“圣雅各布使徒”教堂及教区综合体
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与城市环境的关系
“圣雅各布使徒”教区综合体是其所在区域的催化剂，形成了一个新的神经中心，能够在当地社区中创造身份，并促进社会化、教育和互动。
该建筑以友好和开放的姿态呈现给居民，得益于轻盈和有机的建筑风格，与费拉拉历史遗存的坚固和紧凑的材质形成对比。
修长的树木轮廓围绕着地块，创造出一个亲密而熟悉的环境，建筑以其雕塑般的形态主导着场景，同时又通过一种受自然启发的语言与周围的自然对话。这在教堂前方的大广场的自然设计中得到了体现，广场是教堂庭院的自然延伸，同时也是一个聚会场所：一个社交和团结的地方，扩展了教堂的空间，使其向城镇开放。
该建筑位于与新桥和河对岸城市的视觉和精神轴线上，然而，入口是通过两条侧面道路进入，这两条道路在广场的设计中汇聚，像两只向社区敞开的手臂。
新项目包括相邻的空间，将为社区提供教育、会议和娱乐服务，以及与教区综合体正式对话的新多功能空间，关注与周围环境的关系。
对神圣建筑的认可
教堂以其卓越的体量和形式特征而闻名，立即被视为一座属于公众的纪念性建筑。其特定功能通过原型形式和形式元素的代码显现，使其特征成为一座不可混淆的神圣建筑。
波动的雕塑屋顶形状参照了罗曼式和哥特式教堂的拱顶形状。然而，它们的平行关系被重新组合成放射状形状，祭坛位于中心，从中延伸出抛物线拱顶。
同样，巨大的入口门廊与教堂庭院的门槛高度象征性地标志着进入圣殿的入口，其砖石和灰泥外立面强调了内部空间的集会特性。
外立面由砖和灰泥制成。砖块经过特别加工，呈现出尖锐的表面，令人联想到费拉拉著名的钻石宫。
美学与形式特征
教堂如同一个轻盈的热气球，轻巧地置于地面，呈现出一种轻盈而精致的建筑风格，作为一个开放和多孔的元素融入其环境，为社区提供空间。
被一排高大的白杨树环绕，创造出一个亲密而统一的居民聚会空间，建筑覆盖着轻盈悬浮的屋顶，暗示着向上的张力，同时不忘与自然的联系，以有机几何形式体现。
作为可变截面的坚固旋转，教堂围绕一个中央点向外发展，中央点由祭坛占据，祭坛是建筑的真正形式和精神支点，以及巨大的天窗。祭坛也是教堂的焦点，位于一个圆形的祭坛区。因此，教室、侧礼拜堂、洗礼室和所有附属空间都围绕着它组织。
在教堂内部，拱形的木制屋顶暗示着中世纪教堂的殿堂，呈放射状围绕着一个环形的光圈，环形光圈包围着悬浮的天篷。这个形状让人联想到圣雅各布的贝壳。
一根巨大的木梁十字架悬浮在整个殿堂上方。这些梁是从费拉拉的旧市政厅回收而来，在修复过程中被替换，显示出与城市之间坚固而古老的关系。
内部空间包括祭衣间、教区住宅和信徒与教区神父之间的谈话室。此外，还有一个低矮有机的体量，包含社区聚会区域。
与教堂相连的是祭衣间、教区住宅和信徒与教区神父的会议室，而一个低矮的有机体量则包含社区聚会区域。
从主广场出发，地面的设计引导人们进入这些更为私密的区域，形成公共社交与更为亲密的社交之间的对比。
礼仪布局
进入教堂的通道是一个大型的神圣广场，宏伟的门廊标志着教堂和洗礼室的入口。可见的圣体匣从相邻的礼拜堂中回收，指示着从门口通往祭坛和祭坛区的中心轴线。
因此，礼仪空间围绕着位于圆形平台上的中央祭坛展开。祭坛上有座位和讲台，以及圣母像的基座、圣雅各布的遗物、洗礼室和圣体匣。它们都是由不同类型的木材组合而成的内嵌层压木制成。
房间呈半圆形围绕祭坛，座位以弧形排列。独特的形状使信徒能够靠近祭坛，促进共同的庆典。
中央天窗允许光线洒落在祭坛区域，随着一天中的时间变化而改变效果。
一扇大门通向洗礼室，洗礼室与教堂的中央区域分开但相连。
洗礼室有一个高而垂直的空间，中央有一个17世纪的洗礼盆。
圣雅各布的遗物安放在一个木制祭坛中，另一个专门用于玛利亚崇拜的壁龛中放置着一尊16世纪的圣母像，这尊像可以在圣三位一体教堂的封闭区域找到。
人们可以从教堂的统一区域进入平日礼拜堂，平日礼拜堂内存放着圣体，并与教堂相连，但由于有专门的外部通道而保持独立。
祭衣间、忏悔室和教区住宅，以及多功能教室，均可从此处进入。
艺术作品
恩佐·库基 “Enzo Cucchi” 为艺术品设计的图标概念被构思为一个有机整体，在教堂空间中不断演变。
在唐·罗伯托·塔利亚费里的礼仪解读支持下，恩佐·库基在教堂和洗礼室的墙壁上放置了巨大的石制十字架。
巨大的灰色石制十字架似乎从粗糙的混凝土墙壁中生长出来，将其转变为宏伟的石材。
十字架上附有黑色陶瓷片，上面有浮雕图案，描绘了旧约和新约的故事。
浮雕和光滑的哑光陶瓷表面帮助区分神圣故事，并为黑色艺术作品注入光芒。
一个被闪亮的彩色陶瓷片环绕的罗马十字架，像一个祭坛画，回忆起镶嵌宝石的十字架。在教会最原始的时代，十字架上装饰着宝石，象征着星星和行星、圣人、天使以及基督教的神圣人物。
在平日礼拜堂中，由一系列小十字架组成的苦路 “Via Crucis” 是用从中央殿堂的大十字架工作中剩余的石材 “pietra serena” 碎片制成的。
每个十字架上都标有罗马数字的十字架站数，或用镀金陶瓷制成。
艺术作品呈现出高度暗示性的形式，具有象征力量，光与影的交错突显了空间的戏剧性，同时融入了其所嵌入的建筑中。
教堂和教区综合体的空间
教堂的主导地位在教区综合体中最显著的位置得到了强调。祭坛主导着教堂内部的中央大厅，从天窗的大光圈中接收光线。
平日礼拜堂和洗礼室与祭坛保持视觉关系，根据不同的礼仪时刻的需要形成独立或统一的空间。
祭坛由一块几乎未经加工的白色石材制成，只有一个抛光的庆典表面。它的四个角上装饰着四个小十字架，并有一个秘密抽屉，里面放置着一件遗物。
粗糙石材的侧面让人联想到基督教最原始的时刻，当时的弥撒是用找到的物品进行的，地点的象征意义更为重要。
悬挂的木制灯具为空间注入柔和的光线，投射出可能让人联想到天使存在的阴影。声学天花板由具有曲线几何形状的木制盒子覆盖。
新的圣雅各布教区教堂融入了费拉拉的景观规划，在外部提供了传统的延续，而在内部则带来了令人惊讶的冥想时刻。
建筑师：贝内黛塔·塔利亚布 – 米拉莱斯·塔利亚布
艺术家：恩佐·库基
礼仪师：唐·罗伯托·塔利亚费里
结构设计：伊奥里奥工作室，弗朗西斯科·伊奥里奥
RELATIONSHIP WITH THE URBAN ENVIRONMENT
The 'San Giacomo Apostolo' parish complex is a catalyst for the area in which it is located, forming a new nerve center capable of creating identity in the local community and promoting socialization, education and interaction within it.
