#Lantos András
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Jövőbeni tervek
Ha már a MondoConos postban említést tettem a terveimről, akkor úgy döntöttem, hogy a külön blogpostban kifejtem, hogy miről is van szó. A lényeg az, hogy az írási készségemet ezen túl komolyan fejlesztve szeretnék minél több emberhez eljutni. Azt már márciusban megtettem, hogy külön tematikus blogokat hoztam létre, amibe komolyabb, elsősorban kifejtősebb írások kerülnek, illetve a kritikák,…
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#576 Konzol#Az utazó macska krónikája#Dévényi István#Günther Jauch#Gundel Takács Gábor#Hajdú B. István#Kádár Annamária#Lantos András#MondoCon#Wéber Gábor
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Magyar betűtervezők:
Katyi Ádám » https://hungarumlaut.com Szikora Tibor » https://www.cinketype.com/ Amondó Szegi » https://amondo.hu/ (http://fontanatype.com/) Kóthay Gábor » http://fontanatype.com/ (?) Szőnyei György » https://arthungry.com/szonyeigy Boskovitz Oszkár » https://www.instagram.com/oscarfoundry KravjánszkyRóbert » https://font.hu/ Frank Béla » https://www.instagram.com/frank_fonts/ Ferencz Miklós » http://feren.cz Halasi Zoltán » https://www.instagram.com/zedocki Borsa Alíz » https://www.instagram.com/borsaaliz Kiss Miklós » https://typefaces.kissmiklos.com Hegedűs Márton https://sansless.xyz/about Berecz András » https://www.behance.net/bereczandras Gábor Péter » https://www.typogabor.com/portfolio/index.html Lantos Tibor (Frodo7) » https://frodo7.tumblr.com
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Újra van Pokémon Mystery Dungeon: Explorers of Darkness!
Körülbelül 15 év után ismét sikerült szert tenni egy Pokémon Mystery Dungeon: Explorers of Darkness-re. Még Békéscsabán vettem a Media Markt-ban 2008 körül, mélyen leszállított áron, 1.990 forintért. Azért tudtam akkor ennyire olcsón megvenni, mert akkor még a Stadlbauer nevű osztrák székhelyű cég forgalmazta a Nintendo játékokat Magyarországon és az üzletpolitikájuk része volt az, hogy nem…
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"He is the light at the end of the tunnel."
András Lantos about Klemen Bauer who was coming out of the tunnel in Nově Město na Moravě
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Robert Gutowski Architects designs minimal church interior in response to changes in modern worship
The Church of Pope John Paul II in Páty, Hungary, is a crescent-shaped building featuring skewed angles and whitewashed concrete that aims to turn "passive observers" into active participants of worship.
Local practice Robert Gutowski Architects filled the church in the village of Páty in Budapest with modern takes on traditional aspects of Medieval, ecclesiastical architecture.
The intention was to shift the emphasis towards the altar and the congregation to make the act of worship more engaging.
The Church of Pope John Paul II features an elliptical layout
Traditional churches typically have a rectangular floor plan and are made up of a nave – the central part of the church – and an apse – the semicircular or polygonal area at the end of the aisle, usually located behind the altar.
The Church of Pope John Paul II, however, has an elliptical layout, made up of the crescent-shaped building of worship that wraps around an adjoining oval-shaped outdoor space.
Therefore what would typically be the nave of a conventional church functions as the churchyard or garden, while the liturgical space is situated where the apse would be.
The church interior features whitewashed reinforced concrete ceilings and walls
As studio founder Robert Gutowski explains, this layout was designed to place more emphasis on the communal experience of the Eucharist and to "invite people closer to the holy act" at the altar.
"If you like, we invite people into the apse, surrounding the altar, forming a community," the architect explained. "It is also similar to the liturgy of early times, when Paleochristians simply surrounded a table in their own home – what is known as Domus Ecclesiae."
The design aims to place more emphasis on the Eucharist and the altar
"The church clearly defines its purpose: while the Creator and the almighty God are at the centre of traditional liturgy, modern liturgical efforts have shifted emphasis to the recreator God, the image of a perpetually redeeming Christ," Gutowski added.
"The Church of Pope John Paul II represents a conscious response to liturgical changes in recent decades, rendering it a model church experiment in contemporary church architecture," he continued.
"Emphasis is shifted toward the active involvement of worshippers.The community is not a passive observer of events in a sanctuary, but rather actively experiences the holy act."
The church building itself has a crescent-like shape
Several rooms lead off of the central, liturgical space, including a communal room, a service room and an office on the ground floor, and an educational room, guest room, the priest's living quarters, and access to the bell tower on the first floor.
Each of these rooms are enclosed in one, whole elliptical floor plan – a form chosen to symbolise "perpetuity" and to create a holistic space.
