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为教堂建筑恢复宗教特点的努力,令一种倾向于1960年代极简抽象主义艺术潮流的建筑风格产生了。“寂静之屋”表现出一个沉寂的”非世界”,它摒除一切喧嚣,表达出修道的纯洁感。造型的简朴和完美,粗糙的材料,暴露的混凝土和不经修饰的墙面都显示出它的简约,构成不同光照效果下通透空间的背景。通过造型与开窗可以调节和控制进入的光线。光在某些地方可以从上方射下,就像人们对宗教建筑期望的那样,而且它看起来没有特定的方向,并显得分布均匀。“寂静之屋“由两栋不同的建筑组成,一栋为长方形,内部的楼梯让访客迎光线而上; 另一栋是”存在之屋”,有20个房间用于生活区。不同的步道和带玻璃罩的桥廊构成环境的视觉框架,并连接起这两栋建筑。
Efforts to restore the religious identity of the church building led to an architectural style that tended towards the minimalist abstraction of the 1960s. The House of Silence shows a quiet “non-world”, it excludes all noise, to express the pure sense of cultivation. The simple and perfect shape, the rough material, the exposed concrete and the unmodified wall show its simplicity and form the background of the transparent space under different lighting effects. Through modeling and windowing can adjust and control the incoming light. Light can be shot from above in some places, just as people expect from religious buildings, and it does not seem to be oriented in a particular direction and appears to be evenly distributed. The House of Silence consists of two separate buildings, one of which is rectangular in shape with internal stairs to welcome visitors. The other one is The Living House and 20 rooms are used in the living area. Different trails and covered glass bridges form the visual framework of the environment and connect the two buildings.