理想形式南京萬景園小教堂設(shè)計(jì)概念解析

理想形式南京萬景園小教堂設(shè)計(jì)概念解析

原文刊登于《時(shí)代建筑》2014年05期

地點(diǎn):江蘇省南京市

建筑規(guī)模（面積）：200平方米

設(shè)計(jì)/建成時(shí)間：2014/2014.07.31

設(shè)計(jì)單位：張雷聯(lián)合建筑事務(wù)所

合作單位：

南京大學(xué)建筑規(guī)劃設(shè)計(jì)研究院有限公司

項(xiàng)目建筑師：張雷

設(shè)計(jì)團(tuán)隊(duì)：張雷，王瑩，金鑫，

曹永山，杭曉萌，黃龍輝

攝影：姚力

撰文：王鎧 , 張雷

南京萬景園小教堂規(guī)模極小,功能簡(jiǎn)單,建造周期僅45天。在極端的現(xiàn)實(shí)條件約束下,建筑師以理性而大膽的空間、材料操作，營(yíng)造了富于宗教意向的理想形式，集古典空間構(gòu)圖和現(xiàn)代技術(shù)、材料于一體而獲得了感人的場(chǎng)所力量。

小教堂；宗教意象；理想形式；光；“輕”建造

項(xiàng)目位于南京濱江風(fēng)光帶萬景園段內(nèi)，是一個(gè)面積僅200平米的小教堂，由南京金陵協(xié)和神學(xué)院的牧師主持，滿足信眾的聚會(huì)、婚禮等功能。這個(gè)鋼木結(jié)構(gòu)的小教堂具有平和的外形與充滿神秘宗教力量的內(nèi)部空間，質(zhì)樸的材料和精致的構(gòu)造邏輯，設(shè)計(jì)周期僅一個(gè)月而又在四十五天內(nèi)完成建造，詮釋了建筑師一貫的“對(duì)立統(tǒng)一”建筑觀。

宗教意象

Location: Nanjing, Jiangsu Province

Total floor area: 200 m2

Design/Completion: 2014/2014

Design Organization: AZL Architecs

Cooperative Organization:

Institute of Architecture Design and Planing Co.,Ltd.of Nanjing University

Architect: Zhang Lei

Design team: Zhang Lei, Wang Ying, Jin Xin, Cao Yongshan, Hang Xiaomeng, Huang Longhui

Photographer: Yao Li

Text: WANG Kai, ZHANG Lei

The project - a 200 square meter small chapel, is located in Wanjing Garden along Nanjing’s Riverfront. Hosted by priests from Nanjing Union Theological Seminary, it supports religious activities like worship and wedding services. This wood and steel structured chapel has gentle exterior shape as well as strong interior space infused with mysterious religious power. Its plain material doesn’t fail in expressing the delicate construction logic.

The earliest and fundamental church space has two interrelated tendencies- Center and depth. Both the centrality from the Pantheon and the deep axis of the Basilica was inherited in the early Christian Architecture. The central and axial symmetry of church space became less prominent during the Modernism period, which was closely related to the Protectants’ rejection of Catholic Hierarchy. In the design of Wanjing Garden Chapel, the architect didn’t purposefully reject the“centrality” and “depth” of classical space sequence. In plan, it has an octagonal central hall

surrounded by square shaped corridors. In section, the use of roof profile and the long slit of skylight amplify the depth of space and emphasize on the high point over the sacred space where all axis meet.

總平面 Site Plan

最早也是最基本的教堂空間布局存在兩種相互關(guān)聯(lián)的傾向：“集中”和“縱深”。源自萬神殿的集中性，和源自巴西利卡的縱深空間序列，兩種形式都在早期基督教建筑中得以繼承和延續(xù)。拜占庭時(shí)期東正教教堂的典型“希臘十字”，和西歐天主教會(huì)視為正統(tǒng)的教堂形制“拉丁十字”，都顯示了二者的相互融合，象征著世俗凡人的行為受到宗教力量引導(dǎo)的共同特征。[1]自于現(xiàn)代主義時(shí)期之后的眾多著名新建教堂案例——朗香教堂，伏克塞涅斯卡教堂……，明確中心和軸線對(duì)稱的教堂空間組織形式變得不那么突出，這和新教各派拒絕天主教的教階體制，崇尚簡(jiǎn)樸不無關(guān)系。在萬景園小教堂的設(shè)計(jì)中，建筑師并未有意排斥“集中”和“縱深”的古典空間序列。簡(jiǎn)言之，平面是強(qiáng)調(diào)集中性的正方形回廊和正八邊形的主廳，而剖面由于折板屋頂?shù)南薅ǎ约澳媳毕蛭菁怪醒氲莫M長(zhǎng)天窗的光帶，顯示出強(qiáng)烈的縱深空間感，并且突出了圣壇上方向上高聳的軸線焦點(diǎn)。