"The concept is that when we say 'church', this does not refer only to the part of the chapel, but rather to the whole community building in one singular form," explained Gutowski.
Angled walls and off-centre details represent the broken body of Christ
The two ellipses formed by the crescent-shaped church and the adjoining yard have been set at different axes. This is following the historically "inaccurate" layout of traditional churches, wherein the nave and the apse tend to be slightly off-centre of each other.
"We cannot name one single church that sits on the same axis, because pretty much all of the historical churches in Europe have this tiny 'mistake', which actually became a symbol of the broken body of Christ," added Gutowski.
This symbol of Christ's broken body has been extended to the church interior, which features walls set at slanted, uneven angles.
Spotlights and skylights illuminate significant spaces in the church
The domed ceiling, made from reinforced concrete, is lined with spotlights that illuminate various sacral functions such as the area of the altar and surrounding alcoves filled with religious artworks.
A rectangular cutout in the ceiling also fills the room with natural light, which is directed particularly at the centre towards the altar.
The altar is carved from a single block of deep green stone
While the majority of the interior has been painted white – bar the natural-wood pews – the altar is carved from a single block of deep green onyx stone, standing out from its surroundings to serve as the focal point of the space.
The structure itself is symmetrical but every detail is asymmetrical, such as the alcoves. The altar is the only element that sits on the main axis of the building.
Steps made of white Carrara marble lead up to the altar, which have trapezoid-shaped surfaces with rounded corners to allow gathering around the sanctuary space.
A curved staircase leads up to the first floor
The design and construction of The Church of Pope John Paul II was carried out with the help of the local community. The church was built mainly using donations, and was consecrated in 2019.
The church has been shortlisted in the civic and cultural interior project category of this year's Dezeen Awards.
Other projects in this category include a crematorium in Belgium designed by Rotterdam-based studio Kaan Architecten, which is made up of one rectilinear volume made from blocks of unfinished concrete.
A museum for children in Pittsburgh has also been shortlisted in the civic and cultural interior project category, which US firm KoningEizenberg Architecture renovated from the remains of a historic library that was struck by lightning.
Project credits:
Architect: Robert Gutowski Design team: Ákos Boczkó, Gáspár Bollók, Barnabás Dely-Steindl, Hunor László Kovács, István Kövér, Attila Révai, Béla Ákos Szokolay Artworks: Csaba Ozsvári, István Böjte Horváth Landscape design: Attila Páll Engineering: Zoltán Klopka, András Lantos, Gáspár Sándor, Gellért Mérő, János Mészáros Photography: Tamás Bujnovszky
The post Robert Gutowski Architects designs minimal church interior in response to changes in modern worship appeared first on Dezeen.
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eXistenZ
Jack into your bio-ports kids as we get into the fleshy side of virtual reality in this weird as take on bio-virtual reality; eXistenZ!
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The Kim Coppola Award Awarded to the Finest Worst Actor of the Film
The Guch: Evgeny Nurish
Devo: Jennifer Jason Leigh as Allegra Geller
The Clintoris: Hugo Carla
Winner: Callum Keith Rennie and Hugo Carla
Movie Details
Directed by David Cronenberg
Produced by David Cronenberg, András Hámori, Robert Lantos
Written by David Cronenberg
Starring
Jennifer Jason Leigh
Jude Law
Ian Holm
Don McKellar
Callum Keith Rennie
Sarah Polley
Robert A. Silverman
Christopher Eccleston
Willem Dafoe
Music by Howard Shore
Cinematography Peter Suschitzky
Edited by Ronald Sanders
Distributed by Miramax Films (US)
Release date April 23, 1999 (Canada/US)
Running time 97 minutes
Budget CAD$31 million, USD$15 million
Box office $2.9 million
Welcome 2 Show Review Scores
The Guch: 8.5
Devo: 5
The Clintoris: 9.5
Overall: 7.5
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Lengyel László: Utolsó kör
New Post has been published on https://zarojel.hu/lengyel-laszlo-utolso-kor/
