Formy obiektów sakralnych inspirowane rzeźbą gór. Odwołania do form geologicznych w projektach małych współczesnych kaplic górskich

Justyna Cichosz-Fornalczyk, Adriana Cieślak-Arkuszewska

doi:10.37190/arc240303

Streszczenie

Twórcy architektury od wieków czerpią inspiracje z natury poprzez kopiowanie form lub poprzez obserwację zjawisk i przełożenie zasad rządzących w środowisku naturalnym na strukturę budynku. Świadome naśladownictwo natury opiera się głównie na formach biologicznych, jednak architekci sięgają również po wzorce wywodzące się z form geomorficznych. Ważnymi źródłami inspiracji architektonicznych pośród nieożywionych elementów przyrody są: góry postrzegane jako wzorzec piękna, kamienie i skały postrzegane jako elementy „niezniszczalne” oraz kryształy górskie symbolizujące doskonałość i światło. Celem pracy jest próba analizy i interpretacji formy zewnętrznej (bryły) wybranych, małych obiektów sakralnych z obszaru alpejskiego pod kątem nawiązania do motywu gór lub kryształu górskiego oraz zastosowanych w tym celu środków wyrazu architektonicznego. W pracy omówiono zasady kształtowania brył, kolorystykę, zastosowane materiały , relacje z krajobrazem naturalnym oraz znaczenia symboliczne obiektów. Wykazano, że analizowane obiekty noszą cechy architektury organicznej i odzwierciedlają związek pomiędzy duchowością człowieka a naturą. Architektura staje się w nich środkiem wyrazu, podkreślonym przez duchowy pierwiastek sztuki.

Podgląd pełnego artykułu jest możliwy wyłącznie na większych ekranach.

2024

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Justyna Cichosz-Fornalczyk*, Adriana Cieślak-Arkuszewska**

Forms of sacred buildings inspired by mountain sculpture.

References to geological forms in the design

of small contemporary mountain chapels

DOI: 10.37190/arc240303

Published in open access. CC BY NC ND license

Abstract

For centuries, architects have been inspired by nature, mimicking forms or observing phenomena and translating the principles of the natural

environment into the structure of a building. The conscious mimicking of nature is mainly based on biological forms, but architects also draw on

patterns derived from geomorphic features. Important sources of architectural inspiration among the inanimate elements of nature are mountains as

models of beauty, stones and rocks as “indestructible” elements, and rock crystals as symbols of perfection and light.

The aim of the study is to attempt to analyse and interpret the building lumps of selected small chapels from the Alpine region in terms of their

reference to the motif of mountains or rock crystals and the means of architectural expression used for this purpose.

The article discusses the principles of form, colours, materials used, the relationship to the natural landscape and the symbolic meanings of the

buildings. It has been shown that the buildings analysed bear the characteristics of organic architecture and reect the relationship between human

spirituality and nature. In them, architecture becomes a means of expression that is accentuated by the spiritual element of art.

Key words: mountain chapels, geological forms, rock crystal, the Alps, sacred architecture

Introduction

The evolution of the relationship between nature and

anthropogenic forms (including architecture) has been an

important part of scientic research and design studies for

centuries (Banasik-Petri 2019), and the consolidation of the

unique status of nature in architecture has been achieved,

among other things, through religion (Juchniewicz 2009).

The fascination with nature as an ideal of beauty is notice-

able in both mono- and polytheistic religions. Nature sym-

bolising the power of the divine (both gentle and as a source

of fear) has inspired sacred architecture all over the world.

The conscious imitation of nature’s genius biomimicry

ORCID: 0000-0002-3049-5265. Interdisciplinary Doctoral School

of Lodz University of Technology, Poland, e-mail: justyna.cichosz@

dokt.p.lodz.pl

** ORCID: 0000-0001-6280-9591. Institute of Town Planning and

Architecture, Lodz University of Technology, Poland

Biomimicry manifests itself in contemporary architecture in three

dierent ways. The rst is biomimicry as an architectural style that re-

mains an analogue of natural form but does not take into account knowl-

edge of its biological functions. This type of imitation of nature has

been particularly evident in historical styles such as Art Nouveau and

in more recent buildings by, for example, Frank Gehry. This approach

is form-based and oers only a decorative, stylistic, metaphorical eect.

It is merely a formal imitation of nature. This architecture can be called

‘biomorphic’ (Yedekci 2014). Another form of biomimicry is dened by

Pawlyn as […] mimicking the functional basis of biological forms, pro-

cesses and systems to produce sustainable solutions (Pawlyn 2019, 2).

The idea behind this approach is to learn from and imitate nature in an

ecological sense (Yedekci 2014). A third approach to integrating biology

and architecture is bio-design or bio-utilisation. It involves the direct use

of nature to achieve benecial eects in a building. Unlike biomimicry

or biomorphism, bio-design refers to the incorporation of living organ-

isms as necessary components to enhance the function of the nished

work. The use of new technologies and tools such as parametric, algo-

rithmic and generative design methods over the last two decades has

allowed us to “go beyond” the basic mimicry of geometry and order

and improve environmental, structural and material performance by an-

alysing mechanisms and properties found in nature. New terms such as

zoomorphism, geomorphism and anthropomorphism have emerged to

describe the source of inspiration or mimicry for each of the above cases

(animals, geology and humans) (Agkathidis 2016).

