Inscription Process for a Sacred Place

Inscription process for a sacred place
(a reflection on drawing essence)

text: João Manuel Miranda,
architect & researcher

headline graphic: Christian Kerez

graphics: StaatArchiv Chur, Graubünden, Switzerland & Architekturbüro Rudolf Fontana*

reading time: around 10 min

In Oberrealta, conceptually, there is a “marking / inscription of a place”, carried out by the construction of a building in function of an existing ruin – primarily, acquiring a transformation of a space into a place. The theme that a construction creates perimeter on an old structure suggests an idea of stagnation on the existing one, as a mean of avoiding disorder ¹. Additionally, it can be stated that the construction, of this particular volume, operates as an element of ordering the space and the existing², where the outline of the shape of the new building results from the shape (and) of the existing ruin, thus ensuring continuity of tradition³. The building in Oberrealta has material uniformity (in concrete), so the homogenization of the construction allows the understanding of a unique space⁴. In a way, the intervention can not only be considered as a crystallization of an old structure, that merges with the new construction, but also be suggested as a volume that covers the old ruin like a protective vessel cast – as an unfinished perfect mass.

1. The boundary prevents disorderly increase in Canetti, Crowds and Power, 17.

2. It establishes itself by accepting its limitation in Ibid.

3. Thus, the primary objective of the project design would be the enclosure related to the containment of the ruin, thus allowing the new construction to serve as the “boundary” of the old structure.

4. “(…) comes very close to this homogeneous solid system, both in terms of material and interior effect – although the roof structure, which is exposed to bending forces, does not strictly comply with the criteria of a solid system.” in Henning Baurmann et al., Scale: Support I Materialise: Columns, Walls, Floors (Walter de Gruyter, 2013), 34.

The intention of not having architectural existences: gable; gutters; door; frames − is part of the constructive and ideological design (and inscription) process, sometimes understood as sculptural, with abstention from elements, focusing the form in a unique pure volume. Although, the process, for the conception of this volume, becomes the most important moment (that precedes its conclusion), possible to analyze through the photographic records of the various stages: firstly, the materialization of the concrete elements, and consequently the regularization of the internal space, as foundations frame the new building floor. Eventually, its simple form precedes from an intense study of casting work, where the most precise details were hidden in order to present a unique volume (as if built in a single time), and as if it were a protective cover for the existing ruin. Resulting the inscription of the space by a gabled construction (45º) with only one room / nave. So, the resultant space created by the containment of an existing element subsequently reinstitutes the previous typology – an emplacement⁵ religious construction, entitled as a chapel.

5. As a mean of relating to the sacred – “Emplacement, or ritual in place, transforms and elevates the ordinary to sacred. This is particularly meaningful when discussing ritualized movement as a means to encounter the sacred.” in Douglas R. Hoffman, Seeking the Sacred in Contemporary Religious Architecture (Kent State University Press, 2010), 15.

6. Only one material is used in its design, so that the symbolism of a completely uniform space is clear, and of a construction that aims to show in a simple and simple way the materialization (and marking) of the space, creating a place.

7. Being able to relate to the mountain shelters of the SAC, the Berghütten.

8. With regard to physical protection for man, in the chapel in Oberrealta, the intention of creating a sacred space - drawing of the “house” of God - the association with an archetypal type of housing - is hypothesized in the design process, also as the “home” for Man.

9. “So, I was very much kind of influenced by the idea that the sacred (…) is more about the essence of architecture” in Bachelard, The Poetics of Space, XXXVII.

10. “(…) the building is very poor, but it is not about the building itself, but about the manifestation of a specific point in the landscape” in Ibid.

The designated chapel, as a contemporary object, can be referred to the issue of “material abstention”, the renunciation of any non-essential element ⁶. Starting from the construction of the archetype, it is possible to establish a relationship between a shelter construction (of a mountain⁷) with a duality of meaning(s), both of physical and spiritual protection for Man, and of material protection for the ruin of the old chapel ⁸. Regarding the concept of material protection, the chapel fits into an approach on respect for ruin and preservation of the memory of an ancient sacred place. Also, it obtains a transformation process, either regarding the matter and the materiality of the contemporary construction, but also regarding the transformation (as a merging process) of the ancient existing ruins to a (contemporary) surface, and base for the newest construction. The extraordinary in this chapel is its location and its essential shape ⁹, which allow a harmonious relationship between construction and Nature. The basic theme for understanding the design will be the outlining of a specific point in the natural space (and its building process), so its main purpose is the exaltation of the natural environment ¹⁰.

11. Indeed, with regard to its location, it can be said that it is alone in relation to existing buildings and everything that is material. Also, analyzing rom a spiritual point of view, in its essence, it can be said that “The hermit is alone before God” in Bachelard, The Poetics of Space, 32.