Lengyel László: Utolsó kör
[vc_row][vc_column][vc_column_text]A Fidesz felfalta saját gyermekeit. Vagy másként, Orbán Viktor eltüntette a Fidesz és kormányzása előző szereplőit. A vezetői bizalom sokadik körénél tartunk. Ha megnézzük a Fidesz kongresszusának képeit, nem az a fontos, hogy kik vannak rajtuk – senkik -, hanem hogy kik hiányoznak. Az egyetlen biztos, örök pont Orbán Viktor, a többiek fogyóeszközök.[/vc_column_text][vc_raw_html]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[/vc_raw_html][vc_separator style=”shadow”][vc_widget_sidebar title=”…” sidebar_id=”gridlove_sidebar_1″][vc_separator style=”shadow”][/vc_column][/vc_row][vc_row][vc_column][vc_single_image image=”151790″ img_size=”800×600″ add_caption=”yes” alignment=”center” onclick=”link_image” css=”.vc_custom_1511633360876background-image: url(https://www.zarojel.hu/wp-content/uploads/2017/04/small_header_bg-1.png?id=4336) !important;background-position: 0 0 !important;background-repeat: repeat !important;”][vc_raw_html]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[/vc_raw_html][vc_column_text]
Zombi politikusok
Az ős-Fideszből a mindenki vérével táplálkozó, pirospozsgás Orbán mellett már csak két élő-halott, zombi-politikus maradt: Kövér László és Áder János. E kettőt minden nap megalázza a tehetetlenség és a befolyásnélküliség. Valaha egyenrangú, autonóm személyiségek voltak, mára eltérő szolgálatokat teljesítő árnyak: az egyiknek az a feladata, hogy madárijesztő legyen, a másiknak az, hogy a Nagy Némát játssza. A többiek, ahogy ők is, mindannyian víg és szabad, gondolkodó és vakmerő fiúkként indultak, nagy ígéretként, hogy sárban és szarban, pénzben és hatalomban megfürdött, megromlott emberekként végezzék. Valószínűleg jobban jártak azok, akik korábban kiestek, mint Fodor Gábor és emberei, vagy Urbán László és Rockenbauer Zoltán. Nem váltak bohóccá, mint Deutsch Tamás és Kósa Lajos, vagy kiégett emberré, mint Szájer József és Németh Zsolt. És 2014 óta a leghívebb barát és a Fidesz-oligarchia megalapítója, Simicska Lajos is szitokszó. Végül, csendben kivonult Pokorni Zoltán. Velük és bennük az értékelvű, a valamiben hívő Fidesz-közösség, a maradék belső demokrácia tűnt el, igaz, Orbánnal együtt mindent megtettek az eltüntetéséért. Ezek az emberek, tegyenek bárhogy, pontosan tudják, hogy nem azért indultak neki 1988-89-ben, hogy kirabolják, vagy hagyják kirabolni az országot, hogy Nyugatról Keletre, Európából Ázsiába fordítsák, hogy mozgalmuk szabad és egyenrangú közösségét a vezér és szolgái udvarává változtassák. Kísérteties, ahogy megtalálták Rákosi Mátyásukat, s váltak Farkas Mihályává, Gerő Ernőjévé, Révai Józsefévé. Felszámolták saját mozgalmukat, eszméiket, végül maradék magukat.
De ugyanígy hiányzik ma már a felvételekről a 98-as kormány,
Chikán Attila, Hámori József, Járai Zsigmond, Jeszenszky Géza, Martonyi János, Mellár Tamás, Prőhle Gergely, Stumpf István és általában az az értelmiségi és szakértői kör, akiket polgári Magyarországként emlegettek. Nincs már Tölgyessy Péter vagy Sólyom László, hogy a jogállam szabályaira figyelmeztessenek. Az Orbán-rendszer nemcsak a szociálliberális, hanem a konzervatív elitet is öreg, idejétmúlt, használhatatlan és fölösleges elitnek tekinti, akiknek tudására, tapasztalatára egyáltalán nem tart igényt. Amit a szociálliberálisok büntetésből, a konzervatívok jutalmul kapják: kívül tágasabb, ez nem a ti országotok!
És hol vannak ma már a 2010-ben megemeltek,
Navracsics Tiborok, Fellegi Tamások és Gál András Leventék, az új-régi oligarchák, Spéder Zoltánok, Lantos Csabák, Csák Jánosok? Spéder Zoltán ügye után van oka félnie valamennyi régi-új és új-régi oligarchának Csányi Sándortól Hernádi Zsoltig, Andy Vajnától Habony Árpádig. Ahogy növekszik a központosított államhatalom a helyi hatalom kárára, vele növekszik a királyi uradalom az oligarcha magánbirtokok terhére. Ha nincs korlátja a politikai központi hatalomnak, miért lenne a gazdasági hatalomnak? Ez persze a higgs-i „rendszer-bizonytalansághoz” (regime uncertainty) vezet: a tulajdonos elveszti hitét, hogy tulajdonát a kormányzat, a rendszer tiszteletben tartja. Ahogy ő szerezte bennfentesen, erőszakkal a rendszer révén, most tőle vehetik és veszik el ugyancsak a rendszer eszközeivel.
Korábban feltételeztem, hogy az öregedő és gyengülő miniszterelnökre veszedelmesen fölsandít két lehetséges utódjának ármánya.