26 Justyna Cichosz-Fornalczyk, Adriana Cieślak-Arkuszewska

(Benyus 1997) is primarily based on biological (animate)

forms, although architects also draw on patterns derived

from geomorphic

(inorganic) forms. One of the most im-

portant sources of architectural inspiration among the inani-

mate elements of nature are the mountains, seen as a model

of majestic beauty (Gnatiuk 2021). Their inuence on archi-

tecture is global both geographically and ideologically. Po-

etically referred to as the “Cathedrals of the Earth” (Mathieu

2006), mountains have been identied as places of sacred

power since the dawn of time. They have been associated

with the embodiment of the highest human ideals and aspi-

rations both in the past (by followers of various religions)

and today (in a much more secularised reality) (Bernbaum

2022). Mircea Eliade considered the mountain to be among

the symbols expressing the connection between heaven and

earth, the axis mundi, the axis and point of contact marking

the centre of the world (Eliade 2017).

The sacredness of mountains is manifested in architec-

tural forms in two distinct ways (Geva 2015). The rst

Architecture is sometimes seen as a transitional form between the

biological (animate) and the geological (inanimate), the idea being based

on the adaptability of construction objects over time. In fact, architecture

is less adaptable than biological forms, but more adaptable than geolog-

ical forms. Buildings, like earth and rock, are hard and relatively resis-

tant to transformations dictated by current needs, making them closer to

geological forms (Allen 2011). The permanence of structures accounts

for their value and inuences their perception as elements of identity and

cultural continuity.

approach uses the symbolism of the mountain as a natural

sacred place. The mountain is closest to the sky and this

fact gives it a double meaning. On the one hand, it partic-

ipates in the spatial symbolism of transcendence and, on

the other, it constitutes an area reserved for atmospheric hi-

erophanies (Jackowski, Sołjan 2001). The temple (church)

located on the mountain (an anthropogenic creation) thus

gains direct contact with a place that symbolises the spir-

itual, divine factor. Mankind thus attempts to build a link

between earth and heaven.

The second approach is based on referring to the moun-

tain motif by shaping the structure of the construction

object (e.g. body of the building). Temples, mimicking

mountains, also become the “centre” (in Eliade’s terms)

with the symbolic meanings attributed to the mountain

(Jackowski, Sołjan 2001).

Supernatural and divine qualities are attributed to the

mountain (as a form of landform) and to stones or rocks

(in the sense of geological forms) because they appear

to have an indestructible nature. According to Jackows-

ki and Sołjan, much of the symbolism of rocks derives

from the fact that they accumulate heat, cold and, in the

case of diamonds, also light. The cohesiveness of rocks is

not without signicance. In addition, some stones or rocks

acquire the value of a symbol associated with a particular

community (Jackowski, Sołjan 2001). It is also worth not-

ing the symbolism of the rock crystal. Like the diamond, it

is a metaphor for perfection born of nature. It symbolises

light and energy, innocence, purity and clarity.

In 20

-century architecture, references to the mountain

motif and crystal are clearly evident. At the turn of the

century, the symbolic signicance of crystal made it

an important source of inspiration for architectural form

and a harbinger of social and technological change. The

revolutionary nature of the motif was best exemplied by

Paxton’s Crystal Palace (1851) and the activities of the

Glass Chain group (otherwise Crystal Chain, German: Die

Gläserne Kette) (Eyüce 2016), which was part of the Ger-

man Expressionists

, centred around Bruno Taut and the

poet Paul Scheerbart. They created in the spirit of the geo-

metric trend, the result of a fascination with the structure of

crystals (Zamiatnin 2024). They believed that crystalline

forms, which were a utopian vision of architecture, could

become the basis for a new social morality (Eyüce 2016).

Taut also presented a visionary image of dispersed devel-

opment in agricultural and mountainous areas (Fig. 1), the

idea of which was to erase the alienating divide between

The Expressionist architectural movement (development 1910–

1930) introduced a new type of expression in architecture. Through the

use of innovative technologies of reinforced concrete, steel and glass,

the dynamics of structural work and the plasticity of biomorphic and

geomorphic sculptural forms were captured in architectural forms. Ex-

pressionist architecture can be divided into geometric (regular) and or-

ganic (irregular) style (Zamiatnin 2024). The geometric current, identi-

ed with visions of soaring buildings formed in the shape of crystalline

mountains, was until recently considered a short-lived episode that had

little impact on the development of contemporary architecture. Analy-

ses of neo-expressionist architecture from the 1950s and 1960s and later

deconstructivism or biomimetic architecture, however, indicate that this

assumption appears to be incorrect (Tobolczyk 2017).

