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Relationship with the urban environment Despite being the country, in the plain at the foot of the mountains and Stabiese Lattari, the place seems to have all the characteristics of a locus horridus / terribilis, but can not think of becoming a locus amoenus, a place that refreshes the spirit, which calms the mind and nerves, which is "to tingle the front of Quiet Thoughts and beautiful white clouds chandelier as a lens on the sky." For this reason you chose to imagine chandelier the complex as a "citadel" where the parts of the building, they want to be in continuity chandelier between strength of religious and cultural maintaining the proper distances chandelier from the passage of electrical cables and planning restrictions, presenting with a harmonious difference between the heights of buildings, articulated a journey of indoor chandelier and outdoor spaces, as well as a deliberate arrangement of the body system chandelier belfry, which is itself the Church, and facing away, but framed bell tower of the Church Our Lady of Pompeii, the main center of the cult of Mary.
Recognizable archetypes of the sacred elements: entrance portal and rose window. Both elaborate chandelier in their conformation and type. 1) The portal, with its geometry according to an isosceles triangle is placed to represent the fire which the Holy Spirit, but also a symbol of charity, for this element, the source of heat and light, symbolizing the strength and passion of love. The fire of love, symbolically, heartwarming, winning the coldness and indifference that often afflict our society. chandelier 2) The rose is made volume, but that means, as it was for Gothic chandelier cathedrals, inviting the faithful to contemplate and carry out the same work and fabulous animals of lions guarding the portal. In short, a warning, the "possessed" for example, the sight of the rose, can give outburst even before entering the church.
Aesthetic, formal choices taken are articulated on several aspects: the shape, the materials, the relationship between the bodies of the entire parish, and the dynamism of external spaces and connective. If the development of height chandelier to width in plan is defined according to a trivial rectangularity, the section of the church is divided in its volume (natural inspiration in the "scapular"). The inside of the classroom is designed so that you have a naturally lit from above through the opposing volumes of the bodies that give way to the glazing system that runs along three sides so as to become light signal. Through chandelier the lean, compared to the geometry of the plant in the vertical surface, and with the addition of a volume from the vertical surface vetratam scenographically located place, the weekday chapel with the site responsible for the conservation of the seat Eucharistic, in this case amplified because assimilated to a symbolic vessel on the water instead of a bath / fountain which is facing. The use of light, differentiated by the color of the glass, it becomes strategic in the interpretation of the Via Crucis by a row of 14 windows on the rectangular volume chandelier that gives to the court inside the parish complex. The seven bells placed at the top of the long side of the aisle wants to be liturgical, with the bottom of the window, a sign of the presence on the territory as facing flat stabiesa and natural dialogue with the shrine of Our Lady of Pompeii and from the point of view mixer, and from that bright.
The liturgical form of the classroom facility produces by itself the whole plant liturgical year. The entrance is to the south / west, in continuity with the churchyard, through a portal triangular input is both the input space that '"welcome". The font, size and shape suitable for both the rite with immersion for infusion, chandelier is located adjacent to the input and is clearly visible from the outside but also from the classroom. The sanctuary chandelier is on the north / east, which becomes the focal point of the space. The area is elevated, therein lie the altar, the ambo and the celebrant. The housing of the Eucharist is placed in the chapel weekday. The image of Mary is placed, in the form of framework, above access to penitentiary chandelier clearly visible. The choir and the organ are placed at the side of the chancel. The penitentiary, finally, occupies its own space in the main hall.
These works of art are natural genesis through the shape of the space for them, and they, without any special tricks of expression, and with materials up to their symbology, functionality and durability are achieved through a balanced blend of stone and bronze.
The functional aspects of the building complex is spread mainly along the east-west axis. On the one hand the church, on the other hand, the parsonage elevated; through space / courtyard, are located with sis