Ahogy a lelassuló Sztálin halálára Berija és Malenkov várakozott türelmetlenül, úgy várakozott Orbán Viktoréra Rogán Antal és Lázár János. S ahogy egymást gyűlölve, egymásra fenekedve harcoltak, úgy látszott egyre kiszámíthatatlanabbnak a rendszer jövője. Tévedtem. Sztálin elvtárs még éppen elég éber és erős, hogy kitekerje Berija és Malenkov nyakát, hogy a hatalom és a maga közeléből eltávolítson minden lehetséges utódot. Rogán és Lázár politikai halottak. Orbán Viktor körül kizárólag némethszilárdok és kubatovgáborok, politikai névtelenek vannak. Az út, amely Kövér Lászlótól Rogán Antalon át Németh Szilárdig, Áder Jánostól Lázár Jánoson át Kubatov Gáborig visz, jól ábrázolja a rendszer és a rendszer urának természetét. A királyi uradalmon már csak két család, az Orbán és a Matolcsy családok osztoznak – a diszkrét Mészáros, Balog és más jól megválasztott neveken.
Homo kadaricus
Az Orbán-rendszer legnagyobb eredménye, hogy megszülte és fölnevelte a homo orbanicust, az orbáni embert, aki újra szüli a rendszert. Ha a Kádár-rendszer tartósságának és biztonságának záloga az 1960-as évektől fölnövekvő kádári ember, akire jobban támaszkodhatott a rendszer, mint saját intézményeire, az Orbán-rendszeré az orbáni ember, a homo orbanicus. Az orbáni intézmények, a Fidesz párt, a kormány, az erőszakszervezetek, a média, miként a szabályrendszerek vagy a politikai szereplők nem szilárdak és nem tartósak, ellenben mind a kikényszerített vagy önkéntesen követett társadalmi szokások, habitusok, viselkedésmódok, mind a tudat határain vagy azon túl bolyongó névtelen emóciók nagyon is erős falakkal, kerítésekkel épülnek. Vlagyimir Putyinnak egyszerre létezik hihetetlenül erős és jól koordinált titkosszolgálati-katonai-politikai intézményrendszere, brutálisan alkalmazott szabályrendszere, és az évszázados cári hagyományra, a homo sovieticus viselkedésmódjára építő putyini embere.
A kádári embert saját 1956-os tapasztalata és a rendszer megtorló gépezetének tanítása arra vezette, hogy nincs lázadás, nincs ellenzékieskedés, de van tárgyalás és alkudozás. A közpolitikát át kell engednie a hatalmasoknak, ugyanakkor valamennyi társadalmi és gazdasági engedményt, szabad teret ki kell használnia maga és családja számára. A homo kadaricus, akit a rendszer kisembernek nevezett, fokozatosan leszokott a félelemről: ha békén hagyod a hatalmat, a hatalom is békén hagy téged. Fokozatosan magáévá tette a rendszert, ahogy a rendszer magáévá tette őt. Hitte, akarta – ez az ő, a mi rendszerünk. A rendszer hitte és akarta – ezek az ő emberei.
A nép Kádárja. Kádár népe.
Nincs ideológia, nincsenek elvek, csak érdekek, hasznok és hátrányok vannak. Nincs közösségi szolidaritás és együttműködés, de van személyes családi és baráti felelősség: csak magadra és szűkebb környezetedre számíthatsz. Légy pragmatikus, gyakorlatias, amit elértél, magadnak és nem a rendszernek köszönheted. Ugyanakkor potyautasként hozzászoktatta magát, hogy minden lehetséges állami juttatást szerezzen meg: nekem, nekünk ez jár. A homo kadaricus életszínvonal-nacionalista, forint-nacionalista volt, aki úgy gondolta, hogy az a magyar, aki úgy él, fogyaszt, viselkedik, ahogy ő, országára és nemzetére annyiban volt büszke, hogy ő maga és környezete jobban élt, mint bárki a szocialista táborban. Kádár János nem vezet, hanem bölcsen nem csinál semmit. Nincs vezér, nincs kormányzó. Nem lobog a zászló, nem könnyes a himnusz, nincs Trianon, hanem van magyar szalámi, világútlevél és szabad ordítozás a kocsmában.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_raw_html]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[/vc_raw_html][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]
Homo orbanicus
Az orbáni embert saját 2006 őszi, 2007 tavaszi megrémítő tapasztalatai, az orbáni ellenzéki viselkedés, majd a 2010 utáni Orbán-kormányok rendszer- és emberromboló és építő munkája alakítja.
