建筑設(shè)計(jì)：卡羅利斯·雷索那斯

Architect: Karolis Reisonas

1 遠(yuǎn)望/Overlook

1918年立陶宛共和國建國后，社會(huì)處在一種對(duì)國家身份認(rèn)同感日益增強(qiáng)、并渴望擁有自己象征性符號(hào)的崇高愛國狀態(tài)之中。其中最為顯著的項(xiàng)目，便是卡羅利斯·雷索那斯設(shè)計(jì)的復(fù)活教堂。早在1922年，教會(huì)便產(chǎn)生了建造一座教堂來紀(jì)念國家民族獨(dú)立復(fù)興的設(shè)想，但在1928年，這個(gè)設(shè)想曇花一現(xiàn)。為了保證從考納斯市的遠(yuǎn)郊仍能清楚地看到教堂，建設(shè)用地被選在了山坡上。

在一場(chǎng)并未產(chǎn)生結(jié)果的建筑設(shè)計(jì)競(jìng)賽之后，考納斯市政發(fā)展部部長(zhǎng)卡羅利斯·雷索那斯接受了項(xiàng)目設(shè)計(jì)的最終委托，并于1933年開始動(dòng)工。可以說這座教堂是整個(gè)國家的產(chǎn)物，建造所用的每一塊磚幾乎都來自于人民的捐款。項(xiàng)目一直持續(xù)到1940年6月，1952年教堂又被作為無線電工廠使用。

反蘇運(yùn)動(dòng)使得教堂重歸教會(huì)，并在1989～2006年得以繼續(xù)建造，建筑設(shè)計(jì)師是漢瑞肯斯·祖考卡斯和阿爾吉曼塔斯·斯普林迪斯。

這座教堂是兩次世界大戰(zhàn)期間，波羅的海地區(qū)最大且最現(xiàn)代的圣堂。它由磚砌混凝土結(jié)構(gòu)構(gòu)成，將保守與現(xiàn)代性相融合，將紀(jì)念性與禁欲主義相融合。教堂的內(nèi)部空間呈古典巴西利卡式，而銳利的方正外立面又是現(xiàn)代性的展現(xiàn)。屋頂上用于圣禮活動(dòng)的水平觀景臺(tái)，是世界教堂類建筑史上的一項(xiàng)創(chuàng)新?！酰ㄎ淖謥碓从诹⑻胀鸾ㄖ煂W(xué)會(huì)展覽“平行線 立陶宛建筑：3個(gè)時(shí)代，3副面孔”， 魯塔·萊塔奈特策展。喬麗塔·卡茨涅 文，刊載于《A10 新歐洲建筑》雜志。）

2 參賽方案之一/One of the competition projects

3 卡洛利斯·雷索那斯的方案/Project by K.Reisonas

4 平面/Plan

After the establishment of the Republic in 1918, the society was in a state of patriotic uplifting,with increasing national identity and a desire for its own symbols. The most distinct of these was the Resurrection Church (K. Reisonas). The idea of building a church as a memorial to the State's and nation's independence, revival and grandeur, arose in 1922. The idea took flight only in 1928 when some ground was allotted on a hill from which the church would be visible from the furthest reaches of the city.

After a fruitless architectural competition,eventually the design was assigned to the head of Kaunas' municipal department of Development, K.Reisonas. In 1933, construction began. The church was built by the entire nation: people bought stamps valued at the price of one brick each. The church was not completed until June 1940, and in 1952 it was converted into a radio factory.

The anti-Soviet Movement initiated the church's return to the congregation, and it was rebuilt in 1989-2006 (architects Henrikas ?ukauskas, Algimantas Sprindys).

The Church of the Resurrection is the largest and most modern interwar sacred building in the Baltic region. It is constructed of brick-covered concrete structures. The architecture combines conservativeness with modernity, monumentality with asceticism. The inner space is arranged like a classical basilica, while the sharp squared shapes are modern. The flat terrace roof meant for sacraments became an innovation in the world history of church architecture. □ (Text: from the exhibition "PARALLELS. Lithuanian architecture:three eras, three faces" by Architects Association of Lithuania, curator Rūta Leitanait?. The texts by Jolita Kan?ien? and were published in the magazine A10. New European architecture)

