‘What I heard appeals to me: not to wish to stir up emotions with buildings, I think to myself, but to allow emotions to emerge, to be. And: to remain close to the thing itself, close to the essence of the thing I have to shape, confident that if the building is conceived accurately enough for its place and its function, it will develop its own strength, with no need for artistic additions.’

Peter Zumthor [1]

The experience of the first encounter with a building often remains a permanent memory and starting point in any further contemplation of it. The poetic image depicting the silhouette of a ship, which, as if has always been anchored on a wide meadow lulled to sleep with December snow, is completed by the crowdedness of its interior with participants in the Sunday mass celebration.