Orbán Viktor immár egy évtizedet fektetett be abba, hogy ne csak új és más rendszert/államot építsen, hanem az új ember kovácsa is legyen. Valljuk meg, kivételes társadalmi érzékenységre és ügyességre vall, ahogy Orbán Viktor képes volt összekapcsolni egymással a Horthy-kor tekintélyelvű intézményeinek nacionalista tradícióit a Kádár-kor embereinek szociálprotekcionista hagyományaival. Miközben elővette és leporolta – istenem: „trianonosította” – a 30-as évek intézményi és szabályozási technikáit, s Pintér Sándor néha Keresztes-Fischer Ferenc örökös belügyminiszterként ébred, ő pedig a Várban Horthy Miklósként; egy másik, 52 négyzetméteres, lakótelepi lakás beépített szekrényéből kiakasztotta a homo kadaricus apától örökölt csíkos inget, a pocak alá csüngő nadrágot és Bözsi nénit a naftalinból a sárga csekkjével.
A homo orbanicus védelemre szorul.
Elveszettnek és becsapottnak érzi magát. Sérelmei vannak. Üldözik. Senki, soha nem hallgatta meg. Igazságtételre vágyik. Mindenekelőtt biztonságot akar, amit homo kadaricus szüleitől és nagyszüleitől a rendszerváltás vett el. Akkor vált minden bizonytalanná, attól fogva igazságtalan és tisztességtelen mindenki, aki fönt van. A régi, a hamis alkukat kötő, húsz éven át uralkodó elit csapott be minket. Legyen vége a piszkos alkuknak! A politikusönzésnek. Mi kisemberek tehetetlenek vagyunk velük szemben, de szerencsére megjött az újak és mások csapata. A homo orbanicus átadja a hatalomnak, ami a hatalomé. Csakhogy nem ám a régi és gyűlölt hatalmasoknak, hanem a mieinknek. Ők nem politikusok, hanem közülünk valók.
A homo orbanicus mássága, hogy nem kerüli, hanem keresi a konfliktust, nem tartózkodik az erőtől és az erőszaktól, hanem valamennyi viszonyában az erőt mérlegeli. A világ erősekre és gyengékre, életrevalókra és tehetetlenekre, hatalomhoz tartozókra és hatalom nélküliekre oszlik. Az erőseknek minden, a gyengéknek semmi se jár. A valahová, a hozzánk tartozás, a mieink bizalma minden, tudás, képesség, tapasztalat semmi, ha nem tartozol közénk. A homo orbanicus tudja, hogy az intézmények és szabályok hatalma nem számít, csak a személyes hatalom.
A Kádár-rendszerben közélet és magánélet között sövény húzódott.
A homo kadaricus a családját és önmagát szerette. Az Orbán-rendszerben a közélet behatolt a magánéletbe. A homo orbanicus Orbánt szereti, és pontosan tudja, hogy kit kell gyűlölnie. A kádári kisembernek soha nem jutott eszébe, hogy összevesszen a feleségével Kádár miatt, hogy kitagadja a fiát, mert egy politikailag nem-szeretem lánynak udvarol. Az Orbán-rendszernek mára nemcsak a homo orbanicust, de ellenfeleit is sikerült megfertőznie: a politika családi és baráti szeretetek és gyűlöletek tárgya. A közösségi viselkedésben meghatározóvá vált a valós vagy hazudott származás, múlt, viselkedésmód. Kiderült, hogy Orbánnak sikerült nemcsak az érzelmek felső, már ismert és szavakba, képekbe foglalt rétegét – szeretet és gyűlölet, öröm és bánat – megszállnia, hanem a második, mélyebben fekvő, névtelen, a senkiföldjén lakozó érzelmeket is, amelyek rejtve maradtak nemcsak a nyilvánosság, de még maguk az érintettek előtt is. Micsoda barbár nyerseséggel jelennek meg dühök, jajjok, sérelmek sosem látott ismeretlenekkel szemben, és milyen hajthatatlan érzéketlenség mutatkozik kézzelfogható tények ellenében! Ha a homo kadaricus csak a saját szemének hitt, a homo orbanicus csak Orbán Viktorénak. Szüli a rendszert és a rendszer szüli őt. És aki lát, az megy.
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Robert Gutowski Architects designs minimal church interior in response to changes in modern worship
The Church of Pope John Paul II in Páty, Hungary, is a crescent-shaped building featuring skewed angles and whitewashed concrete that aims to turn "passive observers" into active participants of worship.
Local practice Robert Gutowski Architects filled the church in the village of Páty in Budapest with modern takes on traditional aspects of Medieval, ecclesiastical architecture.
The intention was to shift the emphasis towards the altar and the congregation to make the act of worship more engaging.
The Church of Pope John Paul II features an elliptical layout
Traditional churches typically have a rectangular floor plan and are made up of a nave – the central part of the church – and an apse – the semicircular or polygonal area at the end of the aisle, usually located behind the altar.
