Det­ta­glio del pro­get­to ed. 2024

3‑cha­­pels-3-cou­n­­tries / Austria

Gerhard Sacher

Pro­get­ti­sta Gerhard Sacher, Eric Locicero
Loca­tion Austria, Cha­pel Maria Mag­da­le­na, Zoll­feld 2014/ Ger­ma­ny, Cha­pel Ruhewald Schloss Tam­bach, Wei­tram­sdorf 2018/ Slo­va­kia, Cha­pel Saint Char­bel, Nitra 2022 in progress
Nazio­ne Austria
Desi­gn Team

Gerhard Sacher
Eric Locicero

Anno 2014
Cre­di­ti Fotografici

Cha­pel Maria Mag­da­le­na — Paul Ott, Graz Austria
Cha­pel Ruhewald Schloss Tam­bach — Seba­stian Kolm, Coburg Germany

Foto ester­ni

Descri­zio­ne del progetto

3 Cha­pels / 3 Countries

The com­mon ele­ment of the 3 cha­pels in 3 coun­tries is that they have the same pro­por­tions. This pro­por­tion goes back to the Vitru­vian Man. Vitru­vius puts the theo­ry of the “well-for­­med human” with an ideal rela­tion­ship of the body parts to each other on the “gol­den ratio”. All 3 cha­pels have the same dimen­sions, 7.75m high, 1.75m long and 4.79m wide. The sha­pe and mate­rial are dif­fe­rent and rela­te to the loca­tion or the pur­po­se of the chapel.

Cha­pel “Maria Mag­da­le­na” – Austria 2014

The fami­ly cha­pel, erec­ted on the gen­tly rol­ling foo­thills of the Zoll­feld, at fir­st glan­ce pre­sen­ts itself as a solid embo­di­ment of fun­da­men­tal qua­li­ties. It stands the­re, visi­ble from afar: a chal­ky whi­te sym­bol set in the easel pain­ting of the Carin­thian land­sca­pe. The serious and sharp-edged buil­ding without any capri­ciou­sness or back­ground sounds from the reper­toi­re of approa­ches that might, in prin­ci­ple, be con­cei­va­ble. Like a sym­bol of archi­tec­tu­re it con­den­ses the basic ele­men­ts of buil­ding to pro­du­ce a stun­nin­gly con­vin­cing expres­sion. When you open the two lea­ves of the mighty door in the west side the cha­pel beco­mes a sculp­tu­ral nega­ti­ve form. This cross sec­tion beco­me buil­ding then trans­cends the essen­ce of the dome­stic into the essen­ce of the sacred. Not lea­st impor­tan­tly – the pro­por­tions of the buil­ding. Ever­ting, even the fol­ding ben­ches set ver­ti­cal­ly flush in the walls, is aware of how to con­tri­bu­te as a part to the grea­ter who­le and fol­lo­ws the rule of the Gol­den Section.

Cha­pel “Ruhewald Schloss Tam­bach” – Ger­ma­ny 2018

Tam­bach Castle, who­se owner Hein­rich Graf zu Orten­burg runs the “Ruhewald Schloss Tam­bach”, is embed­ded in the gen­tly hil­ly land­sca­pe near the town of Coburg. The fore­st ceme­te­ry offers peo­ple to find their final resting pla­ce in the natu­re of the fore­st. The tree popu­la­tion of the fore­st ceme­te­ry has a lan­d­­sca­­pe­­park-like cha­rac­ter. In its clear form, the cha­pel fol­lo­ws the pro­por­tions of the Gol­den Sec­tion accor­ding to the tea­chings of the “Vitru­vian Man” by Leo­nar­do da Vin­ci. It should con­vey sim­pli­ci­ty and open­ness and offer visi­tors and their sur­vi­vors a pro­tec­ti­ve cover. Seven woo­den arches rising upwards form the inner spa­ce. The outer clad­ding con­sists of split larch wood shin­gles which will fuse with the envi­ron­ment over the years due to natu­ral wea­the­ring. The cha­pel “Ruhewald Schloss Tam­bach” fuses high con­cep­ts and sophi­sti­ca­ted mate­rials in its desi­gn, and yet it is a very gen­tle, wel­co­ming buil­ding that per­fec­tly sui­ts its pur­po­se: small-sca­­led enou­gh to com­fort the peo­ple who visit it, soa­ring enou­gh in its form to evo­ke the divine.

Cha­pel “Saint Char­bel ” – Slo­wa­kia 2022 in progress

In the vici­ni­ty of the bisho­p’s town of Nitra, a cha­pel is to be built in honor of St. Char­bel Mar­klouf. He was a Maro­ni­te monk and prie­st from Leba­non. During his life, he obtai­ned a wide repu­ta­tion for holi­ness, and for his abi­li­ty to uni­te Chri­stians and Muslims. He wor­ked in the vineyards and gar­dens of the mona­ste­ry and the­re devo­ted him­self to prayer and con­tem­pla­tion in silen­ce and the stric­te­st asce­ti­ci­sm until his death. After the death of St. Char­bel, his tomb began to appear in an extraor­di­na­ry splen­dor. Only after 45 days did the light beco­me wea­ker. The sha­pe of the cha­pel deri­ves from the only por­trait of Saint Char­bel, in which he can be seen with a “cap­pa”. This form of the “cap­pa” resem­bles a para­ble sym­bo­li­zing the over­co­ming of gra­vi­ty and the deta­ch­ment from the earth. As in lite­ra­tu­re, the deri­va­tion of the para­ble is inten­ded to make the visi­tor think and come to a conclusion

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