The Brother Klaus Field Chapel is a simple yet prominent landmark in the natural landscape of Wachendorf, Germany. Remarkably, this religious sanctuary and popular tourist attraction evolved from a basic sketch outlined by the Swiss architect Peter Zumthor. This exhibition aims to unveil how the atmospheric qualities of the field chapel reinforce its primary function, which is to stimulate a unique metaphysical experience for its visitors. It achieves this by means of different design elements and spatial mechanisms, which provoke an emotional and physical response.

      The seemingly uninviting chapel lacks essential features such as electricity, plumbing, running water, and lavatories, which are almost always present in a building, to offer guests comfort and convenience. The photographs of the chapel interior reveal a space that is completely unfurnished except for a small bench. These images, along with the plan, also indicate that not more than half a dozen people could occupy the tight space at a time, although a large, ample space would generally be considered more commodious. In addition, the chapel does not rely on ornamentation, sculptures, or a grandeur facade - which are often present in most religious institutions- to inspire reverence and awe. In the face of these conventional systems, this modest chapel relies exclusively on the atmospheric quality created by subtle plays in material, lighting, and spatial layout, to captivate its visitors and offer them spiritual solace.  

      The chapel was commissioned and built by local farmers in honor of their saint patron Brother Klaus [1]. This small, intensely spiritual shrine employed very unusual materials and techniques in its construction. The preliminary model unveils the inner timber structure; a conical framework built using 112 tree trunks that were then enveloped by a smooth concrete shell in a technique known as ramming [2]. The strong textural contrast between the interior and the exterior makes stepping into the chapel an even more surprising and powerful event. The timber was later set on fire, leaving a rough blackened surface that emits a refreshing and stimulating organic scent, which excites visitor’s olfactory sense and therefore lures them in.

        Zumthor’s initial plan of the chapel reveals a short, curved path that at first seems intimidating. Yet the darkness and narrowness of this space add an enticing mysterious quality to it that invites visitors to physically explore and interact with the interior, as one would need to tactically ‘feel’ their way through the space. Rather than being a passive observer, viewers’ perception of the space is informed by their bodily engagement with the project’s materials, which allows them to sense the ‘atmosphere’. As one enters the wider central space, an optimistic bright light penetrates the somber ambience. This light, coming from the overhead oculus, is thought to symbolize Brother Klaus’ vision in the womb, in which he saw a flaring star that lit up the whole world. The atmosphere created by contrasting light has a significant effect on the emotional reaction elicited by its visitors, which progresses from fear to hope to comfort. Thus, the interplay between lighting and spatial relationships transforms the chapel into a Numinous Space- a space that evokes three emotional responses: hesitation and apprehension (tremendum), fascination and attraction in spite of their unease (fascinans), and finally a stupor feeling of being in communion with a wholly other or divinity [3]. To give viewers a sense of the chapel’s spatial layout and light contrast, the short video displayed takes them on a virtual tour through the chapel, beginning from the entrance up until reaching the oculus-lit central space.

       Ultimately, the methods and materials employed in the architectural and spatial design of the Field Chapel capture a singular atmosphere within the structure that promotes bodily inquiry, reverence, and spirituality, resulting in an intimate and mystical experience for all its guests.