Det­ta­glio del pro­get­to ed. 2020

MAPA – CHA­PEL IN SACROMONTE

Desi­gner Mau­ri­cio López
Loca­tion Cara­pé Moun­tain, Ran­ge, Mal­do­na­do, Uruguay
Desi­gn Team

MAPA
Part­ners: Lucia­no Andra­des, Matías Car­bal­lal, Andrés Gob­ba, Mau­ri­cio López, Sil­vio Machado.
Pro­ject team: Pablo Cour­re­ges, Die­go More­ra, Emi­lia­no Lago, Fabián Sarub­bi, San­dra Rodrí­guez, Rafael Sola­no, Agu­stín Die­ste, Alba Álva­rez, Miquel Castel­là, Mar­cos Góma­ra, Vic­to­ria Rei­ba­kas, Seba­stián Lam­bert, Lucy Braun­stein, Marie-Lise Hof­stet­ter, Clai­re Gar­dan, Hele­na Utzig, Joao Bernardi.

Anno 2017
Pho­to credits

Exter­nal
Pho­tos by Tali Kimelman
Internal
Pho­to 1,3,4,5 by Tali Kimelman
Pho­to 2 by Leo­nar­do Finotti

Foto ester­ni

Descri­zio­ne del progetto

SACRO­MON­TE CHAPEL
Sacro­mon­te, Sier­ras del Cara­pé, Mal­do­na­do, Uruguay
2017

The Sacro­mon­te Cha­pel finds its pla­ce among vineyards, lagoons, hills and shel­ters. Con­cei­ved as a land­sca­pe ampli­fier, it blends with its sur­roun­dings taking the sen­so­rial expe­rien­ce of natu­re to a who­le new level.
How should the sacred spa­ces of the 21st cen­tu­ry be? The cha­pel pon­ders pos­si­ble inter­pre­ta­tions of this and other que­stions throu­gh its ambi­guous rela­tion­ship with mat­ter, spa­ce and time. A pea­ce­ful ten­sion rei­gns when in con­tact with it. A ten­sion bet­ween weight and light­ness, pre­sen­ce and disap­pea­ran­ce, tech­no­lo­gy and natu­re. Enig­ma­tic and mysti­fy­ing, it lea­ves its visi­tors with more que­stions than answers.
★ Selec­tion, XI Ibe­­ro-Ame­­ri­­can Archi­tec­tu­re and Urba­ni­sm Bien­nial 2019
★ Long List Dezeen Awards — Small Buil­ding — Sacro­mon­te Cha­pel, Uni­ted Kingdom
★ Fea­tu­red Pano­ra­ma of the Usi­na de Inno­va­ción Colec­ti­va of the Uni­ver­si­ty of the Repu­blic, Uruguay

The cha­pel star­ted in a fac­to­ry in Por­tu­gal. Once pre­fa­bri­ca­ted in cross-lami­­na­­ted tim­ber and steel, it was trans­por­ted direc­tly to the land­sca­pe of Sacro­mon­te to be assem­bled in one day. Sim­ple and auste­re, its desi­gn assu­mes the chal­len­ge of con­vey­ing a power­ful mes­sa­ge using the lowe­st amount of resour­ces possible.

Two 9x6 meter woo­den pla­nes rest sub­tly on one ano­ther but without tou­ching. From this sim­ple and uni­que gestu­re, a new enclo­su­re is born. Nei­ther clo­sed nor com­ple­te­ly open, it is a spa­ce in itself but it is part of its envi­ron­ment at the same time. Insi­de, the pla­nes try to pro­tect and sanc­ti­fy a small por­tion of the land­sca­pe but respect­ful­ly deny its con­fi­ne­ment. Thus, the con­cep­ts of inte­rior and exte­rior are dilu­ted in a dif­fu­se and ambi­guous spa­tial experience.

Almo­st magi­cal­ly, a floa­ting black metal­lic box breaks the sym­me­try in a trans­cen­den­tal act. Light enters throu­gh its outer face, a sheet of trans­lu­cent onyx. Insi­de it, the Vir­gin of “La Car­ro­dil­la” finds shel­ter and protection.

The cha­pel coe­xists har­mo­niou­sly with natu­re, let­ting in winds and storms. In some way, the­re is a remi­ni­scen­ce of the most pri­mi­ti­ve of archi­tec­tu­res. One that reu­ni­tes humans, land­sca­pe and mat­ter with the eternal.

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