The tree group planted in a nearly regular hexagon creates an elementally delimited space. The tree trunks as columns and the canopy as the roof represent the archaism of construction, in a pure and natural way. The only human intervention is the intention of editing and designing according to a geometric regularity. This place has an inviting radiance calling to rest, relax and enjoy the connection with nature.

We could not miss to use the Christian iconography with its elements of constant and variable meaning; the immaculate conception of both St. Anne’s child, and the Virgin Mary’s child: Jesus. The lily is the symbol of purity and innocence. That is why this, as the common symbol of the two mothers, appears on the inside of the roof as a plastic motif in the wood. St. Anna’s clothing is often depicted in red and green, as evidenced by the colours of the planned marble altar. The cross is shaped out of the planned wooden structure. The cross follows the two basic symbols: the circle and the square. The symbol of the man with extended arms expresses the whole of mankind that Christ attracts from all over the world.

The essence of the static model is that the covered space does not contain any load-bearing structure. The resulting clean interior space evokes the hypothetical unconstructed chapel, its spatial inversion. The surrounding outer structure creates a temporary intermediate space, which, together with the pergola, serves as a resting and gathering space for both faith practitioners and hikers.

According to our designing intention the planned building is profane and sacred at the same time. Visitors to Normafa have a simple resting place, where you can sit down, gather on the footing beams, sliced ​​trunks and enjoy the romance of nature. Sacrality is manifested when one becomes silent and deepens in the beauty and/or devotion of nature.

Our aim is to create a multi-layered interpretation of architecture, landscape architecture and applied arts. Not divisive, not overwritten by the natural environment, with almost invisible but still noticeable tools. Placing the six-member tree group in the base position and building a minimal infrastructure that meets the expected functional requirements. We strive for a relationship not only with the tree trunks of a forest or a structural simplicity of a hunter’s lookout tower, but as well with the tradition of mountainous traditional wooden buildings or church architecture.