12. The restitution of a (sacred) place of communion / veneration for the local community, demanded by it.

13. One of the main characteristics was the fact that local stone was used in the concrete mixture, allowing a color approximate mountainous surroundings.

The inscription practice is not a form of control over space, or evasion of Nature, but rather a simple manifestation in the place, where the solitude¹¹ of the chapel establishes a symbolic place on the Oberrealta plateau associated with a memory and tradition¹². Furthermore, it is intended to be directly related to the surrounding natural elements and its atmosphere, with the immense mountain landscape around ¹³. By understanding and analyzing these factors, it is established that the chapel allows a sense of the present's surroundings (that is, the notion of the here and now), allowing for a longer experience, of contemplating the object with the natural space. Eventually, as an observer and visitor, the design process of the chapel transforms itself in an experiential decoding process regarding matter and construction – turning the experience in a unique sensorial process of wandering throughout the plateau, noticing that the dimension of the natural space and the romanticism of the dense and vast alpine landscape is exalted by the simple and naive construction of the small chapel.

14. The location of the chapel has an important relationship between the implantation and the plateau and the hillside. Because it is on the edge, in a dizzying point, as if, symbolically, it marks the limit of the plateau. The location is outside the limits of the village, in other words, it is in a "another space", unique and singular. In my experience, the chapel, taking into account the method by which it was conceived, aims to highlight the purity and essence that exposes, in a contemporary way, exalts the context in which it is inserted, consecrating the natural space, especially the mountain, the surrounding, and the plateau where it is located.

15. Instead of the attention being directed to the chapel, where an object is conceived that absorbs the direction of the gaze towards a specific point, it is captured by the sublime alpine landscape, because the dimension of the Alps is overwhelming, in comparison with the small village, and even more so with the chapel.

Furthermore, it is thus possible to relate this structure (through its construction process and from the different building stages) as modest construction which symbolizes a neutralization of architecture with the main aim of enhancing the sacred dimension of the landscape. As Christian Kerez points out, the chapel has a special dimension by its concept(ion) / method of composition and thanks to its location ¹⁴, and the way it relates to the landscape and nature (which is possible to observe in the place, when witnessed) – it is understood that the chapel acquires a particular dimension by the place and context in which it is ¹⁵.

Geographically, having been built exactly in a place of ancient veneration, ¹⁶ the indicated place is a privileged space due to its ultimate pure and constant relationship with the mountain's natural cosmos. In this sense, the sacredness of the place does not necessarily reside in architecture (and design process or methodology) itself, but in the way it promotes a permanent and continuous relationship between Man and / with the surrounding natural space, ¹⁷ which by its characteristics evokes the sacred both for contemporary Man and for the of antiquity. Ultimately, in this particular context, (the essence is that) the chapel circumscribes a place, where (the) architecture allows a fundamental wholesome transformation (process) of the site and the exaltation of the sacred and the romantic and sacred dimension of the landscape. ¹⁸

16. “Churches are built to contain the existing faithful and are enlarged only with reluctance and circumspection when there is real need.” in Elias Canetti, Crowds and Power (Continuum, 1978), 24.

17. The chapel in Oberrealta works as a point of unity for man, where it was necessary to materialize a space in order to shape the relationship with the sacred, as it is necessary for human beings.

18. “(…) the pursuit of a Romantic exaltation of nature.” in Daniel Bosshard et al., «Graubünden. Antología de datos sobre lugares, cosas y personas del cantón de los Grisones. Graubünden. Anthology of data of places, things and people.», em 2G: Construir en las montañas Arquitectura reciente en los Grisones (Barcelona: Editorial Gustavo Gili, SA, 2000), 13.

"I think that the real extraordinary thing about this small chapel is its location and how it relates itself with the magnificent landscape. In this sense, all of its essence comes from this relationship. For me, the construction of the chapel, was an instrument and a tool to make the surrounding even more impressive and more glorious, by designing an object that has its own modesty that when relates itself with the environment, transmits this beauty and richness of its surrounding."

Christian Kerez, March 2017
in ‘O Corpo e a Montanha. Materialização do lugar sagrado’

*The visual content displayed is shared and available due to courtesy of StaatArchiv Chur, Graubünden, Switzerland & Architekturbüro Rudolf Fontana to the author / João Manuel Miranda. Any redistribution or reproduction of part or all of the visual contents in any form is prohibited. You may not, except with the author's express written permission, distribute or commercially exploit the content. Nor may you transmit it or store it in any other platform without the prior written permission.

On the right:
Plateau in Oberrealta, 1992
Drawing in Oberrealta, Christian Kerez, 1992