建筑設(shè)計(jì)：薩姆普·帕多拉/薩姆普·帕多拉及合伙人事務(wù)所

1-3 外景/Exterior views

該寺廟的設(shè)計(jì)在我們與周邊村莊的居民及與住持的交談中獲得了靈感，是協(xié)同合作的結(jié)果。

該寺廟在極低的預(yù)算條件下，由居民們?cè)凇吧侥返ぁ弊灾鹘ㄔ旎鸬闹С种薪ǔ伞Ｔ诰嗨聫R200m的采石場(chǎng)中可以采集到修建寺廟的主要材料——當(dāng)?shù)氐男鋷r。斑駁的石材賦予了神廟一種年代感，仿佛它在神靈棲息前就一直存在著。

在與寺廟住持及當(dāng)?shù)鼐用竦拿芮袦贤ㄖ校覀冋业搅遂`感，并嘗試從討論及草圖中篩選出極具象征意義的裝飾部件。

該濕婆神廟遵循著傳統(tǒng)寺廟的平面邏輯，借鑒了記憶中傳統(tǒng)“錫克哈拉”寺廟的輪廓形式，只有那些最能體現(xiàn)記憶中寺廟精髓的細(xì)節(jié)才會(huì)最終得以呈現(xiàn)。

茂密的樹(shù)叢沿著場(chǎng)地邊緣界定出一個(gè)室外空間，形成了傳統(tǒng)的“曼達(dá)帕”（柱狀大廳），一個(gè)以樹(shù)為墻、以天空為頂?shù)目臻g。

通往寺廟的道路在白橡樹(shù)林間蜿蜒著，兩堵獨(dú)立的玄武巖石墻嵌入景觀之中，不但創(chuàng)造了節(jié)奏的停頓，還引導(dǎo)人們進(jìn)入東西軸線上的咖巴格利哈（有前廊的）室內(nèi)圣殿。

進(jìn)入圣殿需經(jīng)過(guò)一個(gè)向外凸出的門檻空間，該空間為整體結(jié)構(gòu)增添了外部景觀。

位于場(chǎng)地南側(cè)的階梯式座席，不但將純粹的宗教空間轉(zhuǎn)化為用于節(jié)日和聚會(huì)的社會(huì)文化空間，還消隱了陡峭的輪廓。

以圣牛南迪等雕像形式出現(xiàn)的宗教造像靜置在景觀中，隱喻在“曼達(dá)帕”以天空為頂?shù)淖匀画h(huán)境中找到自己的位置。

寺廟頂部的裝飾“阿詩(shī)塔巴圖”（8種復(fù)合材料的）“卡拉什”固定在最高處的金屬框架上，它也確定了天窗的位置，讓光線可以穿透圣殿咖巴格利哈內(nèi)部。□（天妮 譯）

Designed in dialogue with the priest and the people from surrounding villages, the temple design is a collaborative efiort.

Built through "Shramdaan" (self-build) by the villagers, this temple was constructed on a shoestring budget. Using a local basalt stone as a primary building block, because of its availability from a quarry within 200 metres from the temple site. The stone's patina that seems to confer age, as if the temple had always existed... before inhabitation.

In realising the temple design in close consultation with the temple priest and the villagers, we attempted to sieve out through discussion & sketches the decorative components from the symbolic.

Adhering to the planning logic of traditional temple architecture, the form of the temple chosen evokes in memory, the traditional shikhara temple silhouette. Only embellishments integral to the essence of temple architecture in memory actually appear in thefinished temple.

The heavy foliage of trees along the site edge demarcate an outdoor room, which become the traditional "mandapa" (pillared hall), a room with trees as walls and sky the roof.

The path to the temple winds in between white oak trees till two freestanding basalt stone walls embedded in the landscape create pause as well as direct a person onto the East-West axis on which the garbagriha/inner sanctum lies.

Entry to the sanctum is through an exaggerated threshold space which in turn frames the outside landscape for the inside.

Stepped seating on the southern edge of the site negotiates steep contours while transforming the purely religious space into a socio-cultural one used for festival and gatherings.