Fig. 1. Sketch by Bruno Taut from Alpine Architektur (1919)

(source: https://artvee.com/dl/alpine-architektur-pl-2/)

Il. 1. Szkic Bruno Tauta z Alpine Architektur (1919)

(źródło: https://artvee.com/dl/alpine-architektur-pl-2/)

Forms of sacred buildings inspired by mountain sculpture 27

town and country and to eliminate the boundaries between

man, nature and the cosmos (Miller 2017).

Expressionism of the 1920s focused mainly on the motif

of mountains in a locative sense, treating the mountain as

a site for the erection of architecture that drew on the char-

acteristics of rock crystal in terms of form. Later, however,

there was a turn towards likening the architectural object to

a mountain peak in a structural sense, exposing the severi-

ty, the contrast, the power of the mountain. This approach

found common ground with Brutalism, which developed

from the 1940s onwards. Among the best-known examples

of architecture inspired by mountain forms are the Sanctu-

ary of Our Lady Queen of Peace (Fig. 2) in Neviges

(Ger-

many) and the Church of St. Nicholas

(Fig. 3) designed

by Walter Maria Förderer in Hérémence

(Switzerland).

These churches are monumental, which has made them

recognisable buildings and therefore described in detail in

the literature.

The building goes beyond the previous motifs and scope of sacred

symbolism and exemplies the combination of dierent elds of creativ-

ity – architecture and sculpture. The brutalist building lump abandons the

constraints of style and can be seen as a form alluding to poetic mountain

motifs (Seran 2019). Böhm created an expressive concrete building lump

reminiscent of piled-up naked mountain peaks, which has entered the

pages of architectural history as a canonical construction object (Fig. 2).

Completed in 1971, it is a temple of white, raw concrete, with an ex-

ternal form reminiscent of rock structures aected by deep erosion. A tower-

ing building lump, it cascades down to rest on the rocky ground with which

it blends in. The strictly dened openings in the bare walls have no glaz-

ing, giving the impression of cubistically framed mountain caves (Fig. 3).

Other important realisations of Walter Förderer with a similar archi-

tectural expression include the Heiligkreuz Church in Bern (Kirche Heil-

igkreuz), the Catholic Church of St. John in Lucerne (Johanneskirche), the

Church of the Holy Cross in Chur (Heiligkreuzkirche) – all in Switzerland.

It is worth noting, however, that attempts to interpret

mountain motifs can also be seen in much smaller ec-

clesiastical buildings, which include mountain chapels

picturesquely inscribed in the Alpine landscape. The in-

tensity of the relationship between architectural form and

landscape is more subtle in their case (mainly due to their

scale), but clearly discernible. The choice of materials,

the colour scheme, the architectural form or the symbol-

ic meanings have so far not been the subject of detailed

analysis undertaken in the context of references to moun-

tain motifs.

Aim and working methods

The aim of the study

is to attempt to analyse and in-

terpret the external form (building lump) of selected small

religious buildings from the Alpine region

in terms of

their reference to the mountain or rock crystal motif and

the architectural means of expression used to achieve this.

As a prelude to the research, the buildings were identied

by means of Desk Research method with regard to their

genesis and creative process. Fifty mountain chapels creat-

ed after 1960 were analysed, from which the construction

objects

were selected whose architecture referred direct-

ly or indirectly to the mountain motif (i.e. the mountains

and their symbolism were an element of inspiration in the

This work has been completed while the rst author was the Doc-

toral Candidate in the Interdisciplinary Doctoral School at the Lodz Uni-

versity of Technology, Poland.

The Alpine area covering part of the territory of Austria, Germa-

ny, Switzerland, France, Italy, Liechtenstein and Slovenia.

Seven buildings – Catholic, Protestant and ecumenical chapels.

Fig. 2. Sanctuary of Our Lady Queen of Peace in Neviges

Il. 2. Sanktuarium Matki Bożej Królowej Pokoju w Neviges

projektu Gottfrieda Böhma (rys. J. Cichosz-Fornalczyk)

Fig. 3. St. Nicholas Church designed by Walter Förderer

(drawing by J. Cichosz-Fornalczyk)

Il. 3. Kościół pw. św. Mikołaja projektu Waltera Förderera

(rys. J. Cichosz-Fornalczyk)

28 Justyna Cichosz-Fornalczyk, Adriana Cieślak-Arkuszewska

creative process). The detailed research of the selected

buildings was monographic, qualitative and carried out in

the form of a detailed description, which formed the basis

for the development of systematisation of solutions and

meanings according to the adopted criteria. The systema-

tised groups of buildings were subjected to the author’s in-

terpretation of form and content, based on in situ research

(impression sensations) and conclusions derived from part

of the preliminary research (desk research). In addition,

the technique of architectural sketch (Niezabitowska 2014)

was used to highlight the most signicant architectural or

symbolic features of the analysed buildings.

The detailed analysis of the buildings included:

– the external form of the building (height, character of

walls, roof and glazing, the way in which the architectural

form is constructed – including tectonics of the building

lump, the contribution of dynamic planes and edges at

varying angles, the compactness or fragmentation of the

body of the building) together with an interpretation of

the visual eects,

– colours and materials used, including the character of

the relationship with the surrounding natural landscape,

– the symbolism and meaningful content of the build-

ing, including the expressiveness of the inspiration from

mountain symbolism.

