圣尼古拉斯教堂，斯普林代爾，阿肯色州，美國

建筑設計：馬龍·布萊克韋爾建筑師事務所

1 外景/Exterior view（攝影/Photo: Timothy Hursley）

2 地段位置圖/Site location

3 總平面/Site plan 1-教堂/Church 2-停車/Parking 3-現有建筑/Existing house 4-待建圣殿/Future sanctuary 5-待建停車/Future Parking 6-公共停車/Public grounds Parking

經過長時間的資金募集，圣尼古拉斯東正教堂選址在阿肯色州斯普林代爾的一處1.2萬m2（3英畝）的土地上，東與一個大型公園相鄰，西面接近主干道。在對地段上現有房屋和鋼結構商店建筑的優點進行長時間討論后，方案決定把商店建筑重新改造成新的禮拜空間。現有的商店建筑有3個可升起的車庫門、一個用于儲存的小夾層和一間辦公室。夾層和辦公室被完全拆除，西立面也做了改動，以容納一個更大的夾層，并將整個西立面加長了0.254m（10英寸）。鋼框架位于建筑中唯一一處可以引入禮拜堂入口的塔的元素的地方。建筑物被由箱肋金屬板和彩色玻璃組合成的新表皮包裹著——模糊并改善了原來的山墻造型。雖然建筑很小，但從附近的公路上看去，它強有力的形式、表皮和象征符號使其無論在白天、黑夜都能突顯出來。

雖然傳統的東正教堂是軸向東西的，這個矩形的商店建筑卻是南北向的。盡管禮拜儀式的規定是，若禮拜空間沒能夠面向東方就應該“調整方向”，但這個項目是通過折疊的手段使建筑擁有正確的方向。教堂前廳沒有遵照傳統的軸向序列，而是沿圣殿空間的軸線轉折90°，這樣，教民一進入圣殿就會體驗到東西向的軸線感。這一微妙的調整使為滿足功能要求的改建最小化，白橡木制成的長條懸挑木構件強化了點燃禱告蠟燭的儀式和前往朝拜之路的莊嚴感。當人們經過燭光搖曳中的教堂前廊，在橡木地板之上的天花板逐漸降低形成壓抑感，之后則會到達作為東向圣殿空間入口的天光塔。這個塔由天窗采光，其中一個紅色玻璃的十字架面朝西方，每天早晨有東方初陽從它背后投射，夜間則通過人工照明，使人們從附近高速路上都可以遙遙看見它的影像。

在圣殿東端，天花板打開一部分以留出9.14m（30英尺）寬的半透明玻璃氣窗，使圣殿在清晨禱告儀式時得以沐浴在柔和的陽光中。圣障（即在圣殿和代表天地分界的祭壇區之間的分隔墻）的刻畫精美，上面有表示天堂和人間分界的手繪漆像和金像。圣障中有兩個隱藏的可開啟面板，牧師可以在主持禮拜儀式時穿過。圣殿還有一個突起的圓頂，由一個圓盤式天線接收器改造而成，倒轉、抹灰后刻上耶穌像，基督的形象就在這里出現。

圣殿的橡木地板和穹頂反映了一種設計策略，教堂室內的豎向表面經過簡潔處理的彩色光線照亮。與此形成對比的是，擁有不同層級的水平面更具表現力。在集會廳中，原先金屬質感商店建筑的混凝土板和屋頂結構被暴露出來。暴露的隔離層和鋼結構全被漆成黑色，原來商店的燈具被移至集會廳中照明。和集會廳相連的是包括廚房和衛生間的一些新的服務設施，上面的夾層容納了一個大型多功能空間和約翰神父的辦公室，從那里可以俯瞰教堂的前廳。

雖然這里平時僅接待80個人左右，在假期中則有兩倍之多。圣殿的一面墻上有兩部分可以對集會廳敞開，在假期中，這些可控的墻體能使圣殿與集會大廳聯通，以容納多出的人員。這種靈活性的設置體現出預算的限制和設計所需的智慧。

自從新的禮拜空間開放后，集會量已經增長了30%，使人們開始期待在這里實現一個可容納200名信徒的大型圣殿?？偲矫嬷幸呀浛紤]了未來的發展，采用了敏感的停車策略，與典型的在街道和建筑之間的寬帶停車相反，把停車場布置在了教堂的側面和后面。同時形成了一個大的廣場，新的圣殿空間最終將限定廣場的南邊界?，F在，白色的建筑立面成為了教堂的一塊布告板，它的外形從高速路上清晰可辨。這個小教堂盡管被很多更大的教堂包圍著，卻有著非凡的姿態?！酰▍柶嬗?譯）

After a lengthy search for property, the congregation of Saint Nicholas Eastern Orthodox Church found a three acre site in Springdale,Arkansas, bordered to the east by a large public park and exposed to a major highway to the west.After a lengthy debate about the merits of the existing house and steel-framed shop building, the decision was made to repurpose the shop building into a new worship space. The existing shop building had three high lift garage doors, a small mezzanine for storage, and an office. The mezzanine and the office were completely removed, as was the western facade to allow for a larger mezzanine and a ten foot wide addition across the entire length of the west elevation. The steel frame was in only one location to allow for the introduction of a tower element that highlights the entry to the sanctuary.The building is enveloped by a new skin of boxribbed metal panels and colored glass openings:the original gabled form is obscured and refined.Although a small structure, its bold form, surface and symbols make it recognizable both day and night from the nearby interstate.

