桑賈克拉爾清真寺，伊斯坦布爾，土耳其

建筑設計：埃姆雷·阿羅拉特建筑師事務所

這座建筑是應桑賈克拉爾家族之意而設計的。他們希望在俯瞰大切克梅杰湖、有大量封閉社區(qū)的街區(qū)中建造一座清真寺。主要的問題是與奧斯曼清真寺古典范式的矛盾，那對于今天的施工技術已是空無意義的明日黃花。

由于清真寺并沒有既定的形式，而任何潔凈之地都可以作為祈禱室，所以項目遠離關于形式的討論，僅僅聚焦于宗教空間的“本質”。身心的愉悅是最重要的。設計的目標是表現(xiàn)光與物質最純粹的形式，猶如一個質樸的內心世界，而毫無任何文化負擔。設計追求的是將建筑隱匿于地段的坡地中，使其植根于大地，仿佛渾然一體，并擺脫一切時間上與文化上的糾葛。

項目位于一處草原景觀中，由一條繁忙的街道與周圍城郊的封閉社區(qū)隔開。清真寺僅有的可見元素是被水平墻包圍的庭院和垂直的多棱石體塊（光塔），后者表明這是一個特定的“場所”，而銘文表示這是祈禱的地方。隨著人在景中游，下山朝著低處庭院的入口走去，順著天然坡地形成的瀑布仿佛成為踏步。茶室、公共空間和清真寺正對面的圖書館使這個開放空間的集會特征更加豐富。禮拜堂可直接到達，作為一個洞窟狀的樸素空間，成為一個效果奇特、令人肅然起敬的與上帝獨處的禮拜場所。室內樸實無華，各種材料都是自身真實的表達，毫無贅飾。墻面和天花板強化了凈心與謙遜的感受。這里可以定義為一個冥想空間。唯一的裝飾是從基卜拉墻上泄出的日光，并在一天中千變萬化。這面墻上的縫隙和裂口突出了祈禱空間的朝向性。一個特別的元素是代表無窮的反光黑墻上的詞“waw”。這是第一個讓女性有機會與男性同排祈禱的清真寺建筑，而不是像所有其他的清真寺那樣讓女性排到后面。她們被安排在禮拜堂升起并隔開的部位。這個建筑綜合體包括了洗禮堂、盥洗室和直通禮拜堂的阿訇室。

這座建筑與地形完全融為一體，并以這種平和的方式再現(xiàn)出大地的造型。下沉的特征和綠色的屋頂為防止熱量的得失提供了天然的保溫。景觀元素主要是無需養(yǎng)護、與周圍大草原渾然一體的鄉(xiāng)土植物。所有這些特征都避免了額外的能耗和用水。□（尚晉 譯）

1 總圖/Site plan

2 外景/Exterior view

項目信息/Credits and Data

客戶/Client: Sancaklar Foundation

業(yè)主/Owner: Republic of Turkey Presidency of Religious Affairs

功能/Function: 宗教建筑/Religious Building

主持建筑師/Chief Architect: Emre Arolat

項目團隊/Project Team: Uygar Yüksel, Leyla Kori, Nil Aynal?, Fatih Tezman, Nurdan Gürlesin

總承包商/General Contractor: Sancaklar Foundation

結構工程/Structural Project: Balkar Engineering

隨著移動互聯(lián)技術的不斷進步，微信公眾平臺的功能進一步開放，小程序、API數(shù)據(jù)接口不斷豐富，各種第三方開發(fā)平臺應運而生。在這不斷的技術變革中積極探索，轉變教學思維，以大眾常用的微信公眾平臺為切入點，打造輕量、易用的移動端學習平臺，改變舊有的教學模式，滿足了學生自主學習、個性化學習的需求，更適應了社會與技術發(fā)展的趨勢，有著廣泛的應用前景。

機械工程/Mechanical Project: Setta Engineering

電氣工程/Electrical Project: HB teknik

景觀設計/Landscape Design: Emre Arolat Architects, Medosa

照明設計/Lighting Design: SLD - Piero Castiglioni

聲學/Acoustics: SeyConsulting

結構系統(tǒng)/Structural System: 鋼筋混凝土/Reinforced Concrete

面積/Area Information: 地塊面積/Parcel Area: 7365m2, 總建

筑面積/Gross Area: 1200m2, 基底面積/Footprint: 1200m2

項目時間/Project Time: 2011

竣工時間/Completion Time: 2014.01

攝影/Photos: Thomas Mayer

書法/Calligraphy: Mehmed ?z?ay

3 外景/Exterior view

The building was designed in response to the Sancaklar Family who wanted to build a mosque on a site overlooking the Buyukcekmece Lake, at a neighbourhood of many gated communities.The main issue was a confrontation with the classical Ottoman mosque scheme, which became a blank anachronism with today's construction techniques.

Depending on the fact that a mosque does not have a predefined form and anywhere clean may be a prayer's room, the project focused solely on the"essence" of a religious space, by distancing itself from discussions on form.Physical and emotional pleasure was placed at the forefront.The design aimed at representing purest forms of light and matter, just as a primary inner world, free from all cultural burdens.The disappearance of the building along the slope of the site, anchorage to the ground as if it has always been there, getting rid of all temporal and cultural engagements were aimed.

