri­ni­ty) which distri­bu­tes the only, 1, sour­ce of direct light ( God the Father) which arri­ves throu­gh a great door ope­ned to hea­ven which cul­mi­na­tes the ascen­ding sec­tion of 12 woo­den sla­ts, (apo­stles) which, as hori­zon­tal fla­mes, intro­du­ce warm reflec­ted light (11, one is obscu­red, Judas).
Under, the rock, in the floor and divi­ded into a mul­ti­tu­de of join­ts who­se lack of order repre­sen­ts that cha­rac­ter of huma­ni­ty that stays below; on top of the noble mate­rial which sto­ne is, noble but inert.

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