Introduction
The Santa Maria Church in Marco de Canavezes is part of an
overall complex that forms a parish center. The decision to choose as the
architect Siza's particular choice of Hyginus Nuno father who trusted fully in
this architect to develop this very ambitious project.
The program for this rural parish comprises three buildings
of two floors:
1.
Church
and Chapel Funeral Home.
2.
Auditorium
and Sunday School.
3.
Housing
pastor.
The new buildings are arranged around a central courtyard, a
ceremonial space located opposite the entrance of the church. In the plan
proposed by Siza the church plays a central role ensures that the entire
complex shall be consistent with the scale of pre-existing buildings nearby.
Location
The church is located in a village of rural characteristics
in extremely difficult terrain, topographically complex: a hill surrounded by
its main access road, which passes in front and laterally.
There is another access, located on the opposite side to a
different dimension, so the architect had to shape this field completely
slipped.
According to the same Siza was very helpful the presence of a
very beautiful building but not geometrically precise, it was the only solid
element in its area, the building stands behind the hill where the church and
therefore the analysis topography, sought to relate much to this volume, which
is very notable, placing the church at right angles, taking the hill in a
symmetrical way.
You can access the raised platform in the courtyard of the
church via a ramp from the east or a ladder from the west, both approaches are
consistent with the disposition of city streets.
There is also a shortcut to the funeral chapel from adjacent
land, owned by the Holy House of Mercy.
Concept
The architect takes as its fundamental premise for this
project sees the debate he raised on the area of the church. He said the major
issues affecting the space liturgy of the church are in a period of instability
or uncertainty.
Siza note the existence of a first phase in which the
preponderant in most of the projects is a sense of unity of the assembly with
the celebrants and good visibility: called as a democratic space and the
solutions were tending toward an amphitheater.
The responses to the changes that dominated council was
considering the church as an auditorium, which according Siza lose some of this
makes the atmosphere inside the churches, from their point of view can not lose
all that generated these historic buildings .
He opted for a longitudinal plan, which has much to do with
the feeling of losing something of what was to have been maturing for
centuries. As for the expression of the church did not address in a special way
this type of project: building a church, religion, spirituality .... No, the
church was designed from what really is the space of a church and everything
else (atmosphere , spirituality, etc..) came from there.
Spaces
The plan of the church is a rectangular vessel of 30 meters.
long, 16.5 meters. wide and 16.5 meters. tall, with main entrance located at
the southwest corner, the facade is divided into three sections with two towers
that protrude from the plane where the front door is located.
The altar, which emphasizes the erosion of the inner corners
of the nave, rises 45 cm. above the level of the ship, extending laterally
under these convex forms and maintaining a minimum ceiling height of five
meters.
The main hall can accommodate 400 people, divided by a
central corridor 3 m wide receives light from outside through three holes
located on the curved ceiling in the north-west wall, a continuous horizontal
cut crossing the south-east wall and a skylight located behind the altar that
also illuminates the funeral chapel that is located below.
The baptistery has one of the two bodies that are ahead of
the main facade, the other body functions as the side entrance lobby to the
church, with the staircase to the organ and bells. On one side of the ship
subsidiary has a rectangular shape, with the lateral extension of the altar,
the sacristy, registration and confessionals, a staircase and an elevator
connecting these areas with the chapel in the basement.
Structure & Materials
Are typical materials used by Siza, the exterior walls of
whitewashed concrete, interior walls and ceiling are covered with stucco,
marble tiles in the baptistery, large glass panels to symbolize the
transparency of the church.
The floors are wood, granite and marble, the roof is
constructed with sheets of zinc, used local building techniques to reduce
costs, Siza design each object in the church and his signature appears on every
deta
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