Results

The preliminary analyses made it possible to identify

seven buildings (Table 1) with clear references to moun-

tain or crystalline forms at the level of architectural form:

– Kapelle Sontga Maria (Maria Himmelfahrt), Switzer-

land, Grisons, Lukmanier Pass, Josef Rieser, 1967,

– Chapelle Saint Pierre, France, Auvergne-Rhodan-

Alpes, Mont Cenis Pass, Atelier d’Architecture en Mon-

tagne, 1968,

Table 1. Detailed summary of the characteristics of the studied buildings (elaborated by J. Cichosz-Fornalczyk, A. Cieślak-Arkuszewska)

Tabela 1. Szczegółowe zestawienie cech badanych obiektów (oprac. J. Cichosz-Fornalczyk, A. Cieślak-Arkuszewska)

No. Name

Graphics by

Justyna Cichosz-Fornalczyk

Features

1 Kapelle Sontga Maria

building lump

dynamic, dismembered, solid

abandonment of right angles,

introduction of

displacement of planes,

fragmentation, small glazings

materials

façade – white plaster

roof – seamed sheet

dominant

colour

shades of white

references mimicry of mountain peaks

role

in the landscape

the building stands out

in the landscape in summer

(temporal dominance

)

2 Chapelle Saint Pierre

building lump

dynamic, geometrised, solid, small glazed areas

no displacement, structural logic, soaring

materials raw concrete

dominant

colour

greys/browns

references reference to crystal geometry

role

in the landscape

in the winter months,

the building is strongly

distinguished by its form and colour

(temporal dominance)

and in the summer months,

it provides a spatial accent (soaring form)

Chapelle œcuménique

de Flaine

building form

dynamic, dismembered, solid, abandonment of

right angles, introduction of displacement of

planes, fragmentation while maintaining legibility

of form, soaring element, small glazed areas

materials wooden shingles

dominant colour greys/browns

references mimicry of mountain peaks

role

in the landscape

the building is distinctive in form and colour

in the winter months (temporal dominance),

is a spatial accent in the summer months

Forms of sacred buildings inspired by mountain sculpture 29

Table 1 continued. Detailed summary of the characteristics of the studied buildings (elaborated by J. Cichosz-Fornalczyk, A. Cieślak-Arkuszewska)

Tabela 1 cd. Szczegółowe zestawienie cech badanych obiektów (oprac. J. Cichosz-Fornalczyk, A. Cieślak-Arkuszewska)

“Temporal dominance” – in the sense that for certain months of the year the building stands out from the surrounding landscape and pro-

vides a strong, focussing form within it. The duration of this impact on the space depends on the weather conditions. As the snow falls and melts,

changing the character of the surrounding landscape, the strength of the structure’s dominance in the landscape changes. As the colour of the building

blends into the landscape, its role as a dominant feature diminishes and it can then be described as a spatial accent, understood as a building that stands

out in the surroundings but does not dominate.

Cohesive form understood as blending in with the surroundings, imitating and/or relating to the landscape through form and colour, creating

a harmonious, coherent whole with it – not dominating it.

***

A group of minerals belonging to the silicate group. It consists of isostructural and (mostly) isomorphous island silicates. It usually forms

mixed crystals of similar structure (Hochleitner 1994).

No. Name

Graphics by

Justyna Cichosz-Fornalczyk

Features

4 Kapelle Sogn Giachen

building lump

dismembered, solid, squat,

partial abandonment of right angles,

fragmentation, small glazed areas

materials

façade – white plaster

roof – seamed sheet

dominant colour shades of white

references mimicry of mountain peaks

role

in the landscape

the building blends in with the landscape,

partly distinguished by its colour

in the summer months (spatial accent),

cohesive form

in the winter months

(blends in with the surroundings)

Kapelle

des weißen Lichts

building lump

partly dismembered, solid, squat,

displacement of planes, curvilinear roof,

fragmentation while maintaining clarity of form,

small glazed areas

materials marble

dominant colour shades of white

references mimicry of shapes (snowdrifts)

role

in the landscape

distinguished by its colour and form

in the summer months,

rounded shapes (soft lines) contrasting

with the rocky surroundings;

