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Advisor(s)
Abstract(s)
Desde a Antiguidade que o Homem encontra no Templo uma forma de praticar
a sua Fé, de estar em comunhão com o(s) seu(s) Deus(es). Em qualquer culto ou
religião, a arquitetura é imprescindível na expressão e materialização da sua
interpretação divina. Ao longo dos séculos, a construção de edifícios, de cariz religioso,
evoluiu através de Eras e estilos, de mudanças sociais e culturais, nomeadamente na
religião católica.
Juntamente com o Movimento Litúrgico, o Movimento Moderno, na Europa do
século XX, impõe-se culturalmente tendo como objetivo a concretização de uma nova
arte concebida renunciando aos modelos clássicos ate então seguidos. A arquitetura
religiosa é, assim, repensada e renovada como o objetivo não só de corresponder ás
necessidades da igreja, mas dos próprios artistas e arquitetos que pretendiam transpor
para os espaços sagrados o espírito moderno.
Convocado no ano de 1962, teve lugar em Roma, o Concílio Vaticano II, o
qual visou a modernização da Igreja Católica centralizando a sua reforma na
participação ativa dos fiéis nas celebrações e atos litúrgicos. Um conjunto de diretrizes
fora elaborado de forma a definir e sintetizar as alterações litúrgicas, as quais detiveram
enorme influência na conceção e alteração de edifícios e espaços religiosos. O Concílio
Vaticano II quebrou com o pensamento existente e consequentemente permitiu a
evolução do mesmo tornando possível a renovação da espiritualidade da Igreja.
Em Portugal, os primeiros passos em direção à mudança do panorama da
arquitectura religiosa só viriam a ser dados de forma mais tardia, na decada de 50, com
o Movimento de Renovação da Arte Religiosa. Numa época de forte secularização, o
MRAR, fruto de um conjunto de católicos, de espírito comunitário e de forte
consciência ética social, política e estética cuja sua ação modificou a realidade da arte
religiosa em Portugal, valorizou e dignificou toda a arte sacra e arquitetura religiosa,
incutindo na sociedade portuguesa a importância dos princípios da arquitetura
moderna na conceção de novos espaços religiosos.
Sendo o espaço religioso obrigado a dar resposta às necessidades do Homem na
forma como vivência e pratica a sua fé, assim como a sua expressão e comunhão com
Deus, foi e continua a ser, sem dúvida, uma das tarefas mais difíceis para o arquiteto.
Since antiquity, Man has found in the Temple a way to practice his Faith, to be in communion with his God (s). In any cult or religion, architecture is essential in the expression and materialization of its divine interpretation. Over the centuries, the construction of buildings, of a religious nature, evolved through eras and styles, through social and cultural changes, namely in the Catholic religion. Along with the liturgical movement, the modern movement, in Europe in the 20th century, imposes itself culturally aiming at the realization of a new art conceived renouncing the classical models hitherto followed. Thus, religious architecture is rethought and renewed as the objective not only of meeting the needs of the church, but of the artists and architects themselves, who intended to transpose the modern spirit into sacred spaces. Convoked in 1962, the Second Vatican Council took place in Rome, which aimed at modernizing the Catholic Church by centralizing its reform in the active participation of the faithful in celebrations and liturgical acts. A set of guidelines had been developed in order to define and synthesize the liturgical changes, which had an enormous influence on the design and alteration of buildings and religious spaces. The Second Vatican Council broke with the existing thought and consequently allowed its evolution, making possible the renewal of the Church's spirituality. In Portugal, the first steps towards changing the religious architecture landscape would only be taken later, in the 1950s, with the Religious Art Renewal Movement. In a time of strong secularization, MRAR, the result of a group of Catholics, with a community spirit and a strong social, political and aesthetic ethical conscience whose action changed the reality of religious art in Portugal, valued and dignified all sacred art and architecture religious, instilling in portuguese society the importance of the principles of modern architecture in the design of new religious spaces. Being the religious space obliged to respond to the needs of Man in the way he experiences and practices the faith, as well as his expression and communion with God, it was and continues to be, without a doubt, one of the most difficult tasks for the architect.
Since antiquity, Man has found in the Temple a way to practice his Faith, to be in communion with his God (s). In any cult or religion, architecture is essential in the expression and materialization of its divine interpretation. Over the centuries, the construction of buildings, of a religious nature, evolved through eras and styles, through social and cultural changes, namely in the Catholic religion. Along with the liturgical movement, the modern movement, in Europe in the 20th century, imposes itself culturally aiming at the realization of a new art conceived renouncing the classical models hitherto followed. Thus, religious architecture is rethought and renewed as the objective not only of meeting the needs of the church, but of the artists and architects themselves, who intended to transpose the modern spirit into sacred spaces. Convoked in 1962, the Second Vatican Council took place in Rome, which aimed at modernizing the Catholic Church by centralizing its reform in the active participation of the faithful in celebrations and liturgical acts. A set of guidelines had been developed in order to define and synthesize the liturgical changes, which had an enormous influence on the design and alteration of buildings and religious spaces. The Second Vatican Council broke with the existing thought and consequently allowed its evolution, making possible the renewal of the Church's spirituality. In Portugal, the first steps towards changing the religious architecture landscape would only be taken later, in the 1950s, with the Religious Art Renewal Movement. In a time of strong secularization, MRAR, the result of a group of Catholics, with a community spirit and a strong social, political and aesthetic ethical conscience whose action changed the reality of religious art in Portugal, valued and dignified all sacred art and architecture religious, instilling in portuguese society the importance of the principles of modern architecture in the design of new religious spaces. Being the religious space obliged to respond to the needs of Man in the way he experiences and practices the faith, as well as his expression and communion with God, it was and continues to be, without a doubt, one of the most difficult tasks for the architect.
Description
Keywords
Arquitetura Religiosa
Contemporânea Arquitetura Religiosa Concílio Vaticano II Espaço Sagrado Igreja Mrar