The Church of Pope John Paul II, however, has an elliptical layout, made up of the crescent-shaped building of worship that wraps around an adjoining oval-shaped outdoor space.
Therefore what would typically be the nave of a conventional church functions as the churchyard or garden, while the liturgical space is situated where the apse would be.
The church interior features whitewashed reinforced concrete ceilings and walls
As studio founder Robert Gutowski explains, this layout was designed to place more emphasis on the communal experience of the Eucharist and to "invite people closer to the holy act" at the altar.
"If you like, we invite people into the apse, surrounding the altar, forming a community," the architect explained. "It is also similar to the liturgy of early times, when Paleochristians simply surrounded a table in their own home – what is known as Domus Ecclesiae."
The design aims to place more emphasis on the Eucharist and the altar
"The church clearly defines its purpose: while the Creator and the almighty God are at the centre of traditional liturgy, modern liturgical efforts have shifted emphasis to the recreator God, the image of a perpetually redeeming Christ," Gutowski added.
"The Church of Pope John Paul II represents a conscious response to liturgical changes in recent decades, rendering it a model church experiment in contemporary church architecture," he continued.
"Emphasis is shifted toward the active involvement of worshippers.The community is not a passive observer of events in a sanctuary, but rather actively experiences the holy act."
The church building itself has a crescent-like shape
Several rooms lead off of the central, liturgical space, including a communal room, a service room and an office on the ground floor, and an educational room, guest room, the priest's living quarters, and access to the bell tower on the first floor.
Each of these rooms are enclosed in one, whole elliptical floor plan – a form chosen to symbolise "perpetuity" and to create a holistic space.
"The concept is that when we say 'church', this does not refer only to the part of the chapel, but rather to the whole community building in one singular form," explained Gutowski.
Angled walls and off-centre details represent the broken body of Christ
The two ellipses formed by the crescent-shaped church and the adjoining yard have been set at different axes. This is following the historically "inaccurate" layout of traditional churches, wherein the nave and the apse tend to be slightly off-centre of each other.
"We cannot name one single church that sits on the same axis, because pretty much all of the historical churches in Europe have this tiny 'mistake', which actually became a symbol of the broken body of Christ," added Gutowski.
This symbol of Christ's broken body has been extended to the church interior, which features walls set at slanted, uneven angles.
Spotlights and skylights illuminate significant spaces in the church
The domed ceiling, made from reinforced concrete, is lined with spotlights that illuminate various sacral functions such as the area of the altar and surrounding alcoves filled with religious artworks.
A rectangular cutout in the ceiling also fills the room with natural light, which is directed particularly at the centre towards the altar.
The altar is carved from a single block of deep green stone
While the majority of the interior has been painted white – bar the natural-wood pews – the altar is carved from a single block of deep green onyx stone, standing out from its surroundings to serve as the focal point of the space.
The structure itself is symmetrical but every detail is asymmetrical, such as the alcoves. The altar is the only element that sits on the main axis of the building.
Steps made of white Carrara marble lead up to the altar, which have trapezoid-shaped surfaces with rounded corners to allow gathering around the sanctuary space.
A curved staircase leads up to the first floor
The design and construction of The Church of Pope John Paul II was carried out with the help of the local community. The church was built mainly using donations, and was consecrated in 2019.
The church has been shortlisted in the civic and cultural interior project category of this year's Dezeen Awards.
Other projects in this category include a crematorium in Belgium designed by Rotterdam-based studio Kaan Architecten, which is made up of one rectilinear volume made from blocks of unfinished concrete.
A museum for children in Pittsburgh has also been shortlisted in the civic and cultural interior project category, which US firm KoningEizenberg Architecture renovated from the remains of a historic library that was struck by lightning.
Project credits:
Architect: Robert Gutowski Design team: Ákos Boczkó, Gáspár Bollók, Barnabás Dely-Steindl, Hunor László Kovács, István Kövér, Attila Révai, Béla Ákos Szokolay Artworks: Csaba Ozsvári, István Böjte Horváth Landscape design: Attila Páll Engineering: Zoltán Klopka, András Lantos, Gáspár Sándor, Gellért Mérő, János Mészáros Photography: Tamás Bujnovszky
The post Robert Gutowski Architects designs minimal church interior in response to changes in modern worship appeared first on Dezeen.
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Text
Robert Gutowski Architects designs minimal church interior in response to changes in modern worship
The Church of Pope John Paul II in Páty, Hungary, is a crescent-shaped building featuring skewed angles and whitewashed concrete that aims to turn "passive observers" into active participants of worship.
Local practice Robert Gutowski Architects filled the church in the village of Páty in Budapest with modern takes on traditional aspects of Medieval, ecclesiastical architecture.
The intention was to shift the emphasis towards the altar and the congregation to make the act of worship more engaging.
