建筑設計：竹山圣+Amorphe建筑事務所Architects： Kiyoshi Sey Takeyama + Amorphe

新宿琉璃光院白蓮花堂，東京，日本

建筑設計：竹山圣+Amorphe建筑事務所
Architects： Kiyoshi Sey Takeyama + Amorphe

1 西側(cè)外觀/View from the west

2 地下一層平面/Floor -1 plan

3 首層平面/Floor 0 plan

4 四層平面/Floor 3 plan

這座白色混凝土建筑仿佛是在承受來自天空的恩澤一般，從大地中長出，再不斷向上空張開。為之命名白蓮花堂，是取自彌陀凈土中含苞待放的蓮花蕾之意。而這座寺廟是在都市的喧囂和樓宇的夾縫中靜靜開放的。從地下生出的中央結(jié)構(gòu)體形成建筑的中心軸，將納骨堂藏于其中，并向天空生長。寺廟的主要功能被安排在結(jié)構(gòu)體上方，仿佛漂浮在空中一般。最具象征性的空間是被置于中心軸最上方的“空之屋”，來自圓形天窗的光線從空間中穿過?！翱罩荨碧幱诎魳窂d、美術館這些文化功能的整個寺廟空間的中心，將各處都連接起來，卻不屬于任何地方。它象征性地承受著來自天空的恩澤，是一處用于冥想的空間?！酰ㄐ翂衄?譯）

5 北側(cè)外觀/View from the north

6 東北側(cè)外觀/View from the northeast

7 五層平面/Floor 4 plan

8 縱剖面/Longitudinal section

1-電梯廳/Elevator hall

2-藏谷室/Charnel house

3-休息室/Lounge

4-空室/Room of emptiness

9 橫剖面/Cross section

1- 禮拜室/Worship room

2- 藏谷室/Charnel house

3- 瀑布花園/Waterfall garden

4- 入口大廳/Entrance hall

5- 休息室/Lounge

6- 佛教徒悼念服務室/Buddhist memorial service room

7- 空室/Room of emptiness

8- 主佛廳/Buddhist main hall

9- 研討室/Seminar room

10- 如來佛廳/Tathagata Buddha hall

11- 會議室/Meeting room

12- 花園/Graden

Constructed from white concrete， this building has a form that becomes broader as it rises，reminiscent of one receiving a blessing from the sky. Byakurenge-do （White Lotus Hall） receives its name from the white lotus buds coming into bloom in Amitahba Paradise. This temple， standing amid the din and bustle of the city， is also reminiscent of a blooming flower， frozen in time， situated in the middle of a valley of high-rises. Containing the ossuaries， the central structure appears to be both deeply rooted in the ground and growing toward the heavens， and forms the central axis of the entire construction. The temple's main functions are placed on top this structure as if perched in the clouds. The most symbolic space is the "Ku-no-ma" （Room of Emptiness）， placed at the summit and penetrated by sunlight entering through the circular skylight. This space is located at the center of all the temple's cultural functions， which include a concert hall and a museum. Connecting everything while belonging to nothing， the Ku-no-ma is a space for meditative contemplation， where one may receive a blessing from the sky.□

10 空洞為室內(nèi)帶來光/Exterior void to bring light to the interior

11 樓梯間/Stair case

項目信息/Credits and Data

建筑類型/Building Type： 佛教建筑/Buddhist temple

結(jié)構(gòu)系統(tǒng)/Structural System： 鋼筋混凝土/Reinforced concrete

場地面積/Site Area： 962.4m2

基底面積/Building Area： 528m2

總建筑面積/Total Floor Area： 2294.52m2

設計時間/Design Period： 2011.09 - 2012.04

建造時間/Construction Period： 2012.10 - 2014.04

攝影/Photos： 白鳥美雄/Yoshio Shiratori

評論

劉晨：自從勒·柯布西耶造了那只“聆聽天堂之音的柔軟的耳朵”，這股風就煞不住了?！叭彳洝倍郑说氖且裏o數(shù)英雄競折腰。竹山圣或有“建筑詩人”之美譽，我倒覺得他更像在填詞，不愛五七言，偏好長短句，而且是辛棄疾那樣的詞人，特喜歡用典。但他能跨文化取典，反令前輩望塵莫及。借著老柯“柔軟”之勢，成就彌陀蓮花之相，兩下混搭，居然開出奇葩。最后應了那句“人之生也柔弱，其死也剛強”，齊全了。而典故本是“無”中生“有”，不知道亦有不知道的妙處。

周漸佳：當看到建筑的局部照片時，能想到的大概是日本建筑一貫的精致，無論是混凝土或光滑或粗礪的質(zhì)感，還是寂靜悠遠的光影效果都反應出日本極高的設計與施工質(zhì)量。但是在看到項目圖紙時，我忽然意識到這樣一座佛堂在東京尤其是在新宿這樣密度極高的城市中心出現(xiàn)，是一次多么有意義的嘗試。與我們常見的以平面展開的宗教建筑不同，白蓮花堂完全是一次垂直方向上的實驗：在不同的功能依次疊合的同時，由底層至頂層完成了一整個空間體驗的過程。它不僅優(yōu)雅自若地回應了用地的限制，而且在各層空間中精準地創(chuàng)造出各種功能所需要的變化氛圍。

12 空室/Room of emptiness

13 入口大廳/Entrance hall

14 入口大廳內(nèi)的瀑布/View of waterfall from the entrance hall

Comments

LIU Chen: The magical Notre Dame du Haut in Ronchamp， built by Le Corbusier and described as "a soft ear listening to the voice of Heaven"， has cast a lasting spell on modern architects. Quotations of it are to be found worldwide， many of which are variations on the same allegorical theme. Among the Japanese avant-garde group， Takeyama has a peculiar sense for poetic quotations. He seems to move effortlessly across multiple cultures， gleaning in the fertile field of allusions and combining his findings in an often unexpected way. Here the exquisitely perforated concrete shell， reminiscent of Le Corbusier's "soft ear"， is fused with both the Buddhist allusion to the white lotus and the Taoist meditation on life and death. Paradoxically， quotations， like all things， arise from "nothing". Devoid of these quotations， wouldn't it be a better place for contemplation？

ZHOU Jianjia: When I saw the photos of the building details， I am left with an impression of delicacy，common throughout Japanese architecture. The light pours into the space in much the same way in which concrete is poured， forming the epitome of the virtues of Japanese architecture， namely thoughtful design and construction quality. However， when I reviewed the drawings， I realized that the building represents an meaningful experiment， to create a serene Buddhist temple in Tokyo， especially in Shinjuku， a densely populated central district. Unlike other temples， the sequence of repose， reflection， and solitude found in Byakurenge-do is completed solely through vertical stratification， programmatically and ambiently. This project not only represents a graceful gesture responding to a constrained space， but it also accurately creates a transitioning atmosphere that is required by the various functions on every floor.

Shinjuku Ruriko-in Byakurenge-do， Tokyo， Japan， 2014