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Stella Maris is a hypogeal intervention to create a meditative space in the project of a chapel and cloister within a residential complex designed for guests with disabilities and their families in a natural environment of great beauty, there is a thick and deep pine forest overlooking the Adriatic Sea. Stella Maris是一种冥想的介入，在一个为残疾客人和他们的家庭设计的住宅综合体中的一个小教堂和回廊项目中创造了一个冥想的空间，在一个非常美丽的自然环境中，有一个茂密而深邃的松林俯瞰亚得里亚海。
The land slowly begins to rise abandoning the darkness of the pine forest to then turn into a terrace that reaches the height of the canopy of pines suddenly revealing the sea in all its vastness. A large dune that transforms the clearing of space in the below garden which is articulated the built space. From here, it has been proceeded for excavation and subtraction, while climbing the presence of a vacuum is felt, a sudden suspension, which can not be accessed, but which is strongly present. Around this space the cloister - everything revolves around the sacred space – where it is only possible to access from the chapel, also barely perceptible from the outside, a crypt in which the natural light enters from a single cut, from the east, the morning light. It has been built in blocks of stone whose surface was machined with a particular milling, which makes disappear the joints, with the effect that seems obtained for excavation by an immense mass of stone. 陆地慢慢地开始上升，放弃了松林的黑暗，然后变成了一个平台，达到了松林的高度，突然露出了浩瀚的大海。一个巨大的沙丘改变了下面花园的空地，花园连接着建筑空间。从这里，它已经进行了挖掘和减法，而攀登的真空的存在是感觉，一个突然的暂停，这不能访问，但这是强烈的存在。围绕这个空间的回廊——一切都围绕着神圣的空间——只有从教堂才能进入，从外面也几乎察觉不到，一个地下室，自然光从一个单一的切口，从东方进入，晨光。它是用石块建造的，其表面经过特殊的研磨加工，使接缝消失，其效果似乎是为了挖掘巨大的石块而获得的。
Around this cloister space, revolves around the sacred space, it is accessed from the chapel, also barely perceptible from the outside, a crypt in which the natural light enters from a single cut, from the east, the morning light. Through the movable walls of the chapel, with deliberately limited size, but not in height, the chapel itself can be expanded by incorporating the halls of a meeting space: a meditative space that, on certain occasions becomes a liturgical space of considerable capacity. The stone becomes the protagonist, the high walls seems to be dug in a single block because worked with a particular technique which cancels at all the joints between the blocks while making the surface vibratile under the light. A painted sky shines behind the interweaving of the branches to emphasize the upward movement of the housing wall. 围绕着这个回廊空间，围绕着神圣的空间，它可以从礼拜堂进入，从外面也几乎察觉不到，这是一个地窖，自然光从一个单一的切口进入，从东方，晨光。通过礼拜堂的活动墙，故意限制了大小，但没有高度，礼拜堂本身可以通过合并会议空间的大厅来扩大:一个冥想的空间，在某些场合成为一个具有相当容量的礼拜空间。石头成为主角，高墙似乎是在一个单独的块中挖掘的，因为使用了一种特殊的技术，消除了块之间的所有关节，同时使表面在光线下振动。在交织的树枝后面，画出的天空闪闪发光，强调了房屋墙壁的向上运动。
The presence of a natural environment of great quality has suggested a "botanical" design approach. It not only had to preserve the pinewood from excessive human settlement, but also understanding the built as an editable image in time in the sense of its programmed mitigation. The search for materials to be used started together with the first elaboration of the project. The wrinkled bark of pine trees with his non-color-changing color under the light, now gray or red or brown, was the constant reference in identifying the materials that had to be used. 高品质的自然环境的存在提出了一种“植物”设计方法。它不仅要保护松木免受过度的人类定居的影响，还要从程式缓解的意义上及时将建筑理解为可编辑的图像。寻找要使用的材料始于专案的第一次阐述。松树皱巴巴的树皮在光线下没有变色，现在是灰色或红色或棕色，是识别必须使用的材料时不断的参考。
The deactivated exposed concrete, to make more material the surface, has been made with a particular mixture of inert earths and oxides, as well as the hand-made bricks for the realization of which has been identified in the laboratory an appropriate titration of oxides. 钝化的外露混凝土是用惰性土和氧化物的特殊混合物制成的，以使表面有更多的材料，而手工制作的砖是在实验室中确定的氧化物的适当滴定。
For internal and external flooring, as well as for some external cladding, it has been chosen a type of stone, Santafiora stone, not only for its color but also for the possibility to realize a wide range of surface treatments. The outcome is a variety of shades of a single color that considerably damp the impact of the built for its degree of harmonization with the surroundings. 对于内部和外部地板，以及一些外部覆层，选择了一种石材，Santafiora石材，不仅是因为其颜色，还因为其可以进行各种表面处理。其结果是一种单一颜色的各种色调，大大降低了建筑与周围环境的协调程度。
The design experience that ended, especially represents an increasingly urgent answer to the question of how it is possible to safeguard the architectural quality at all stages of the realization. 结束的设计经验尤其代表了一个越来越迫切的问题，即如何在实现的所有阶段保障建筑质量。
译者：吴少欣
项目图库
© Toti Semerano
平面图 © Toti Semerano
北立面图 © Toti Semerano
剖面图-XX © Toti Semerano
剖面图-YY © Toti Semerano
南立面图 © Toti Semerano
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