Religious Iconography in the form of statues of the holy cow, Nandi etc. become installations in the landscape, hence their positions in a natural setting of the metaphoric sky-roofed mandapa.

The ashtadhaatu (8 metals composite) temple kalash (finial) is held in place by a frame which also anchors a skylight to allow light to penetrate the inner sanctum/garbagriha.□

4 總平面/Site plan

5 平面/Floor plan

6 剖面/Section

7 芯頂詳圖/Detail of corbeled stone

評(píng)論

方曉風(fēng)：這是一個(gè)精巧而微妙的設(shè)計(jì)項(xiàng)目，雖然體量非常小，但是它體現(xiàn)了設(shè)計(jì)師對(duì)地方文化的深刻理解與尊重。建筑師以一個(gè)非常小的體量，很成功地通過(guò)建筑和場(chǎng)地的設(shè)計(jì)，塑造了一個(gè)具有很強(qiáng)精神性的場(chǎng)所。整個(gè)手法，既新又舊，新是指它現(xiàn)代的形式語(yǔ)言和構(gòu)成方式，舊是指它對(duì)于這種宗教傳統(tǒng)的尊重和空間形式傳統(tǒng)的一種尊重。神廟在當(dāng)?shù)刂脖挥骋r之下，整個(gè)場(chǎng)所與當(dāng)?shù)匚幕痛迕袢粘Ｉ钪g具有緊密的聯(lián)系以及和諧氛圍。最普通的地方材料的選用，絲毫沒(méi)有減弱場(chǎng)所希望塑造的神性感覺(jué)。

Comments

FANG Xiaofeng:This is a delicate and subtle design project. Although the volume is very modest, it re fl ects the designer's deep understanding and respect for local culture.With a very small volume, the architect successfully created a very spiritual place through the design of the building and the site. The entire techniques are both new and old.New refers to its modern formal language and construction; old refers to its respect for this religious tradition and the space form tradition. Against the background of local vegetation, the whole space of the temple has a close relationship and harmonious atmosphere with local culture and villagers' daily lives. The selection of the most common local materials has not at all weakened the sense of divinity that the place wishes to shape. (Translated by CHEN Yuxiao)

王靜：這是一個(gè)充滿巨大挑戰(zhàn)的小型項(xiàng)目。設(shè)計(jì)師完美演繹了在超低建設(shè)造價(jià)限制下，利用當(dāng)?shù)亟ㄔ旒夹g(shù)塑造小尺度宗教建筑的場(chǎng)所精神和文化氛圍的整個(gè)過(guò)程。設(shè)計(jì)師通過(guò)溝通，充分挖掘出居民的設(shè)計(jì)潛力，形成項(xiàng)目的設(shè)計(jì)靈感，并提煉出重要的傳統(tǒng)符號(hào)。設(shè)計(jì)師利用協(xié)同設(shè)計(jì)模式，結(jié)合場(chǎng)地、形態(tài)與空間的建筑設(shè)計(jì)部分，最終再現(xiàn)傳統(tǒng)精神。

WANG Jing:This is a small project of great challenges. The architects perfectly demonstrate the whole process of using local construction technology to shape the spiritual and cultural atmosphere of the small-scale religious architecture on a shoestring budget.Through a dialogue with the locals, the architects solicited the design potential of the residents, get the design inspiration of the project, and extract the important traditional symbols. The architects use the collaborative design model, combined with the site, form and space of the architectural design part, andfinally represent the traditional spirit.

8 圖示/Diagram

9 外景/Exterior view

10 進(jìn)入內(nèi)部圣域/Enter inner sanctum

11 內(nèi)部圣域/Inner sanctum

項(xiàng)目信息/Credits and Data

地點(diǎn)/Location: Wadeshwar, Maharashtra, India

建筑設(shè)計(jì)/Architects: Sameep Padora & Associates

設(shè)計(jì)團(tuán)隊(duì)/Project Team: Sameep Padora, Minal Modak,Vinay Mathias

施工圖/Documentation: Viresh Mhatre, Anushka Contractor, Maansi Hathiwala, Prajish Vinayak

竣工時(shí)間/Completion Time: 2010

攝影/Photos: Edmund Sumner