in winter, a cohesive form,

blending into the landscape, seeking

dialogue with the soft lines of the snowdrifts

6 Granatkapelle

building lump

compact, geometrised, solid, no displacement,

structural logic, no clear glazing

materials corten sheet metal, raw concrete

dominant colour

shades of red – a reference to the colour

of the mineral

references

reference to the geometry of the crystal

and to a mineral with a crystalline structure found

in the region – i.e., garnet

***

role in the land-

scape

building dominating the landscape,

working through contrast, using the colour

of the materials to lift the volume

from the background and achieve

a levitation effect, year-round dominance

Die Gegenwartkapelle

am Venet

building lump

dismembered, glazed, abandonment of right angles,

use of displacement of planes,

strong fragmentation, soaring form,

dominant role of glazing

materials raw concrete, coloured glass

dominant colour grey walls, blues and yellows of glass

references

mimicry of mountain peaks,

inspiration by the structure of clear crystal

role

in the landscape

strong, distinctive form, blended in the landscape

but accentuated by colour and light

30 Justyna Cichosz-Fornalczyk, Adriana Cieślak-Arkuszewska

– Chapelle œcuménique de Flaine, France, Auvergne-

Rhodan-Alpes, Flaine, Marcel Breuer, 1973,

– Kapelle Sogn Giachen (St. Jakob des Älteren),

Switzer land, Acla, Medel, Richard Brosi, 1979,

– Kapelle des weißen Lichts, Austria, Tyrol, Pitzal gla-

cier, Rudi Wach, 1998,

– Granatkapelle, Austria, Tyrol, zb. Penkenjoch, Mario

Botta, 2013,

– Die Gegenwartkapelle am Venet, Austria, Tyrol, Ven-

et mountain, Herbert Traxl, 2016.

The analysis made it possible to distinguish two main

groups of structures inspired by the mountain motif:

– buildings in which references to crystalline or geo-

metric forms can be seen,

– buildings treated as sculptures directly inspired by

the forms of rock massifs.

Discussion

Crystal forms and geometry of the form

The term “crystal” is derived from the Greek krystallos

(i.e. “ice”) and was rst used to refer to rock crystals. Crys-

tals are solids whose components (atoms, ions, molecules)

form a regular, mathematically described lattice-based

structure (Greuel 2021). They are an expression of the ab-

solute subordination of spatial form to mathematical log-

ic. They symbolise an ideal order based on comprehensi-

ble rules, and yet they create structures that are unique and

unrepeatable every time. The form of the crystal was the

inspiration for Mario Botta’s 2016 Granatkapelle project.

The chapel was designed as a “jewel” adorning the hill,

and the building lump was inspired by the garnet crystals

mined in the area by the investor’s family. The tradition

of mining this mineral is an important part of the region’s

culture, and garnets are regarded as a folk gemstone of the

Zillertal. Consequently, the building corresponds to the

cultural heritage of the valley and has a symbolic value,

combining spiritual values with the identity of the region.

The b

ody of the building is made up of an expressive,

geometric dodecahedron with rhomboidal walls (which is

a closed, nite form, almost entirely devoid of glazing) built

on a square base, strongly distinguished in colour from the

dark planes of the walls. The light base blends in with the

colours of the hill, making appear less visible and “disap-

pear” in perception. This gives the impression of oating

above the surface of the hill, with the levitation eect en-

hanced by reections in the water surface (the reservoir is

adjacent to the building and acts as a mirror). The building

itself, or rather its image, has been multiplied and strong-

ly aects the surrounding landscape. The chapel spatially

dominates both in winter and summer, clearly standing out

from the colour scheme of its surroundings. However, the

structure does not compete with the landscape. It is a strong,

eye-catching form and enters into a relationship with the

landscape by way of contrast, thus emphasising the value

and importance of each of the elements in the system (i.e.,

the natural landscape and the strong anthropogenic form). It

is the project designer’s belief that the piece of “pure geom-

etry” symbolised by this structure facilitates better reading

of nature, landscape, sky and atmosphere. It is noteworthy

that the chapel is dedicated to Blessed Engelbert Kolland,

who died as a monk and martyr in Syria in 1860. Thus, the

precious stone (garnet) mined in the valley has been linked

to the spiritual symbol of the region, i.e. Blessed Engelbert

(Granatkapelle “The architect Mario Botta”).

The Chapelle Saint Pierre, designed by Atelier d’Archi-

tecture en Montagne, is also an example of a building with

a minimalist, geometric form. In this case, the reference

to the mountain motif lies in the creation of a building

symbolising a mountain. The building took the form of

a pyramid on a square plan, thus referring to the symbolic

motif of the interface between dierent levels of existence

(Astakhova 2020). The symmetrical structure seems to re-

ect order and beauty, and at the same time a metaphysical

contact between heaven and earth. The structure was built

at an altitude of about 2,100 m above sea level to com-

memorate other buildings (chapels and “hospices”) that

were destroyed by the construction of the dam. The au-

thors were tasked with designing a chapel for around 100

worshippers, a at for the celebrant, a house for pilgrims

and a museum (Amouroux “Rénover Prieuré…”). From an

observer’s point of view, the building appears much small-

er than it actually is, as part of the volume has been hidden

behind a steeply sloping hillside and only a section of the

chapel emerges above the site from the access road. The

process of adaptation the design to the topography of the

site allows for a stronger integration of the geometrised

volume, which is the result of human labour, into the natu-

ral landscape. The materials and colours used help to em-

bed the building in the colours of its surroundings. The

chapel stands out in the space especially in winter. It is

a strong, attention-grabbing form and, although it refers in

shape to the mountain motif, its geometric structure sets

it apart from the surrounding dynamic landscape. Nev-

ertheless, the pyramid does not compete with the moun-

tain peaks, but symbolises their severity and simplicity.

