It has been a tough week, but this series is not about me but about God. Surprising, you say? I know. It seems to be about technical architectural choices made by dead men. And yet, if we are to recover a sense of beauty and use it to transform the world, we need to approach the Source of Beauty. Only in reflecting Him is something beautiful. A church has the double task of reflecting the beauty of God through the work is Man and also housing God himself. It must become a place where Beauty dwells and so must itself be beautiful.
Just a little thought before I present the next church. I’m not going to go on about the architecture because at a certain point it detracts from the Point of it all. Plus I’m really tired and I have a project due on Monday that is going to take all my strength.
The church is another Venetian church. Once again I could not find the time to have a camera and be in a church at the same time here in Rome. I think you will enjoy this one. It is not the most beautiful church, but being in the space was amazing. It’s well proportioned and the differentiation of spaces was spectacular. It was designed by an architect not much older than me and I’ve included a picture of a sketch I did of it. Other than that, just revel in the beauty and forget for a while the cares of the world.
7 thoughts on “Le Chiese delle Cittá: Santa Maria della Salute”
Marvelous! I love the light inside. And the floor is amazing too.
My Rep teacher would cry at your lines… otherwise I love everything about that church and the sketch DOES look good. (He’s just very picky.)
If your Rep professor had assigned a gestural sketch, he wouldn’t have cared. I can’t draw a straight line to save my life, not sketched.
I don’t think the word “gestural” is even remotely discussed here.
For a school that likes Frank Gehry, I’m surprised. He’s the King of Emotional Gestures meaningful only to Him. Don’t your professors have emotions that must be expressed through gestural curvaceous steel?
My professors don’t HAVE emotions. Except Rep, and his work is very tightly controlled (I think he’s more classically-biased anyway). And the way you speak of that steel it’s almost suggestive.
If you think that’s suggestive, don’t get me started on stone.