The project site is located in a prairie landscape that is separated from the surrounding suburban gated communities by a busy street.The only visible elements of the mosque are the courtyard surrounded by horizontal walls and a vertical prismatic mass of stone (minaret), which depicts that this is a "place" and the inscription signifies that this is a place for praying.The cascades following the natural slope turns into steps as one moves through the landscape, down the hill and leads to the entrance at the lower courtyard.The tea house,communal space and the library just across the mosque enriches the gathering feature of this open space.The prayer hall reached directly, a simple cave like space, becomes a dramatic and awe inspiring place to pray and be alone with God.The interior is simple where materials put forward themselves as they are, free from redundancies.The walls and the ceiling strengthen the feeling of purification and humbleness.The space may be defined as a meditation space.The only ornament is the daylight

3 that leaks on the Qiblah wall, changing over the time of a day.The slits and fractures along this wall enhances the directionality of the prayer space.A very special element is the letter"waw" on the reflective black wall of infinity.First time in mosque architecture, women have the chance to pray just in the same row as the men, contrary to being at the back as in all others.They are placed at an elevated and separated part of the hall.The complex includes the ablution halls, restrooms and the imam's house from where he can reach the hall directly.

The building blends in completely with the topography and in this peaceful way,delivers back the form of the ground.This submerging feature and the green roof all above provides a natural insulation against heat loss and gain.Landscape materials are mainly of rural plants that need no maintenance and that merges with the prairie of the surroundings.All these features prevents the use of extra energy and water.□

4 外景/Exterior view

5 平面/Plan

6 剖面/Sections

7-10 外景/Exterior views

11.12 內景/Interior views

評論

青鋒：看到密斯·凡·德·羅巴塞羅那德國館式的幾何元素出現(xiàn)在清真寺中，無疑會讓我們這些對清真寺并不熟悉的人感到詫異。無論是在大馬士革、開羅還是北京牛街，我們所熟悉的是與傳統(tǒng)緊密聯(lián)系的建筑類型，這個建筑顯然會極大地改變我們這種習見。回想起來，伊斯蘭教對擬像的拒絕，以及清真寺中米哈拉布與朝拜墻的空間化定義，都賦予這種建筑類型先天的抽象性。而抽象性正是19世紀末期以來，建筑界最重要的變化之一。或許，抽象的確是表現(xiàn)超驗最為深刻的語匯，光與氛圍比符號和象征更為有力。這不僅是一個優(yōu)秀的宗教建筑，也是對建筑整體表達的出色凝練。

莊子玉：桑賈克拉爾清真寺在是對于傳統(tǒng)伊斯蘭宗教建筑在原型上的一次超越。建筑師在對于文化符號和文脈特征的抉擇中選擇了后者。誠如建筑師自述，奧斯曼清真寺古典范式的諸多結論，如高柱、墩柱、拱廊、拱門以及圓頂?shù)刃问浇Y果恰屬建構文化的范疇；其成因背后是基于特定時代的技術體系與材料應用。當技術的前提被重置，其范式背后的形式，或者一系列被時間賦予的被轉譯后的語意及符號則不可避免的遠離了操作的主體。

于是宗教的本質訴求在場地的氛圍中被重提，人與神的溝通開始向更純粹的物質性靠攏，洞穴感、縫隙感、等一系列跨越更大時間維度的從人類伊始到可預見的未來的回歸泛宗教緣起的物質體驗被重塑。于是，在代表無窮的反光黑墻前的一個“waw”字前，我們才能回到宇宙洪荒之始，在空曠的石壁間回蕩的經(jīng)文中，去找尋內心的神諭。

Comments

QING Feng: Seeing the reminiscent geometric elements of Mies van der Rohe's Barcelona Pavilion in this mosque undoubtedly astounded us, those who are not familiar with mosques.Whether it is in Damascus,Cairo or Beijing Niujie, we are familiar with the type of architecture closely related to tradition, and this architecture will obviously change our common sense.In retrospect, Islam's rejection of mimesis, and the spatial definition of the Mihrab as well as worship wall in mosques, gave this type of construction an innate abstraction, which is one of the most important transformation in architecture since the end of the 19th century.Perhaps abstraction is indeed the most profound vocabulary of transcendental performance.Light and atmosphere are more powerful than signs and symbols.This is not only an excellent religious building, but also a remarkable extract of the expression of architecture as a whole.(Translated by XU Ziyi)

ZHUANG Ziyu: The Sancaklar Mosque transcends the prototype of traditional Islamic architecture as the architect chooses contextual characteristics over cultural symbols.Just as he says, many elements of the classical Ottoman mosque scheme, such as high columns, piers, arcades, arches, and domes, conform to archi-tectonic culture.Their emergence is attributed to the technological system and material use of certain ages.When the premise of tectonic is reset, the form behind its paradigm, as well as a series of translated semantics and symbols endowed by time, are inevitably distanced from the main subject of manipulation.

Thus, the essential pursuit of religion is reemphasised in the ambience of the site.The communication between Allah and Mantransitions to pure materiality, reconstructingthe feelings of caves,crevices, and a series of material experiences with pan-religious origins.These experiences span long time periods from the beginning of human life till our foreseeable future.Hence, only before the letter"waw" on the reflective black wall of infinity, we can go back to the beginning of time and find the oracle in the chants echoing among the secluded stone walls.(Translated by MU Zhuo'er)

13.14 內景/Interior views