The planes of the walls are illuminated or disappear into

the darkness in a similar way to the hillsides that form

the background, creating a harmonious composition. The

building form is compact, coherent and soaring, and the

low number of glazings allows the building to be identied

with stone, symbolising durability and indestructibility.

Shape of the mountain

– construction object inspired by the landform

Marcel Breuer, a prominent representative of the Bau-

haus, was invited at the beginning of the 1960s to collabo-

rate on a project for a winter sports centre in Flaine, which

was to stimulate tourism and give a face to progress. The

construction of an ecumenical chapel, designed by Breuer,

was envisaged as a complement to the hotel and leisure

facilities. The Flaine chapel, adjacent to the brutalist ho-

tel buildings, consists of three interlocking volumes. The

sloping planes of the walls form cubes that taper upwards

to resemble the dynamically aligned peaks of a mountain

range. Despite its small size, the construction object made

up of sloping planes appears similar to the mountains

looming in the distance. Architecturally, the chapel stands

Forms of sacred buildings inspired by mountain sculpture 31

out from the austere architecture of Flaine, as it has an

artistic character and exemplies Breuer’s poetic work.

Unlike the other buildings of the ensemble, it was also not

built of concrete, but of a material typical of the Alpine

area, i.e., wood, and covered with dark shingles, which

is to be understood as a reference to local traditions and

regional architecture, despite its innovative form. Breuer

has created a construction object that can be interpreted

as an architectural sculpture erected in correlation to the

landscape and as a tribute to the mountains. Its geomet-

ric form represents a modern minimalism that reects

ideas of simplicity and functionality. On the one hand, it

is a place of worship, on the other a temple of inner spiri-

tuality and a unique space connecting people with nature

and its beauty. The building’s straight lines and raw mate-

rials emphasise the purity of form and express the desire

to create a place that facilitates concentration and con-

templation, or at least nding inner harmony. Thus, the

construction object, through its location and architectural

form, acts as a link between the sacred and the profane.

A similar union of the dierent art disciplines was

called for by Bruno Taut (among others), who spoke of the

need for an art that is a connection between architecture,

painting and sculpture, while at the same time reinforc-

ing the position of architecture as a superior art capable

of performing a spiritual and social liberating role from

chaos (Miller 2017). A building that seems to full the

above postulates is the chapel Gegenwartkapelle am Ven-

et, designed by priest Herbert Traxl and architect Florian

Mathies. This small chapel was located on a mountain

ridge right next to a nearby trail as a place of prayer and

contemplation for tourists and pilgrims visiting the Ven-

et mountain. It is open to all, regardless of religion, and

provides a peaceful atmosphere to facilitate concentration

and inner harmony. Embedded in the rugged mountain

landscape, it is a true “Chapel of the Presence” referring to

the idea of the presence of spiritual values in human life.

The building consists of multifaceted concrete structures

arranged in layers. The building lump is soaring, stretched

upwards and blends in with the natural ground. The form is

complemented by multicoloured glazing, relatively large

in relation to the body of the building, in intense colours

alluding to the colours of the sky at sunset. The concrete

form of the chapel embodies the character of the geolog-

ical forms and the glazing attempts to capture the beauty

of the mountain sky. A clear reference can be seen here

to the idea of crystal: ltering and splitting light, which

was requested by the German Expressionists of the Glass

Chain movement. What has occurred here, how ever, is the

realisation of a utopian vision – the monumental architec-

ture of the crystal has been “disenchanted”, enclosing it

in a “small glass”, which nevertheless contrasts sharply

with the strong form of the rocks and concrete slabs from

which the building was made. Images of crystalline forms

towering over Alpine peaks are confronted with the true

power of the mountains, oering boundless, wild spac-

es in which an architectural object can only be a small

diamond rening the landscape rather than a dominant

form. However, the building focuses light, reects it and

appears as a strong accent in this austere environment.

The attitude of the architect-sculptor is also evident

in the two Swiss structures located in the Lukmanier

Pass. The Sontga Maria (Maria Himmelfahrt) chapel, de-

signed by Josef Rieser in 1967, was built as the crown-

ing achievement of the construction of the dam and, as

with the Chapelle Saint Pierre, is a form of “restoration”

of a temple that was destroyed by ooding of the area.

