Chapel of the Annunciation
Detached Chapel Annex
Immaculate Conception Catholic Church
Knoxville, TN
Spring, 2012
For this project, Sandro Botticelli’s Cestello Annunciation was placed on loan to the Immaculate Conception Catholic Church for two years. We were asked to design a chapel to display and protect the painting and also operate as a standalone chapel once the piece was returned. The project focused on three drivers: blending interior and exterior spaces, a connection to holy water, and the theme of light used in renaissance painting.
Sandro Botticelli's Cestello Annunciation
The exterior walls of the chapel do not form enclosure, rather they house water surrounding the interior space of the chapel. These walls allow the glass interior of the chapel to be protected from any direct sun light while still remaining brightly lit. The exterior walls are punctured in various places providing visitors clues as to the design and also beginning to form a connection to the water.
As one enters the vestibule, the baptismal font (holy water) is centered across from the entrance and is the only object occupying the vestibule. Behind the font is a window looking out into the water surrounding the chapel solidifying the significance of the water. Entering the chapel space one finds themselves surrounded by that water they have only been granted glimpses of, reflecting a beautiful display of light throughout the space. This exterior enclosure of water creates a peaceful barrier between visitors and the sometimes chaotic nature of reality; directing ones attention to what is happening within the chapel.
As one progresses through the chapel, the materiality of the spaces transition from brick to plaster, focusing visitors attention on the significance of the painting and watter.
Section through chapel to the Angel Gabriel, a small nurturing space for personal reflection.
Site
Prior to starting this project we were required to do a precedent analysis of various religious structures and asked to apply some of the principals or design strategies to our chapel designs. I was assigned Steven Holl's Chapel of St. Ignatius. I fell in love with the spatial quality created by the various colors of light reflected throughout the structure. After researching themes in renaissance painting, it became obvious that Holl's strategy for controlling light would be a perfect fit in the chapel as light was often used to reference the divine.
Final lighting study model.
White light positioned at the end of the tunnel draws and guides one into the chapel.
I chose to use reflected golden light over the altar in homage to the rays of golden light often seen in renaissance painting; symbols of the divine descending to earth.