The Church of Pope John Paul II features an elliptical layout
Traditional churches typically have a rectangular floor plan and are made up of a nave – the central part of the church – and an apse – the semicircular or polygonal area at the end of the aisle, usually located behind the altar.
The Church of Pope John Paul II, however, has an elliptical layout, made up of the crescent-shaped building of worship that wraps around an adjoining oval-shaped outdoor space.
Therefore what would typically be the nave of a conventional church functions as the churchyard or garden, while the liturgical space is situated where the apse would be.
The church interior features whitewashed reinforced concrete ceilings and walls
As studio founder Robert Gutowski explains, this layout was designed to place more emphasis on the communal experience of the Eucharist and to "invite people closer to the holy act" at the altar.
"If you like, we invite people into the apse, surrounding the altar, forming a community," the architect explained. "It is also similar to the liturgy of early times, when Paleochristians simply surrounded a table in their own home – what is known as Domus Ecclesiae."
The design aims to place more emphasis on the Eucharist and the altar
"The church clearly defines its purpose: while the Creator and the almighty God are at the centre of traditional liturgy, modern liturgical efforts have shifted emphasis to the recreator God, the image of a perpetually redeeming Christ," Gutowski added.
"The Church of Pope John Paul II represents a conscious response to liturgical changes in recent decades, rendering it a model church experiment in contemporary church architecture," he continued.
"Emphasis is shifted toward the active involvement of worshippers.The community is not a passive observer of events in a sanctuary, but rather actively experiences the holy act."
The church building itself has a crescent-like shape
Several rooms lead off of the central, liturgical space, including a communal room, a service room and an office on the ground floor, and an educational room, guest room, the priest's living quarters, and access to the bell tower on the first floor.
Each of these rooms are enclosed in one, whole elliptical floor plan – a form chosen to symbolise "perpetuity" and to create a holistic space.
"The concept is that when we say 'church', this does not refer only to the part of the chapel, but rather to the whole community building in one singular form," explained Gutowski.
Angled walls and off-centre details represent the broken body of Christ
The two ellipses formed by the crescent-shaped church and the adjoining yard have been set at different axes. This is following the historically "inaccurate" layout of traditional churches, wherein the nave and the apse tend to be slightly off-centre of each other.
"We cannot name one single church that sits on the same axis, because pretty much all of the historical churches in Europe have this tiny 'mistake', which actually became a symbol of the broken body of Christ," added Gutowski.
This symbol of Christ's broken body has been extended to the church interior, which features walls set at slanted, uneven angles.
Spotlights and skylights illuminate significant spaces in the church
The domed ceiling, made from reinforced concrete, is lined with spotlights that illuminate various sacral functions such as the area of the altar and surrounding alcoves filled with religious artworks.
A rectangular cutout in the ceiling also fills the room with natural light, which is directed particularly at the centre towards the altar.
The altar is carved from a single block of deep green stone
While the majority of the interior has been painted white – bar the natural-wood pews – the altar is carved from a single block of deep green onyx stone, standing out from its surroundings to serve as the focal point of the space.
The structure itself is symmetrical but every detail is asymmetrical, such as the alcoves. The altar is the only element that sits on the main axis of the building.
Steps made of white Carrara marble lead up to the altar, which have trapezoid-shaped surfaces with rounded corners to allow gathering around the sanctuary space.
A curved staircase leads up to the first floor
The design and construction of The Church of Pope John Paul II was carried out with the help of the local community. The church was built mainly using donations, and was consecrated in 2019.
The church has been shortlisted in the civic and cultural interior project category of this year's Dezeen Awards.
Other projects in this category include a crematorium in Belgium designed by Rotterdam-based studio Kaan Architecten, which is made up of one rectilinear volume made from blocks of unfinished concrete.
A museum for children in Pittsburgh has also been shortlisted in the civic and cultural interior project category, which US firm KoningEizenberg Architecture renovated from the remains of a historic library that was struck by lightning.
Project credits:
Architect: Robert Gutowski Design team: Ákos Boczkó, Gáspár Bollók, Barnabás Dely-Steindl, Hunor László Kovács, István Kövér, Attila Révai, Béla Ákos Szokolay Artworks: Csaba Ozsvári, István Böjte Horváth Landscape design: Attila Páll Engineering: Zoltán Klopka, András Lantos, Gáspár Sándor, Gellért Mérő, János Mészáros Photography: Tamás Bujnovszky
The post Robert Gutowski Architects designs minimal church interior in response to changes in modern worship appeared first on Dezeen.
0 notes
Text
Robert Gutowski Architects designs minimal church interior in response to changes in modern worship
The Church of Pope John Paul II in Páty, Hungary, is a crescent-shaped building featuring skewed angles and whitewashed concrete that aims to turn "passive observers" into active participants of worship.
