建筑設(shè)計(jì)： Susuka事務(wù)所

克里斯托·薩爾瓦多禮拜堂，拉巴斯鎮(zhèn)，塔爾卡，智利

建筑設(shè)計(jì)： Susuka事務(wù)所

1 外景/Exterior view

2 地段位置/Location

3 概念草圖/Concepe sketches

在貧民區(qū)，一座教堂不僅僅是一個(gè)宗教場地，同時(shí)也含有社會(huì)性功能。這個(gè)項(xiàng)目的預(yù)算非常低（一個(gè)200m2教堂的預(yù)算為6萬美元），并且基地狹小而不規(guī)則。

它由一系列方案逐漸發(fā)展為一個(gè)獨(dú)立的扭曲體量，沒有通常意義上的正立面和背立面。與主導(dǎo)的幾何學(xué)呼應(yīng)：與其稱它為建筑，倒不如說它是一個(gè)被罩起來的廣場，它像是惡劣狀態(tài)下的樂觀主義符號(hào)，仿佛黑暗中的光芒……

由于人們常常把石頭和其他東西扔到這里，設(shè)計(jì)中采用了陶瓷馬賽克的外飾面，這層表皮易于修補(bǔ)、廉價(jià)而且已然呈現(xiàn)出破碎的外觀，這同時(shí)遵循著千年之久的宗教技藝?！酰ㄐ翂?mèng)瑤 譯）

項(xiàng)目信息/Credits and Data

主持建筑師/Principal Architects:Juan Pablo Corvalán,Gabriel Vergara

項(xiàng)目團(tuán)隊(duì)/Project Team: Pablo Sepúlveda, Jaime Pavez

馬賽克/Mosaic: Simón Fuentes/Simbiotika

工程師/Engineer: Cesar Moreira/Sigma Ingenieros

建筑面積/Building Area: 200m2

預(yù)算/Budget: 60,000 USD

結(jié)構(gòu)/Structure: 金屬/Metallic

材料/Materials: 板材，陶瓷馬賽克，回收磚/Panels, ceramic-mosaic, recycled refractary bricks

時(shí)間/Year: 2006 - 2008

攝影/Photos: Cristobal Palma(Fig. 1, 2, 9, 10), Pepe Mardones(Fig. 7)

4 外景/Exterior view

5 屋頂平面/Roof plan

6 平面/Plan

7 外景/Exterior view

評(píng)論

李曉鴻：如果不是聳立在高處的十字架，這里更像是一個(gè)受居民喜歡的社區(qū)活動(dòng)中心？整面花窗的分格與建筑形體的展開圖似乎一致，加上近乎涂鴉的用陶瓷馬賽克鑲嵌的飾面，本該肅穆神圣的教堂被涂抹上了一絲詼諧親切的亮色。因其基地處在貧民區(qū)內(nèi)，我想，也許建筑師就是想創(chuàng)造一個(gè)窮人與上帝聯(lián)歡的場所，讓上帝幫助他的子民，用樂觀主義抵抗生活中的窘迫與無奈。

易娜：對(duì)地形的回應(yīng)讓建筑師從一個(gè)多邊形平面出發(fā)，又對(duì)它的體量進(jìn)行了三維切割和扭錯(cuò)，讓小教堂內(nèi)部獲得了充滿神性的空間，外部屋頂則展現(xiàn)出鉆石般的形狀。一個(gè)充滿現(xiàn)代感的體量，卻沒有用淺色石材、清水混凝土或者白色涂料（像歐洲或者日本建筑師慣用的那樣），在這里，外墻材料出乎意料地用了鑲嵌馬賽克這一古老的工藝，既便宜又好修補(bǔ)，更重要的是，展現(xiàn)出智利當(dāng)?shù)亟ㄖ环N熱烈、隨性的傳統(tǒng)氛圍。

8 剖面/Section

In difficult neighborhoods a church is not only a place of worship. It embraces a social program. In this case, the budget was very low (60,000 USD for a 200 m2chapel) and the site, small and irregular.

A series of proposals evolved to a single torsion volume that avoids a front and rear facade. It evokes the reigning geometry: a covered plaza rather than a building, a sign of optimism in harsh conditions, a light in darkness…

Since stones (and other objects) are constantly thrown at it, a ceramic-mosaic finish is specified, acting as an easy to repair, cheap and already broken wrapping. Furthermore it follows an ancient religious technique.□

Comments

LI Xiaohong: Were it not for the soaring Cross, this place would have looked more like a popular community center. The latticework of the whole stained-glass window seems to be in accordance with the planimetric unfolding of the architectural form. Thanks also to the graffiti-like mosaic facing, the supposedly sober and sacred church has acquired a brightly humorous and genial tone. Since it is located in the slum area, I tend to think that the architects meant to create a place for the poor to share festivals with God, where He could help His people, taking up optimism to resist life's distress and frustration.

YI Na: Echoing the typography, the architects start with a polygonal plan, and then cut and twist its volume 3-dimentionally, endowing the church interior with a spatial divinity, while its exterior displays a diamond form. The consummately modern volume is however dispensed with light-colored stones, fairefaced concrete or white paint (as conventionally used by European or Japanese architects); instead, the ancient mosaic craft, inexpensive and easy to repair, is unexpectedly applied to exterior walls. More importantly, the material exhibits an ardent, free atmosphere which is characteristic of Chilean tradition.

Capilla Cristo Salvador, Villa la Paz, Talca, Chile, 2008

Architects: Susuka