In thinking about a symbol I start only from the sense, I walk through it through the form and finally I consider the function. If the relationship between sense and form finds a balance, the function will result as a consequence without excessive imbalances, in an almost natural way. The tabernacle I made for Olmo visualized the possibility of giving the tabernacle a different vision from the box, albeit sacred, in which the mystery is kept.
I started from the constructive lines of the architecture of the church as for all the other elements, altar, baptismal font, ambo, seat. The tabernacle as a place, a real architecture, a meeting point between that of the church and that of space. Tabernacle as a universe, in which all forces are concretized, in which something so powerful as to twist the forms of space-time takes place, a transformation made tangible in the architectural framework of the central body that wants to communicate the sense of a dynamic equilibrium in constant imbalance .
The tabernacle is made of stone. The constituent elements of all the symbols I thought of for the church of Olmo re-emerge: blood and water are also present here, on the front door. They define a cross and a central square that anticipate the torsion of the body of the tabernacle, while maintaining centrality and balance in terms of visual weight. I removed any decorative intent to focus attention on the deeper formal and aesthetic theme, without distractions.
