小教堂的设计是在靠近巴洛克式建筑群和圣尼古拉小教堂的地方进行的。它是出于当地社区和方济各会的愿望，即创造一个合适的最后告别场所，作为延续古老的、缓慢流逝的、在家中向死者告别的传统的一种手段。它位于旧的墓地，在其新的部分。
The design of the chapel was carried out in close proximity to the baroque complex with the minor basilica of St. Nicholas. It was borne out of a desire of the local community and the Franciscans for creating a suitable last farewell venue as a means of continuation of the age-old, slowly passing, tradition of bidding farewell to the deceased at home. It is located at the old cemetery, in its new part.
建筑的简单性来自于典型的、传统的、带屋檐的小教堂形式，构成了对它们的当代重新诠释。小教堂的建筑特点是选择自然材料，如木材或石头。与高贵的自然物质的接触使人通过感官（触觉、嗅觉、听觉等）打开空间的多维度，以及更深刻的认知和体验。
The simplicity of architecture derives from the archetypal, traditional forms of chapels with gable roofs, constituting their contemporary reinterpretation. The chapel’s architecture is characterized by the selection of natural materials such as wood or stone. The contact with noble and natural matter opens a person, through their senses (touch, smell, acoustics, etc.), to the multidimensionality of space as well as to a more profound cognition and experience.
该块由两部分组成，充分表达了与骶骨和亵渎空间有关的功能。第一部分是指祈祷的地方–小教堂，它通过一个独特的形式清楚地传达了它的命运。第二个是被绿色植物覆盖的，沿着一个精致的拱门从地面升起，包括附带的房间，如冷藏尸体的地方，技术室，公用事业室，公共厕所等。小教堂的项目结合了建造基督教神圣建筑的两个传统：道路的概念–即从亵渎的世界分阶段走向神圣的地方；以及地方的概念–通过聚集在一起祈祷的中心布局来实现。
The block consists of two parts that adequately express the function related to the spaces of sacrum and profanum. The first one refers to the place of prayer – the chapel, which clearly communicates its destiny by a distinctive form. The second one, covered with greenery, rises from the ground along a delicate arch, encompassing the accompanying rooms such as a place with cold storage for the bodies, technical rooms, a utility room, public toilets, etc. The project of the chapel combines two traditions of constructing Christian sacral buildings: the concept of the way – that is, moving in stages from the world of the profanum towards the place of the sacrum; and the concept of place – realised by the central layout of gathering together in prayer.
设计理念呼应了所谓的 “受难之路 “的记忆–即基督生命的最后时刻–从受难到死亡，再到复活，这在建筑中被象征性地表达出来。第一阶段–受难。跨过小教堂的门槛后，人们发现自己处于一个充满黑暗的前庭。钢筋混凝土墙壁和天花板都是黑色的，这旨在强调巨大、无限和 “非物质 “的印象，在这个地方所有的轮廓都消失。这个地方的严肃性表达了上述受难的阶段–孤独、痛苦、耶稣在橄榄园的祈祷。
The design concept echoes the memory of the so-called “Paschal path” – i.e. the last moments of Christ’s life – from the Passion, through death, to resurrection, which was symbolically expressed in architecture. Stage 1 – Passion. After crossing the threshold of the chapel, a person finds themselves in a vestibule filled with darkness. Reinforced concrete walls and the ceiling are black, which aims to emphasize the impression of immensity, infinity, and “immateriality” of a place where all contours are lost. The severity of this place expresses the stage of the aforementioned Passion – loneliness, suffering, Jesus’ prayer in the Olive Garden.
第二阶段–死亡。 在小教堂视角的尽头，也是在眼睛的高度，你可以看到一个丝状的十字架，表达了下一个阶段–即死亡。第三阶段 – 复活。通过黑暗区，我们进入实际的祈祷区。这个明亮的空间象征着基督徒天职的希望（根据基督教信仰，生命不会随着死亡而结束）。在人们聚集在死者尸体周围的地方，他们的注意力不是集中在死亡的现实（即十字架和死者），而是指向永生的角度。室内的建筑自然地引导人们的视线向上，向着光明。格雷塔-莱兹科的圣像呈现了这种现实的一点味道。
Stage 2 – Death. At the end of the chapel’s perspective and also at eye level, you can see a filigree cross that expresses the next stage – i.e. death. Stage 3 – Resurrection. Through the zone of darkness, we enter the actual zone of prayer. This bright space symbolizes the hope of the Christian vocation (according to the Christian faith, life does not end with death). In the place where people gather around the body of the deceased, their attention is not focused on the reality of death (i.e. the cross and the deceased person), but is directed towards the perspective of eternal life. The architecture of the interior naturally guides the gaze upwards and towards the light. The icons by Greta Leśko present a little taste of this reality.
Architects: Bartlomiej Pyrzyk, Jakub Turbasa
Area: 140 m²
Year: 2021
Photographs: Jakub Turbasa & Bartłomiej Pyrzyk
Lead Architect: Jakub Turbasa, Barłomiej Pyrzyk
Contractor: Marek Radecki Firma Remontowo-Budowlana
Structural Engineering:Dariusz Beresiński
Landscape Design:Jakub Turbasa, Barłomiej Pyrzyk
Interior Design:Jakub Turbasa, Barłomiej Pyrzyk
Icons:Greta Leśko
Investor’s Representative:Marek Stachowicz OFMConv
Initiator:Bogdan Kocańda OFMConv
Investor Supervision Inspector:Marek Wójtowicz
Stonemason, Sculptor:Tomasz Pawlus
Carpenter:Michał Drewniak
City:Rychwałd
Country:Poland