圣温塞斯拉斯教堂

Church of St. Wenceslas / Atelier Štěpán

Meditate quietly and examine your inner space

Church of St. Wenceslas / Atelier Štěpán

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Architect

Atelier Štěpán

Category

宗教纪念建筑

Project Year

2020

Site Area

450 m²

Location

SAZOVICE / 捷克

编辑推荐

新锐设计

Text description provided by the architects

萨佐维采的圣文斯拉斯教堂是摩拉维亚建筑事务所AtelierŠtěpán根据保守原则建造的现代圆形大厅和当代建筑。在萨佐维采建造一座教堂的想法可以追溯到战争间歇期。2011年，Sazovice的人们再次提出了这个想法，并成立了教堂建设协会。第一个重要的任务是找到一个特殊的位置，这将有助于放大教堂的精神意义。根据总体规划，我们发现了四个可能的建筑地点。其中只有一个是在Sazovice的中心地带，与周围的建筑结构和社会关系完美地联系在一起。

Church of St. Wenceslas in Sazovice is a modern rotunda and contemporaryarchitecture built on conservative principles from Moravian architecturaloffice Atelier Štěpán. The idea of building a church in Sazovice dates from theinterwar period. In 2011 the people of Sazovice brought the idea again andfounded the association of church building. The first important task was tofind a particular location, which would help to amplify the spiritual sense ofchurch. According to the masterplan, we discovered 4 possible sites for thebuilding. Only one of them was in the heart of Sazovice perfectly linked withthe surrounding building structure and its social connections.

周围的环境为教堂创造了一个海湾，为这个地方的后代带来了巨大的重要性。从一个简单的圆柱体开始寻找教堂的正确形式，它成为这个地方的完美体量。圆形一直被理解为神圣的象征，与世俗的长方形形成对比。教堂确立了村庄的焦点，在主要方向的交汇处，它让你觉得这是一个神圣的地方。这座建筑指的是10世纪圣文斯拉斯时代建造的圆形大厅。他建立了一个圆形大厅，有，根据历史资料，类似的直径在Sazovice教堂。旧圆形大厅被重建为布拉格大教堂内的新哥特式方形教堂。我们在广场周围划了一圈，并继续以相同的比例和祭坛、入口和楼梯的位置进行设计。圣文斯拉的遗物在布拉格小教堂，新近在萨佐维采的祭坛中。在施工过程中，我们发现了两座建筑之间的联系。当你站在祭坛前，透过直觉设计的主窗看去，你是在看圣文斯拉小教堂的方向。这个事实支持了设计的正确性，也可能是不可抗力的贡献的结果。

The surroundings create a bay for the church that brings greatimportance to this place for following generations. Searching for the rightform of the church started with a simple cylinder, which became a perfectvolume for this place. The circle has always been understood as a divinesymbol, in contrast to the worldly rectangle. The church establishes the focalpoint of the village, in the intersections of main directions and it makes youfeel 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 tothe historical sources, similar diameter to the church in Sazovice. The oldrotunda was rebuilt into a new gothic square shaped chapel within the Praguecathedral. We circumscribed a circle around the square and continued to designwith the same proportions and positioning of altar, entrance and stairs. Therelics of St. Wenceslas are in the Prague chapel and newly in the altar inSazovice. During the construction, we discovered a connection between the bothbuildings. While standing in front of the altar and looking through the mainwindow, designed by intuition, you are watching in the direction of St.Wenceslas chapel. This fact supports the rightness of the design and may be aresult of a contribution of force majeure.

"我的目的是使建筑非物质化。当你观察这个体量时，你会感受到将墙体渐渐变成细小线条的设计原则所带来的轻盈感。这就像切割一个纸筒，探索它的可能性。我通过推拉切割的方式创造了窗户，让光线在墙壁上轻轻滑过。我相信在物质世界的背后有一些东西或更好的人。在Sazovice，我试图通过体积和定义的空间找到它。作为一名建筑师，我探索空间及其对人的影响。教堂应该影响人们的心灵，无论他们是有意识地还是潜意识地理解它。这是神圣的东西在体量、定义的空间和墙后的东西的反映。教堂邀请我们进去，提供一种安静和平安的感觉。如果你愿意，你可以体验到与神独处的感觉。室内是非常个人化的，来这里生活会更好。

"“My aim was to dematerialize the building. When you observe thevolume, you feel the lightness made by design principle of tapering the wallsinto 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 lightglide softly on the walls. I believe there is something or better Somebodybehind the material world. In Sazovice I tried to find it through the volumeand defined space. As an architect, I explore the space and its impact onpeople. The church should influence people’s mind, whether they understand itconsciously or subconsciously. This is the reflection of something divine inthe volume, defined space and something what is behind the walls. The churchinvites us inside and provides a sense of quietness and peace. You canexperience being alone with God if you want. The interior is very personal andit’s better to come and live it out.”

室内的装饰适度，充满诗意的简约风格。历史上的教堂充满了视觉信息，整个故事都写在绘画、雕塑、装饰中。例如，巴洛克教堂的内部装饰完全是描述性的，让不识字的人了解耶稣的生活。如今，我们被信息淹没，我们倾向于寻找一个安静的地方冥想和实现自己的内心。

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

中坛是一个简单的有机形状的青铜外壳，完美的表面象征着上帝的抚摸（从米开朗基罗壁画中的西斯廷教堂中得知）。在创作过程中，我探索了群众的接触，这与人的接触相似。触摸创造了一种运动，它是一种新能量的开始。触碰的瞬间集中在一个点上，就像一个圆的切线。而能量从一个人流向另一个人，最后产生连接，带来一个信息。这让我想起了坚信礼时进行的仪式，成圣时的按手，或者转发信息，自耶稣来后，两千年来一直在展开。

The altar is a bronze shell in a simple organic shape with aperfect surface symbolizing the God’s touch (known from Sistine Chapel infresco painting by Michelangelo). During the creative process, I explored thecontact of masses, which is similar to the human contact. The touch creates amovement and it is a beginning of a new energy. The moment of the touch isconcentrated in a point like a tangent to the circle. And the energy is flowingfrom one to another and it finally creates connection that brings a message. Itreminds me of the rituals performed during confirmation, laying on of handsduring sanctification or forwarding messages that have been being unfolded fortwo millennia since Jesus came.