The building is structured as a kindly and open presence to the inhabitants, thanks to a light and organic architecture that contrasts with the solid and compact materiality of the historical preexistence of Ferrara.
The slender profile of the trees encloses the plot, creating an intimate and familiar environment, in which the building dominates the scene with its sculptural forms, but at the same time dialogues with the surrounding nature thanks to a language inspired by it. This is exemplified in the naturalistic design of the large plaza in front of the church, a natural extension of the church courtyard and at the same time a meeting place: a place of socialization and union that expands the space of the church, opening it up to the town.
Located on a visual and spiritual axis with the new bridge and the city on the other side of the river, access is however made through two lateral routes that join in the design of the square to the church, like two arms open towards community.
The new project includes adjacent spaces that will offer educational, meeting and recreational services to the community, as well as new multifunctional spaces for the adjoining school, with which the parish complex also formally dialogues with a volume attentive to the relationship with its surroundings.
RECOGNITION OF THE SACRED BUILDING
Characterized by its exceptional volume and formal features, the church is immediately perceived as a monumental building that belongs to the public. Its specific function is revealed by archetypal forms and code of formal elements that make its character a sacred building unmistakable.
The undulating shape of the sculptural roof refers to the archetypal vaulted shape of the Romanesque and Gothic naves. However, their parallelism is recomposed into a radial shape and the altar is in the centre from which the parabolic vaults depart.
Similarly, the large entrance portal together with the threshold of the churchyard, marks in a highly symbolic way the entrance to the temple, whose brick and plaster facades underline the assembly character of the interior space.
The facades are made of brick and plaster. The bricks have been specifically worked to present a pointed surface, reminiscent of the famous Palazzo dei Diamanti in Ferrara.
AESTHETIC, FORMAL PROFILE
Like a hot-air balloon delicately placed on the ground, the church presents itself as a light and delicate architecture, fitting into its context as an open and porous element that offers its spaces to the community.
Surrounded by a row of high poplar trees, that create an intimate and unifying space for the meeting of the inhabitants, the building is covered with a light and suspended roof that suggests an upward tension without forgetting the link with nature formalized in organic geometries.