小教堂設(shè)計(jì)獨(dú)特的回廊空間，自然的解決了有限規(guī)模中組織各功能部分的交通，更加重要的是形成了主廳空間的雙層外殼。內(nèi)殼封閉，突出來自頂部和圣壇墻面裂縫的純凈天光效果；外殼是精密的SPF格柵，成為外部風(fēng)景的過濾器和內(nèi)部宗教場(chǎng)所體驗(yàn)開始的暗示。雙層外殼的空間邊界，不同于傳統(tǒng)石質(zhì)教堂的“內(nèi)向”，也不同于經(jīng)典現(xiàn)代建筑的“外向”，并且?guī)в歇?dú)特的東方建筑空間趣味。

理想形式

基督教建筑從其誕生以來的十多個(gè)世紀(jì)中,教堂一直在歐洲城鎮(zhèn)的發(fā)展中扮演著重要的角色。作為歐洲城鎮(zhèn)重要景觀地標(biāo)和城市形態(tài)結(jié)構(gòu)要素，教堂建筑往往凝聚了建筑空間觀念、工程技術(shù)和藝術(shù)的大乘，成為代表時(shí)代精神的理想形式——外部形式、內(nèi)部空間，以及結(jié)構(gòu)系統(tǒng)的高度統(tǒng)一。這種對(duì)理想形式的追求成為宗教精神傳達(dá)的延續(xù)傳統(tǒng)。萬景園小教堂的設(shè)計(jì)繼續(xù)沿著這條有著諸多分支，卻又清晰的脈絡(luò)前行。

小教堂首先具有一個(gè)完美的正方形平面。雖然內(nèi)部空間和外部結(jié)構(gòu)之間存在45度的轉(zhuǎn)角，并且容納了門廳、主廳、圣壇、告解室等必須的功能空間，這個(gè)矩形平面仍保持了高度的完整性、對(duì)稱性和向心性。

設(shè)計(jì)師顯然不滿足于一個(gè)抽象、靜態(tài)的方盒子，同時(shí)也不情愿為了形式的意圖破壞空間的純粹性，最終一個(gè)令人吃驚而又極其簡(jiǎn)明的操作產(chǎn)生了——將平面中暗藏的對(duì)角線延伸到屋頂結(jié)構(gòu)。這個(gè)操作被以同樣的邏輯使用了兩次：頂面南北向的對(duì)角線下移，底面東西向的對(duì)角線上移，二者形成的斜面在建筑高度的中間三分之一段重合。由此產(chǎn)生精致折板屋面，同樣是空間、力、材料的高度統(tǒng)一。

The wooden corridor forms a unique double shell of the central hall space. The inner shell is more closed, leaving natural light to penetrate only through openings on roof and walls. The outer shell, composed of delicate SPF strips, serves as a filter of the view outside, implying the start of a religious spatial experience. The double shell system creates a uniquely interesting oriental architectural space that’s different from the “closeness” of traditional stone chapel, or the “openness” of modern architecture. The small chapel has a perfectly square shaped plan. Even with the 45-degree turning connecting inner space to exterior structure, the square remains highly integrated, symmetrical and center oriented. Hidden diagonal axis in the plan also extends to the roof structure, realizing a complete integrity of space, material and power.“…God is light, and in him is no darkness at all.”

- 1 John Bible

“Light” is an important theme in the religious expressions of church space. In this particular design, light falls through the strip skylight right above the axis of alter into the center of the hall, and also penetrate from behind the holy cross on the alter wall. The presentation of this 300 mm wide light strip is the most powerful defining element of the interior space. Other natural light comes gently through the wood strips into the openings on the wall.

“Light”construction strategy is a wise choice under tight project schedule and limited budget. Roof structure, in accordance with the “cheap” material- natural light, adds expressiveness to the entire space. All interior surfaces are painted white, emphasizing the leading role of light and space. The exterior wood strips and asphalt shingles are left in their natural color, emphasizing the importance of nature. The SPF strips surrounding the church are so delicate that their length-to-radius ratio could be 1:120, largely exceeding the normal load bearing. With length as long as 12 meters and section area only 38*89 mm, the strips are connected to the roof and ground by metal parts at both ends, keeping them in their ideal stretching status. Adjacent wood strips are also connected with U-shape metal parts to insure stability. These together achieved a metal-wood structure that’s extremely simple in material selection and installation.

As a religious institution with very simple functions, this small chapel has its overly “ideal”space that couldn’t attribute to any particular style, but “the nature that tolerates all.”

