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圣温塞斯拉斯的教堂/Atelier Štěpán
2017-08-30
Sazovice


感谢来自Atelier Štěpán的分享

名称:圣温塞斯拉斯的教堂

地点:Sazovice

作者:Marek Jan Štěpán / Atelier Štěpán

合伙人:František Brychta, Jan Martínek, Tomáš Jurák, Jan Vodička, Hana Kristková

内墙装修:Vladimír Kokolia

照片来源:Jakub Skokan, Martin Tůma / BoysPlayNice       

客户:萨佐副教堂建筑协会

承包商:Stavad s.r.o.

项目:2012–2015

完工:2015–2017


Name: Church of St. Wenceslas

Location: Sazovice

Author: Marek Jan Štěpán / Atelier Štěpán

Cooperation: František Brychta, Jan Martínek, Tomáš Jurák, Jan Vodička, Hana Kristková

Interior wall decoration: Vladimír Kokolia

Photo credits: Jakub Skokan, Martin Tůma / BoysPlayNice

Client: The Association of Church Building in Sazovice

Contractor: Stavad s.r.o.

Project: 2012–2015

Realization: 2015–2017



圣文萨斯的圣文教堂是一个现代的圆形建筑,并且当代建筑以保守的原则来自摩拉维亚建筑事务所。在沙俄建立一座教堂的想法始于两次世界大战期间。2011年,Sazovice的人们再次提出了这个想法并成立了教堂建筑协会。


Church of St. Wenceslas in Sazovice is a modern rotunda and contemporary architecture built on conservative principles from Moravian architectural office Atelier Štěpán. The idea of building a church in Sazovice dates from the interwar period. In 2011 the people of Sazovice brought the idea again and founded the association of church building. 



第一个重要的任务是找到一个特定的位置,这将有助于增强教会的精神意义。根据主计划,我们发现了4个可能的建筑工地。其中只有一种是与周围建筑结构及其社会关系密切相关的Sazovice的核心。


The first important task was to find a particular location, which would help to amplify the spiritual sense of church. According to the masterplan, we discovered 4 possible sites for the building. Only one of them was in the heart of Sazovice perfectly linked with the surrounding building structure and its social connections.



周围的环境为教堂创造了一个海湾,为接下来的几代人带来了巨大的影响。寻找合适的教会形式,从一个简单的圆柱开始,成为这个地方的完美容积。与世俗的长方形相比,圆圈一直被认为是神圣的象征。


The surroundings create a bay for the church that brings great importance to this place for following generations. Searching for the right form of the church started with a simple cylinder, which became a perfect volume for this place. The circle has always been understood as a divine symbol, in contrast to the worldly rectangle. 



教会建立了村庄的聚焦点,在主要方向的十字路口,让你觉得它是一个神圣的地方。这栋建筑指的是建于10世纪的圣文萨斯拉时代的罗滕达斯。他修建的圆形建筑根据史料,它的直径和萨佐的教堂差不多。


The church establishes the focal point of the village, in the intersections of main directions and it makes you feel it’s a sacred place. The building refers to rotundas built in St. Wenceslas’ time in 10th century. He founded a rotunda, that has, according to the historical sources, similar diameter to the church in Sazovice. 



在布拉格大教堂内,旧的圆塔被重建成一个新的哥特式的方形教堂。我们在广场上围了一个圈,继续用同样的比例和祭坛、入口和台阶的位置进行设计。圣文斯拉斯的遗物在布拉格教堂,新出现在萨佐利的祭坛上。


The old rotunda was rebuilt into a new gothic square shaped chapel within the Prague cathedral. We circumscribed a circle around the square and continued to design with the same proportions and positioning of altar, entrance and stairs. The relics of St. Wenceslas are in the Prague chapel and newly in the altar in Sazovice.



在施工过程中,我们发现了两座建筑之间的连接。当你站在圣坛前,透过主窗户看时,你会看到圣文萨斯教堂的方向。这一事实支持设计的正确性,可能是由于不可抗力的原因造成的。


During the construction, we discovered a connection between the both buildings. While standing in front of the altar and looking through the main window, designed by intuition, you are watching in the direction of St. Wenceslas chapel. This fact supports the rightness of the design and may be a result of a contribution of force majeure.



“我的目标是使这座建筑消失。”当你观察它的体积时,你会感受到由设计原理所产生的轻量,将墙壁缩减成细线。这就像剪一个纸筒,探索它的可能性。我通过推拉和拉着灯光,让灯光在墙上轻轻滑动,创造了窗户。


“My aim was to dematerialize the building. When you observe the volume, you feel the lightness made by design principle of tapering the walls into tiny lines. It’s like cutting a paper cylinder and exploring its possibilities. I created the windows by pushing and pulling the cuts and letting the light glide softly on the walls.



我相信物质世界背后有某种或更好的人。在Sazovice中,我试图通过体积和定义的空间来找到它。作为一名建筑师,我探索了这个空间及其对人类的影响。教会应该影响人们的思想,无论他们是有意识地或潜意识地理解它。


 I believe there is something or better Somebody behind the material world. In Sazovice I tried to find it through the volume and defined space. As an architect, I explore the space and its impact on people. The church should influence people’s mind, whether they understand it consciously or subconsciously. 



这是在体积,定义的空间和墙后面的东西的反映。教堂邀请我们进去,并提供一种宁静与和平的感觉。如果你愿意,你可以和上帝单独相处。室内是非常私人的,最好是来这里生活。”


This is the reflection of something divine in the volume, defined space and something what is behind the walls. The church invites us inside and provides a sense of quietness and peace. You can experience being alone with God if you want. The interior is very personal and it’s better to come and live it out.” 



室内有诗性的简约主义和适度的装饰。历史教堂充满了视觉信息——整个故事都是用绘画、雕塑和装饰来写的。例如,巴洛克式教堂的内部完全是描述性的,给不识字的人一个关于耶稣的生活的想法。如今,我们已经被信息淹没,我们趋向于寻找一个安静的冥想场所,并意识到自己内心的存在。


The interior is poeticaly minimalistic with modest decoration. Historical churches are full of visual information – the entire story is written in paintings, sculptures, in decorations. For example, interior in Baroque church was completely descriptive to give illiterate people an idea about Jesus’ life. Nowadays we are overwhelmed with information and we tend to search for a quiet place of meditation and realizing own inner being.



祭坛是一个简单的有机形状的青铜外壳,表面有一个完美的表面,象征着上帝的触摸(米开朗基罗的壁画中西斯廷教堂所知道的)。在创作过程中,我探索了大众的接触,这与人类的接触很相似。


The altar is a bronze shell in a simple organic shape with a perfect surface symbolizing the God’s touch (known from Sistine Chapel in fresco painting by Michelangelo). During the creative process, I explored the contact of masses, which is similar to the human contact. 



触觉创造了一种运动,它是一种新能量的开始。触摸的时刻集中在一个点上,就像一个圆的切线。能量从一个流动到另一个,它最终创造了连接,带来了一个信息。它让我想起了在确认过程中所做的仪式,在圣化过程中,或者是传递信息的过程中,距离耶稣的到来这些仪式已经展开了两千年。


The touch creates a movement and it is a beginning of a new energy. The moment of the touch is concentrated in a point like a tangent to the circle. And the energy is flowing from one to another and it finally creates connection that brings a message. It reminds me of the rituals performed during confirmation, laying on of hands during sanctification or forwarding messages that have been being unfolded for two millennia since Jesus came.




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