Chiesa Diruta
2022 Belgrade
Competition entry
Here is a question: how to livetwo lives? One life which is a continuation of the previous and a second one which is entirely new. The cracks in the church walls are in themselves proof of life rather than ruin -living wounds through which a Deleuzian possibility of life can truly be found.
The beauty and aesthetics of the ruin are in this sense a state of their own. When we talk about "Third Life" we are talking about something that is completely new but at the same time everything that it used to be. The immateriality of music is the spirit which intends to infuse physical space - a concert hall inside the church shell. In this sense it is similar to a musical box, a kind of mechanism. The bell is replaced with organs, the altar with a curtain and the vertical space which remains - a pillar of thought. It is about a feeling which offers the possibility of second (third) life replay.
The "Cut" in this project is an architectural paradox of sorts in the sense that through addition but also through changing the weight of the structural material an antigravitational force is projected onto the ruin. Pieces of the church are cut, replaced with glass - and then elevated towards the sublime. The space is equipped with all the neccessary theatrical equipment (lighting, sound, etc.) and the conditioning systems are positioned in the lower zones of the building.The Acustic performance of the space is such that it's geometry already enables a good quality of sound, however there are still other atmospheric elements designed to shift and render more complex the experience directed towards the imaginary, the ideal, the surreal...
The beauty and aesthetics of the ruin are in this sense a state of their own. When we talk about "Third Life" we are talking about something that is completely new but at the same time everything that it used to be. The immateriality of music is the spirit which intends to infuse physical space - a concert hall inside the church shell. In this sense it is similar to a musical box, a kind of mechanism. The bell is replaced with organs, the altar with a curtain and the vertical space which remains - a pillar of thought. It is about a feeling which offers the possibility of second (third) life replay.
The "Cut" in this project is an architectural paradox of sorts in the sense that through addition but also through changing the weight of the structural material an antigravitational force is projected onto the ruin. Pieces of the church are cut, replaced with glass - and then elevated towards the sublime. The space is equipped with all the neccessary theatrical equipment (lighting, sound, etc.) and the conditioning systems are positioned in the lower zones of the building.The Acustic performance of the space is such that it's geometry already enables a good quality of sound, however there are still other atmospheric elements designed to shift and render more complex the experience directed towards the imaginary, the ideal, the surreal...
With
Duska Prodanovic, Mila Lukovic