項(xiàng)目信息/Credits and Data

建造年代/Year: 1933-1940

所處時(shí)期/Epochs: 兩次世界大戰(zhàn)間/Interwar

材料/Materials: 砌塊（磚），鋼筋混凝土/Masonry (brick),Ferroconcrete

攝影/Photos: Raimondas Urbakavicius

5 外景/Exterior view

6 屋頂觀景臺(tái)/The flat terrace roof

評(píng)論

張路峰：這座教堂雖然在空間形制上采用了傳統(tǒng)的巴西利卡原型，也具備典型的鐘樓要素，但看上去實(shí)在不像個(gè)宗教建筑，倒讓人聯(lián)想起曼哈頓的摩天樓或者是發(fā)電廠之類的工業(yè)設(shè)施。原因可能是等距密排的豎條窗讓建筑失去了尺度感。設(shè)計(jì)者顯然在努力追求哥特教堂般的垂直與高聳，但僅靠墻面開窗和塔樓頂部的山形收束很難奏效，頂部的十字架作為確鑿的宗教符號(hào)也沒起到多大作用，因?yàn)槠涑叽绾妄嫶蟮慕ㄖw量相比，實(shí)在是太小了。從建造年代不難推測(cè)，當(dāng)時(shí)的國家意識(shí)形態(tài)和財(cái)力限制了建筑師的想象力。盡管如此，從建筑的體量組合關(guān)系、立面構(gòu)圖的推敲等方面，還是能看出建筑師“粗糧細(xì)作”的功力：用簡(jiǎn)單結(jié)構(gòu)、普通材料、平實(shí)手法，營造出高雅大氣、理性有序的空間。

Comments

ZHANG Lufeng: This cathedral is not spacially similar to a religious building, however it employs the traditional prototype of a Basilica and features a typical clock tower element.In effect, it is reminiscent of a skyscraper in Manhattan or an industrial facility such as a power station. Perhaps this is due to the equally spaced, densely arranged vertical windows, which diminish the sense of scale. It seems that the architect attempted to achieve the verticality and height of a Gothic cathedral; yet it is difficult to carry out this concept, while merely relying on the open windows on the wall and the mountainshaped tower rooftop. Moreover, the cross on the rooftop, an obvious religious symbol,does not fulfil its purpose, as it is too small in comparison to the massive building. It seems that the national ideology and finances of the period imposed restrictions on the designer's imagination. Despite all this, the architect has demostrated his talent for fine design with the two volumes' syntagmatic relationship, and the carefully considered facade composition, by using a simple structure, common materials and uncomplicated techniques to create an elegant and methodical space. (Translated by Dandan Wang)

7 屋頂觀景臺(tái)/The flat terrace roof

8 內(nèi)景/Interior view

伊爾澤·帕克?。嚎技{斯復(fù)活教堂是波羅的海地區(qū)兩次世界大戰(zhàn)期間的現(xiàn)代主義杰作之一。巧妙組織的建筑形式將歐洲北部傳統(tǒng)教會(huì)禮拜堂不可或缺的、高高升起在自然景觀上空的莊嚴(yán)主鐘塔與裝飾藝術(shù)的聯(lián)想和強(qiáng)烈又豐富的現(xiàn)代主義線條有機(jī)混合。無論外部或內(nèi)部，建筑皆選擇了單純的白色表面，帶來了內(nèi)與外比例的協(xié)調(diào)感，強(qiáng)調(diào)了光與影共存的二元性，削弱了空間的物質(zhì)性。盡管這座教堂有著極為強(qiáng)烈的建筑形式特征，卻有意塑造了一種默想和反思的內(nèi)部空間。在1988年立陶宛民族覺醒前教堂曾被作為無線電廠使用，現(xiàn)在它終于得到了修復(fù)并重獲了全部的昔日榮光。（陳茜 譯）

Ilze Paklone: Resurrection Church in Kaunas is considered one of the masterpieces of inter war modernism in the Baltic region. The play of architectural forms sensibly fuses traditions of the majestic single tower ecclesial churches of Northern Europe that spire high above the landscape with reminiscences of Art Deco and, of course, strong and ample lines of modernism. Choice of using single color white, both, in exterior and interior, gives the sense of unity of proportions outside and inside, accentuates duality of lights and shadows and dematerializes the space. Though the building has a very strong character of architectural forms, the space is meditative and reflective in purpose. At the moment, after being a radio factory until the Lithuanian national awakening in 1988, the building has finally been restored and regained its full glory.