Local practice Robert Gutowski Architects filled the church in the village of Páty in Budapest with modern takes on traditional aspects of Medieval, ecclesiastical architecture.
The intention was to shift the emphasis towards the altar and the congregation to make the act of worship more engaging.
The Church of Pope John Paul II features an elliptical layout
Traditional churches typically have a rectangular floor plan and are made up of a nave – the central part of the church – and an apse – the semicircular or polygonal area at the end of the aisle, usually located behind the altar.
The Church of Pope John Paul II, however, has an elliptical layout, made up of the crescent-shaped building of worship that wraps around an adjoining oval-shaped outdoor space.
Therefore what would typically be the nave of a conventional church functions as the churchyard or garden, while the liturgical space is situated where the apse would be.
The church interior features whitewashed reinforced concrete ceilings and walls
As studio founder Robert Gutowski explains, this layout was designed to place more emphasis on the communal experience of the Eucharist and to "invite people closer to the holy act" at the altar.
"If you like, we invite people into the apse, surrounding the altar, forming a community," the architect explained. "It is also similar to the liturgy of early times, when Paleochristians simply surrounded a table in their own home – what is known as Domus Ecclesiae."
The design aims to place more emphasis on the Eucharist and the altar
"The church clearly defines its purpose: while the Creator and the almighty God are at the centre of traditional liturgy, modern liturgical efforts have shifted emphasis to the recreator God, the image of a perpetually redeeming Christ," Gutowski added.
"The Church of Pope John Paul II represents a conscious response to liturgical changes in recent decades, rendering it a model church experiment in contemporary church architecture," he continued.
"Emphasis is shifted toward the active involvement of worshippers.The community is not a passive observer of events in a sanctuary, but rather actively experiences the holy act."
The church building itself has a crescent-like shape
Several rooms lead off of the central, liturgical space, including a communal room, a service room and an office on the ground floor, and an educational room, guest room, the priest's living quarters, and access to the bell tower on the first floor.
Each of these rooms are enclosed in one, whole elliptical floor plan – a form chosen to symbolise "perpetuity" and to create a holistic space.
"The concept is that when we say 'church', this does not refer only to the part of the chapel, but rather to the whole community building in one singular form," explained Gutowski.
Angled walls and off-centre details represent the broken body of Christ
The two ellipses formed by the crescent-shaped church and the adjoining yard have been set at different axes. This is following the historically "inaccurate" layout of traditional churches, wherein the nave and the apse tend to be slightly off-centre of each other.
"We cannot name one single church that sits on the same axis, because pretty much all of the historical churches in Europe have this tiny 'mistake', which actually became a symbol of the broken body of Christ," added Gutowski.
This symbol of Christ's broken body has been extended to the church interior, which features walls set at slanted, uneven angles.
Spotlights and skylights illuminate significant spaces in the church
The domed ceiling, made from reinforced concrete, is lined with spotlights that illuminate various sacral functions such as the area of the altar and surrounding alcoves filled with religious artworks.
A rectangular cutout in the ceiling also fills the room with natural light, which is directed particularly at the centre towards the altar.
The altar is carved from a single block of deep green stone
While the majority of the interior has been painted white – bar the natural-wood pews – the altar is carved from a single block of deep green onyx stone, standing out from its surroundings to serve as the focal point of the space.
The structure itself is symmetrical but every detail is asymmetrical, such as the alcoves. The altar is the only element that sits on the main axis of the building.
Steps made of white Carrara marble lead up to the altar, which have trapezoid-shaped surfaces with rounded corners to allow gathering around the sanctuary space.
A curved staircase leads up to the first floor
The design and construction of The Church of Pope John Paul II was carried out with the help of the local community. The church was built mainly using donations, and was consecrated in 2019.
The church has been shortlisted in the civic and cultural interior project category of this year's Dezeen Awards.
Other projects in this category include a crematorium in Belgium designed by Rotterdam-based studio Kaan Architecten, which is made up of one rectilinear volume made from blocks of unfinished concrete.
A museum for children in Pittsburgh has also been shortlisted in the civic and cultural interior project category, which US firm KoningEizenberg Architecture renovated from the remains of a historic library that was struck by lightning.
Project credits:
Architect: Robert Gutowski Design team: Ákos Boczkó, Gáspár Bollók, Barnabás Dely-Steindl, Hunor László Kovács, István Kövér, Attila Révai, Béla Ákos Szokolay Artworks: Csaba Ozsvári, István Böjte Horváth Landscape design: Attila Páll Engineering: Zoltán Klopka, András Lantos, Gáspár Sándor, Gellért Mérő, János Mészáros Photography: Tamás Bujnovszky
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