While traditional Eastern Orthodox Churches are axial and face east, the rectangular shop building was oriented north-south. Although there are liturgical provisions for "reorienting" a worship space that is unable to face east, the program was simply folded to allow for the proper orientation.Rather that adhering to the traditional axial progression, the narthex is folded 90 degrees to the axis of the sanctuary space so that parishioners are delivered to the east-west axis once they arrive in the sanctuary. This subtle compromise allows for a very minimal addition in order to accommodate the program, dignified by a long suspended piece of millwork made of local white oak that embraces the ritual of lighting prayer candles and paying respect to saints en route to worship. As one passes through the candle-lit narthex, the ceiling gradually descends above a floor of oak, compressing the visitor before passing under the sky-lit tower that marks the entry into the sanctuary oriented to the east. The tower is lit by a skylight and houses a cross facing west filled with red glass, backlit by the eastern sun each morning and artificially illuminated at night to be visible from the adjacent highway.

At the east end of the sanctuary, the ceiling is carved away to allow for a 30 foot wide transom of translucent glass that bathes the sanctuary in soft light for morning services. The iconostasis,the screen wall between the sanctuary and the altar area representing the separation between heaven and earth, is the one vertical surface that is articulated in great detail. It features hand-painted and gilded icons representative of the separation of heaven and earth. Two hidden operable panels in the iconostasis allow for the priest to pass through while performing rituals according to the church's liturgy. The sanctuary also features a dome,fashioned from a repurposed satellite dish, inverted and plastered, then inscribed with the image of the"pantocrator," the image of Christ rising as the sun in the east.

The oak floor and the dome of the sanctuary reflect a strategy in which the interior vertical surfaces of the church are bathed in light with color accents with limited articulation. In contrast,the horizontal surfaces are expressive, revealing priorities and hierarchies. In the fellowship hall,the original concrete slab and the roof structure of the metal shop building are exposed, revealing the origins of the building. The exposed insulation and steel structure were simply painted black while the original shop lights were relocated to illuminate the fellowship hall. Adjacent to the fellowship hall are new services, including restrooms and a kitchen,while the mezzanine above houses a large multipurpose space and Father John's office, which overlooks the narthex.

Although regular services draw approximately 80 visitors, holiday services draw twice as many.Rather than design the sanctuary for the greater number, one wall of the sanctuary has two large sections that swing open to the fellowship hall.These operable walls stow completely allowing for the fellowship hall to be used for overflow seating during holiday services. This flexibility allows reflects the modest budget and resourcefulness required of the design.

The congregation has grown by 30% since the new worship space has opened, fostering the dream of a larger sanctuary to be located on the same site to house 200 worshipers. The site plan was developed with the future phase in mind, employing a sensitive parking strategy, one that kept parking to the side and rear of the church, contrary to the typical practice of wide bands of parking between the street and the building. Instead, a large "plaza"is formed which will eventually be framed to the south by the new sanctuary space. For now, the graphic white elevation serves as a billboard for the church, its profile easily seen and identified from the highway. It is a small church with a large presence despite being surrounded by numerous larger churches.□(圖片提供/Images courtesy:Marlon Blackwell Architect)

4 平面/Plan 1-教堂前廳/Narthex 2-唱詩班席位/Choir 3-圣殿/Sanctuary 4-圣壇區/Altar area 5-集會廳/Fellowship hall 6-廚房/Kitchen 7-男衛生間/Men’s room 8-女衛生間/Women’s room 9-辦公室/Office 10-夾層/Mezzanine 11-儲藏間/Storage 12-衛生間/Restroom

5 內景/Interior view（攝影/Photo: Timothy Hursley）

6.7 剖面/Sections

業主/客戶/Owner/Client: 圣尼古拉斯東正教堂/Saint Nicholas Eastern Orthodox Church

項目團隊/Project Team: Marlon Blackwell, FAIA[principal], Jon Boelkins, Bradford Payne, Gail Shepherd, Meryati Johari Blackwell, Stephen Reyenga

市政工程/Civil: Bates & Associates, Inc

結構工程/Structural: Myers Beatty Engineering, Inc承建商/Contractor: Lourie Construction LLC

所獲獎項/Award: 2011年世界建筑節市民社區建筑獎/2011 WAF－Civic and Community Winner

評語

這一類別是最強的類別之一，有4、5個出色的項目。值得一提的是，本項目的設計者真正使建筑從無到有——項目得到了充分地發展，并確實滿足了私密和公共的成分。

Jury Citation

This section was one of the strongest sections with four or five outstanding projects. It is really important to make the point that the designers on this project really made architecture out of nothing－the project was fully developed and really fulfilled the private and public component.