In this case, however, historic interior fragments from the

original building have been secured and placed in a mod-

ernised lump, thus creating a certain symbolic continuity

of the building and preserving the memory of the forms

lost as a result of the construction of the reservoir. The

external form of the chapel oscillates between modernism

and expressionism. A treatment reminiscent of the Naviges

cathedral or the Flaine chapel was used here – the rooine

was dismembered in an attempt to recreate the mountain-

ous landscape. Folds and varying levels were introduced

to imitate piled-up peaks. In the case of Sontga Maria,

the designer opted for a clear contrast between the colours

of the building body and the surrounding landscape. The

walls nished in white plaster cut the building o from its

surroundings, making it a dominant feature, especially in

spring and summer. This may be due to the inuence of

modernism, but also to the plastering tradition of Alpine

churches. A similar architecture can be seen in the Sogn

Giachen Chapel, designed by Richard Brosi in 1979. The

chapel was given a new form after it was rebuilt when

the previous building was destroyed by an avalanche. The

purpose of the new block was to provide resistance in the

event of a similar situation (Kirchen-Online “Acla / Me-

del…”). The building is characterised by a relatively calm

and not very dynamic form, although tectonics alluding to

mountain peaks are noticeable here. The building lump is

disjointed but squat, strongly embedded in its surround-

ings and creates an impression of solidity, which is prob-

ably a response to the avalanche threat. The Sogn Gia-

chen Chapel is reminiscent of the nearby Sontga Maria

Chapel. Its walls are plastered the same white and the roof

is nished in sheet metal, but this building is smaller and

simpler, lacking a bell tower, and the rooine is built up

only by individual folds. The strength of this form, which

lacks clear glazing, comes from its massiveness and its

colour, which stands out against the summer rock clis

and blends in with the colours of the winter landscape.

A much later building, which is also characterised by

its white façade and sculptural structure, is the Chapel

des weißen Lichtes by sculptor Rudi Wach. The structure,

which dates from 1998, is located on the Pitzal glacier at

an altitude of 2,880 metres above sea level. It was made

of 180 individual pieces of Carrara marble suspended

from a stainless steel structure. In summer, the white form

stands out slightly from the surrounding landscape, al-

though it corresponds to the colour of the region and, due

to its location, picturesquely blends in with the structure

of the sky. In winter, when the mountain peaks are cov-

ered in snow, the building blends in with its surroundings,

becoming an integral part of them. Compared to the other

chapels analysed, this one stands out for its use of curvi-

linear forms, which contrast with the dynamic and aggres-

sive lines of the peaks. The rounded shapes of the roof

32 Justyna Cichosz-Fornalczyk, Adriana Cieślak-Arkuszewska

seem to be a counterpoint to the surroundings and a refer-

ence to the soft forms of the overcast sky. There is a sym-

bolic connection between the mountain (the compact form

of the building) and the sky (the rounded roof shape). The

perception of the building also evolves over time and its

spatial meaning changes with the changing seasons and

the surrounding aura. In this context, the rounded forms

can also be a reference to the soft lines of snow drifts. An

altar is hidden inside the building, with special windows

making it shimmer with dierent shades of light, which is

reminiscent of the structure of a transparent crystal, lter-

ing and splitting light. In this context, the light becomes

an element of the sculpture and creates an elevated interi-

or atmosphere.

Summary and conclusions

Mountain-inspired chapels combine art, nature and

trans cendence, and architecture becomes a tool for deep-

ening spiritual experiences (not only of a religious nature,

but also at the level of personal reection or experiencing

a feeling of harmony).

Two basic motifs can be distinguished in the shaping of

building lumps: minimalist geometrised forms and com-

plex forms based on the dynamic tectonics of bodies, edg-

es and angles.

The shaping of buildings using minimalist forms based

on a logical, geometric order can be interpreted as the pur-

suit of an ideal, divine order by, among other things, refer-

ring to the idea of the crystal (i.e. ordered ideal structures

that are a symbol of perfection). In this context, geometry

should be seen as a tool for shaping an architectural struc-

ture conducive to contemplation, allowing for tranquillity

and concentration. The geometric form is also a counter-

point to the surrounding natural landscape, thus bringing

out the values of the building and the surroundings, juxta-

posing them in contrast.

For the most part, the chapels with complex forms are

characterised by a solid but fragmented body, based on

a dynamic arrangement of planes and edges and frequent

changes of angle. It is noteworthy that the idea of frag-

mentation, the departure from right angles, the introduc-

tion of dynamics, the unpredictability of displacement

of planes and controlled chaos are features that coincide

with some of the tenets of deconstructivism

. However,

almost all of the structures studied were created before

the ocial development of this trend (coinciding with the

late 1980s) and, as the researchers acknowledge, projects

realised in the spirit of deconstructivism were character-

ised by an exceptional saturation with theory and the need

for interpretation in conjunction with accompanying pub-

lications (Wąs 2015). Thus, it cannot be assumed that the

authors of the chapels studied created them in the spirit

Bernard Tschumi, one of the most important theorists associated

with deconstruction, introduces many new concepts and ideas that reveal

deconstruction – destructuring, disjunction, dissociation, disruption, in-

terruption, rejection, dismantling, displacement, distortion. These terms

seem almost synonymous, but they conceal a wealth of shades of under-

standing decompositional thinking (Ivashko et al. 2022).

of deconstructivism. Consequently, it must be concluded

that the architectural expressions used were intended to

directly relate to the physical image of the mountains. The

form of the structures is therefore a sculptural attempt to

reproduce mountain forms (mainly peaks) – their power,

dynamism, majesty, austerity and beauty. In this sense,

the eect of the project bears the hallmarks of architec-

tural sculpture, which creatively reproduces a landform.

