SPIRITUAL PAVILLION | Pavilhão Espiritual
2015.2
Leicester, United Kingdom - De Montfort University - Architecture Studio 3 - Architecture (BA) 2nd year
"Religions are different roads converging to the same point."- Mahatma Ghandi
O projeto de um pavilhão espiritual para a cidade de Leicester, Inglaterra, contemplou a realidade multicultural da cidade e as diversas religiões praticadas entre seus habitantes: 32% da população se considera cristã, 18% pratica o islamismo, 15%, o hinduísmo, e 22% se consideram agnósticos.
Para os muçulmanos, por exemplo, é preciso se purificar antes de entrar no local de encontro com o sagrado. Por isso, o elemento água incorporou-se ao design do pavilhão. A forma da cruz e de qualquer outra imagem divina foi dispensada; a simplicidade das linhas foi buscada, alinhando-se com o entendimento de que, para se comunicar com o divino, é preciso estar a sós, calmo, em paz.
Rasgos foram desenhados nas paredes de concreto, como que caindo do céu, deixando a luz entrar através das árvores próximas, do entorno da praça The Oval. Uma fonte de água cai pouco antes da entrada do pavilhão; o volume é um monolito em concreto que se inicia em uma altura relativamente baixa, e vai subindo à medida em que se adentra o pavilhão. Um braço de concreto conduz o visitante à entrada do pavilhão. O interior, em contraste com o concreto frio de fora, é em madeira - quente e acolhedora.
The design for a spiritual pavillion to be accomodated in Leicester, England, contemplates the city's multicultural reality and the diversity of worshiped religions among its inhabitants: 32% of population consider themselves as christians; 18% are muslims; 15% practice hinduism. Beyond that, 22% consider themselves as agnostics.
For muslims, for instance, purifying the body before entering the sacred space is necessary. Therefore, water became a part of the pavillion's design. The shape of the cross or any other divine image was dismissed; on the other hand, the simplicity of lines was chased, by understanding that, to communicate with the divine, one must be alone, quiet, in peace.
The concrete walls were sliced off, as if slits were opening up from the sky, letting in the light, through the trees of The Oval's square. A font is placed nearby the entrance to the pavillion; the volume is a concrete monolith, and, from the entrance, its height increases as one approaches the illuminated walls. A concrete arm stretches to the outside and leads the visitant to the pavillion's entrance. The interior, contrasting with the cold, rocky shape of the exterior, is covered in wood - cozy and warm.
For muslims, for instance, purifying the body before entering the sacred space is necessary. Therefore, water became a part of the pavillion's design. The shape of the cross or any other divine image was dismissed; on the other hand, the simplicity of lines was chased, by understanding that, to communicate with the divine, one must be alone, quiet, in peace.
The concrete walls were sliced off, as if slits were opening up from the sky, letting in the light, through the trees of The Oval's square. A font is placed nearby the entrance to the pavillion; the volume is a concrete monolith, and, from the entrance, its height increases as one approaches the illuminated walls. A concrete arm stretches to the outside and leads the visitant to the pavillion's entrance. The interior, contrasting with the cold, rocky shape of the exterior, is covered in wood - cozy and warm.
Site Analysis | compreensão do terreno
Site Plan | planta de situação
Floor Plan | planta-baixa
Design References | projetos de referência
Villeacerón Chapel, S.M.A.O | Church of Light, Tadao Ando | Bruderklaus Chapel, Peter Zumthor | Terms os Vaals, Peter Zumthor