平面圖 Plan

剖面圖 Section

光

《圣經(jīng)》，約翰一書：“神就是光，在他毫無黑暗。”

“光”是教堂空間宗教情感表現(xiàn)的重要題材，在這個(gè)設(shè)計(jì)中建筑師同樣不遺余力的發(fā)揮其神奇的魅力。光仿佛是上帝的啟示，準(zhǔn)確無誤地從屋頂?shù)恼p中投向下方主廳座席中央，溫和的從圣壇墻面的十字架后面溢出，不著痕跡的照亮木質(zhì)屋頂精致的結(jié)構(gòu)紋理。

直射的日光只出現(xiàn)一種方式,來自主廳正中通向圣壇軸線上方的帶形天窗。這條寬度300毫米光帶的呈現(xiàn)，隨著日夜和季節(jié)交替而變化，但無論何時(shí)都是決定內(nèi)部空間氛圍強(qiáng)有力的要素。除此之外的其它自然光，則小心翼翼的通過格柵柔和的滲入主廳封閉墻體上精心布置的開口。人工光源的設(shè)置除了照度的基本需求，其布置的重要原則是以木框架屋頂為反射面。無論在室內(nèi)和室外，人工光線都讓人感覺翼形折板屋面結(jié)構(gòu)本身作為一個(gè)具有奇妙紋理的發(fā)光體，覆蓋整個(gè)教堂空間。

“輕”建造

“輕”建造策略是建筑師在緊張工期和有限造價(jià)條件下的明智選擇。脈絡(luò)清晰的折板屋頂鋼木結(jié)構(gòu)，配合光這種“廉價(jià)”的素材，為動(dòng)感和張力的空間賦予了豐富的表現(xiàn)力。內(nèi)部的所有表面涂飾白色，把主角讓給空間和光。外部所有的材料：木質(zhì)格柵、瀝青瓦屋面保持原色并等待時(shí)間的印記，把主角讓給大自然。

整個(gè)構(gòu)造體系中最為建筑師費(fèi)心經(jīng)營(yíng)的是作為教堂外部邊界的木格柵表層。SPF木條精致輕盈如錦緞，大大超乎木材本身結(jié)構(gòu)受力日常經(jīng)驗(yàn)（長(zhǎng)細(xì)比可達(dá)1：120），這得益于材料構(gòu)件受力狀態(tài)的合理布置：木格柵條長(zhǎng)度最大達(dá)到12米，截面僅38X89毫米，由上下兩端的金屬件連接屋頂和地面，讓木材保持其擅長(zhǎng)的受拉狀態(tài)（其拉力對(duì)于提高輕質(zhì)屋面的穩(wěn)定性也很重要）；相鄰木格柵條之間又被不易察覺的U形金屬構(gòu)件相連，獲得構(gòu)件的穩(wěn)定性和安裝精度——一個(gè)材料和安裝都極其簡(jiǎn)明的鋼木張拉結(jié)構(gòu)。

結(jié)語(yǔ)

這是一個(gè)新的屬于環(huán)境的教堂，也是一個(gè)充滿傳統(tǒng)宗教意義和歷史感的教堂，集古典空間構(gòu)圖和現(xiàn)代技術(shù)、材料巧妙利用于一體而獲得場(chǎng)所力量。建筑設(shè)計(jì)試圖傳達(dá)一種意愿，正如弗蘭普頓對(duì)路易斯?康的評(píng)價(jià)：“將萬物之本與存在之實(shí)合而為一，在跨越時(shí)空中創(chuàng)造了一個(gè)前蘇格拉底瞬間(pre—Socratic moment)，讓遠(yuǎn)古與現(xiàn)代和睦并存。”[2]

作為一個(gè)功能簡(jiǎn)單的日常宗教活動(dòng)場(chǎng)所，這個(gè)小教堂的空間過于“理想”，無法解釋為某種特定的宗派，或許建筑師之所以能為其展開有效的設(shè)計(jì)，是因?yàn)槠洹靶欧盍税菀磺械淖匀弧薄3]

[1] 克里斯蒂安?諾伯格-舒爾茨. 西方建筑的意義[M]. 李路珂，歐陽(yáng)恬之，譯. 王貴祥，校. 北京：中國(guó)建筑工業(yè)出版社. 2005：60.

[2] 肯尼思?弗蘭姆普敦. 建構(gòu)文化研究:論19世紀(jì)和20世紀(jì)建筑中的建造詩(shī)學(xué)[M]. 王駿陽(yáng)，譯. 北京：中國(guó)建筑工業(yè)出版社，2007：249.

[3] Robert McCarter .Frank Lloyd Wright[M]. London: Phaidon Press Ltd. 1999:290.

The Ideal Form

The project was a simple small chapel in Nanjing Wanjing Gardan, and the construction period was only approximately 45 days. Beyond the extreme constraints of reality , the architect created the ideal form of a religious imagery with his sophisticated manipulation of space and material. This exquisite chapel, made with combination of classical space composition and modern material technique, is really an impressive place.

Chapel; Religious Imagery; Ideal Form; Light; "Light" Construction

西南立面圖 Southwest Elevation

南立面圖 South Elevation

西立面圖 West Elevation

軸測(cè)解析 Axonometric Drawings

回廊細(xì)部 Corridor Detail

天窗細(xì)部 Skylight Detail

天溝細(xì)部 Gutter Detail