圣安娜教堂
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因此，教堂与社会中心和公园之间形成了直接的对话，因此该项目通过“前厅”和“门廊”这两个强有力的建筑元素强调了这两种空间关系，从而使一个地方变成一个“位置”。
项目的背景已经在项目任务的标题中体现：圣安娜教堂和维日察社会中心。这种公共和社会背景因学校的存在而得到增强，学校与项目位置直接相连，同时公园将一切连接在一起，充当某种“绿色脊柱”。因此，教堂与社会中心和公园之间形成了直接的对话，因此该项目通过“前厅”和“门廊”这两个强有力的建筑元素强调了这两种空间关系，从而使一个地方变成一个“位置”。
教堂的内部从连接教堂与社会中心的入口广场开始，教堂在其上方倾斜，形成一个内前厅，作为广场的空间延伸。上升始于我们在底层玻璃立面中的反射，并继续沿着中央楼梯通向前厅。前厅的任务是聚集和连接人们，包围并保护他们，使他们共同参与宗教活动。它还指向修道院的回廊，周围被完整的墙壁框住，而中间是空洞，与入口广场和教堂的底层相连。前厅还覆盖了主广场的一部分。紧随前厅的是教堂在公园层面的神圣空间，教堂通过门廊与之直接相连。因此，外部和内部的教堂并不是通过一扇门分开的，而是通过前厅和教堂的门廊直接连接 “半公共空间”。教堂、公园和入口广场的空间接近性被表述为游行区域，在这里，礼仪空间和世俗空间相遇，为教堂注入生命。建筑本身通过一个基本的姿态展示了它的存在：白色的体量化去物质化的块体悬浮在主广场上方。
教堂的“世俗”部分和神圣部分之间的区别通过部分偏移和不同的外立面材料化得以强调——与木质镶板和混凝土板相比，玻璃墙与前厅的石铺地面形成对比。白色墙壁定义了教堂的外部边界，并在内心的精神世界与城市外部之间创造了距离。
教堂通过前厅、延伸至教堂祭坛的中殿的空间增长伴随着内部照明的渐变。阳光洒满的入口广场，升入神秘的昏暗前厅，最终到达充满光线的主厅。教堂大厅的特点是三个基本元素。第一个元素是大厅的纵向和横截面，跟随大厅向祭坛的延伸。第二个元素是可见的钢筋混凝土斜肋，它们在教堂大厅中引导侧面散射光。第三个元素是空间壁龛，直接引入阳光到祭坛、洗礼池和圣体匣。人工光源遵循自然日光的同一原则，通过光的颜色和类型 “温暖的——礼仪空间壁龛，冷的——散射侧光” 来实现。教堂的地中海氛围也通过在门廊和教堂入口前的覆盖广场上交替的阴影得以体现。
The church is therefore in direct dialogue with the social center and park, so the project puts emphasis on these two spatial relations by means of an 'atrium' and a 'porch', two strong architectural elements trough which a place becomes a 'position'.
The context of the project is already contained in the same title of the project task: Church St. Ana and Social center Vežica. This public and social context is only enhanced by the presence of a school in direct contact with the location of the project, but also the park that connects everything, and functions as a certain 'green spine'. The church is therefore in direct dialogue with the social center and park, so the project puts emphasis on these two spatial relations by means of an 'atrium' and a 'porch', two strong architectural elements trough which a place becomes a 'position'.
The interior of the church already begins in the access square that connects the church with the social center, where the church leans above it forming an inner atrium as the spatial extension of the square. The rise starts in our own reflection in the glass façade of the ground floor, and continues on the central stairs leading to the atrium. The atrium has a task to gather and connect people, surround them and protect them, get them to jointly participate in religious events. It also refers to the monastic cloister, which is peripherally framed by a full wall, while in the middle is the void, the connection with the access square and the ground floor of the church. The atrium also covers one part of the main square. Following the atrium are the sacred spaces of the church at the park level with which the church is linked directly through the porch. So instead through one door, the exterior and interior of the church are separated over the atrium and the porch of the church that are directly connected (semi-public space). This spatial proximity of the church, the park and the access square is articulated as the area of procession, where the liturgical and secular spaces meet and give life to the church. The building itself shows its presence in one essential gesture: the white volumetric dematerialized mass looms over the main square.
The difference between 'secular' and sacred part of the church is emphasized by partially shifting and different materialization of the facade - glass wall in relation to the wood panelling and concrete slabs compared to the stone pavement of the atrium. White walls define the outer perimeter of the church and create a distance between the inner spiritual world and outside of the city.
The spatial growth of the church through the atrium, nave that ends at the presbytery of the church is followed by a graduation of the interior lighting. Access Square bathed by daylight, rises in the mysterious dimmed atrium, and ends in the light-filled main hall. The church hall is characterized by three basic elements. The first of these elements is a longitudinal and cross-section of the hall, which follows the growth of the hall to the presbytery. The second are the visible reinforced concrete angled ribs, which draw the side, diffuse light in the hall of the church. Third are spatial niches, which draw direct daylight in the altar, baptistery and tabernacle. Artificial light follows the same principle of natural daylight by means of color and the type of lighting (warm - liturgical spatial niches, cold - diffuse side lighting). The mediterranean ambient of the church is also narrated through shadows that alternate on the porch towards the park and on the covered square in front the entrance of the church.