Such

solutions were also intended to inscribe the build-

ings into the surrounding landscape and, in a symbolic

sense, to transform the building into a mountain, giving

it the meanings ascribed to mountains (e.g. permanence,

sublimity, union of the sacred and the profane). Even when

the architectural form is dynamic, soaring and lofty (or

contains such elements) and is a strong, attention-grabbing

form, the tectonics of the building body inspired by the lo-

cal landscape nevertheless makes the building an integral

part of its surroundings and creates a harmo nious whole.

Against this background, only two buildings stand out.

The rst is the Chapelle Saint Pierre, whose pyramidal

form combines the idea of geometry and an attempt to

imitate the physical image of a mountain. This chapel is

clearly subordinated to the principles of geometric order,

but in a literal sense it is a simplied (synthetic) repre-

sentation of a mountain peak, which is in fact a culturally

established motif (e.g. mastabas, Egyptian pyramids, py-

ramidal temples of the Aztecs (Jackowski, Sołjan 2001).

The second standout building is the Kapelle des weißen

Lichts. In this building, the architects chose to introduce

a soft rooine. This form breaks the motif of dynamic,

dangerous mountains and turns towards the rounded

shapes characteristic of clouds and snowdrifts. Thus, the

structure is the only one to contrast with the form of the

sharp-edged mountain.

Most of the buildings analysed are characterised by

their relatively massive bodies. Glazing is limited and the

chapels (even those with disjointed and dynamic structure)

create the impression of being compact and solid. In practi-

cal terms, this is dictated, among other things, by structural

requirements (e.g. resistance to avalanche risks), while in

symbolic terms, the massive form gives the structures the

characteristics of rock and stone – i.e. durability, solidity,

indestructibility. In this context, the chapel Die Gegen -

wartkapelle am Venet is noteworthy, where the glazing is

an important element of the architectural form, reecting

and diusing light. Importantly, however, the building

lump retains a massive and structurally closed character,

even though light is the material of the façade here.

The colours and materials used in the analysed build-

ings indicate that the designers are looking for ways to

integrate the building with the natural landscape. The

variability of the surroundings due to atmospheric con-

ditions (e.g. the appearance of a long-lasting snow cover)

means that the architect has to make a conscious decision

regarding the direction of the correspondence. The white

colour scheme of the chapels allows them to blend gently

in with the snow-covered hillsides. However, as the snow

melts, these buildings stand out strongly from the grey-

brown colouration of the rocks, making them elements

that demonstrate their otherness in the natural landscape.

Forms of sacred buildings inspired by mountain sculpture 33

The use of dark-coloured concrete or wood (obtained

both through painting means and as a result of the natural

ageing of untreated wood) ensures that the chapels blend

into the summer landscape, when strong light brings out

individual planes, leaving some of the building lumps in

shadow. However, the same buildings stand out signi-

cantly in the winter landscape and become a strong domi-

nant feature against the bright, reective snow.

The colour of a structure can also become a carrier of

additional meanings as in the case of Mario Botta’s chap-

el. The rusty colour achieved by the corten panels refers

directly to the garnet colour, which was the main inspira-

tion in the process of creating the Granatkapelle project.

Referring to the words of Frank L. Wright, who had

a signicant inuence on the development of organic ar-

chitecture, it can be considered that the basis of architec-

ture is the character of the land where the architecture is

realised. The character of the landscape, on the other hand,

means colour, texture, “material” and greenery (Chodurska

1988). In this sense, most of the buildings analysed show

characteristics that coincide with organic architecture. The

aim of this integration is to achieve a harmonious balance

between nature and culture, and in an attempt to blend

buildings into the natural landscape, architects often use

mathematical and geometric structures (Han 2020).

It is noteworthy that the analysed buildings do not, in

principle, exhibit features of regional architecture. The

exceptions are the references at the material level, e.g.,

the use of white plastered façades, which can be interpret-

ed not only as an attempt to t the buildings in the winter

landscape or as an inuence of modernism, but as a ref-

erence to the tradition of plastering religious buildings.

Wood is also a local material used in construction. Most

chapel authors, however, seek a more “austere” means of

expression that goes beyond the material characteristic of

the “forest line” and try to draw inspiration from the land-

scape located higher up, whose image is more austere,

stony and majestic.

The buildings analysed reect the relationship between

human spirituality and nature. In them, architecture be-

comes a means of expression, emphasised by the spiritual

element of art. Indeed, most of these structures are per-

ceived as spatial sculptures with a signicant emotional

and aesthetic charge. Shapes, lines, proportions, materials

and textures serve to create a space of the sacred. Geomet-

ric order or the dynamism of forms are two facets of the

same quest to capture the sacred in the architectural lump.

In all the buildings analysed, the authors attempt to cap-

ture the essence of the mountain along with the symbolic

qualities ascribed to it and to create a place of contact be-

tween man and the innite.

Translated by

Adriana Cieślak-Arkuszewska,

Justyna Cichosz-Fornalczyk

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