As a solid rotation of the variable section, the church develops radially around a central point occupied by the altar, the building's real formal and spiritual fulcrum and the huge skylight. The altar is also the focal centre of the church, located on a circular presbytery. Therefore, the classroom, the side chapel, the baptistery, and all annexed spaces are organized around it.
Inside the church, the vaulted and wooden roof implying the naves of medieval churches develops in a radial pattern around a ring of light surrounding a suspended canopy. That shape recalls the shell of St. James.
A large cross of wooden beams flies above the entire nave. The beams, recovered from Ferrara's old town hall and replaced during the restoration, show a solid and ancient relationship with the city.
Inside, spaces for the sacristy, the parish house, and the conversation room between the faithful and the parish priest continues to develop. In addition, there are aggregative spaces for the community in the low and organic profile volume.
In continuity with the church are the spaces for the sacristy, the parish house and the meeting room for the faithful and the parish priest, while a low-profile, organic volume contains the community meeting areas.
From the main square, the design of the ground leads to these more reserved areas, contrasting public sociality with a more familiar sociality.
LITURGICAL PLANT
The access to the Church is via a large sacred square, and the monumental portal marks the entrance to the Church and the Baptistery. The visible monstrance recovered from the adjacent oratory indicates the central axis towards the altar and the presbytery from the door.
The liturgical space is thus articulated around a central altar located on a circular platform. Both the seat and the ambo are on the altar, as well as the base of the Virgin's statue, the relic of St. James, the Baptistery, and the monstrance. They are all made of built-in laminated wood, which is made by combining different types of wood.
The room is built semi circularly around it, with curved seats arranged in a radius. The unusual shape allows the faithful to be in close proximity to the altar, promoting a communal celebration.
The central skylight allows light to descend on the altar area, changing the effect throughout the day.
One of the large doors leads to the Baptistery, which is separate but connected to the Aula Eclesiástica's central area.
The Baptistery has a high, vertical space that is dominated by a 17th century baptismal font.
The relics of St. James are housed in a wooden altar, and another niche dedicated to Marian devotion houses a wooden statue of a Madonna from the sixteenth century, which can be found in the closed Church of the Holy Trinity.
People can enter the weekday chapel, which contains the Blessed Sacrament and is attached to the Church but independent thanks to exterior access designated to it, from the Church's unitary area.
The sacristy, the penitentiary, and the parish house, as well as the multipurpose classrooms, are all accessible from here.
ARTWORK
Enzo Cucchi's iconographic concept for the items of art is designed as an organic whole that evolves in the Church's space.
With the support of Don Roberto Tagliaferri for liturgical interpretation, Enzo Cucchi has placed massive stone crosses on the Church and Baptistery walls.
The enormous grey stone crosses appear to sprout from the rough concrete walls, transforming it into magnificent stone.
Affixed to the crosses are black-coloured ceramic pieces with bas-relief drawings depicting Old and New Testament stories.
The bas-relief and smooth, matte finish of the ceramic help to distinguish the Sacred stories and fill the black artistic work with light.
A Roman cross surrounded by sparkling pieces of coloured ceramic, like an altarpiece, recalls the jewelled cross. In the most primitive era of the Church, the cross was adorned with gems, symbols of stars and planets, saints, angels, and figures sacred to Christianity.
A Via Crucis is formed in the weekday chapel by a series of small crosses made from pietra (stone) serena fragments left over from work on the large crosses in the central nave.
Each bears the number of cross stations in Roman numerals or is modelled in gilded ceramic.
The artistic work takes on highly suggestive forms with symbolic power, where the play of light and shadow accentuates the drama of the space while integrating into the architecture into which it is inserted.
THE SPACES OF THE CHURCH AND THE PARISH COMPLEX
The protagonism of the Church is emphasized in the most prominent location within the parish complex. The altar dominates the central hall inside the Church, receiving light from the skylight's large luminous eye.
The weekday chapel and baptistery maintain a visual relationship with the altar, forming a separate or unitary space depending on the needs of the individual liturgical moments.
The altar is constructed from a block of white stone from Trani that is almost unworked and has only one polished celebration surface. It is embellished with four small crosses at each corner and has a secret drawer that houses a relic.
The rustic stone's sides recall the most primitive moments of Christianity when a mass was celebrated with found objects and the location where the symbol took on even greater significance.
Suspended wooden lamps fill the space with soft light, casting shadows that may remind us of the presence of angels. The acoustic ceiling is covered by a wooden cassette with a curvilinear geometry.
The new parish church of St. James fits into Ferrara's landscape plan, offering a continuity of tradition on the outside and surprising moments of meditation on the inside.
Architects: Benedetta Tagliabue – Miralles Tagliabue EMBT
Artist: Enzo Cucchi
Liturgist: Don Roberto Tagliaferri
Structural Design: Studio Iorio, Francesco Iorio