建筑設(shè)計：STARH建筑事務(wù)所

該禮拜堂建在一座新建的東正教公墓內(nèi)，實際上包括3 個部分，禮拜堂本體（60m2）、一個納骨堂、一個柱廊。穿過納骨堂，我們到達(dá)了禮拜堂的地下室，那里有一個墓穴。實際上，這項工程突然暫停，且似乎終止了。整個禮拜堂成為了一種結(jié)構(gòu)表達(dá)：它是由磚砌成，內(nèi)部是其核心，覆蓋著鋼筋混凝土穹頂；其他兩個部分，納骨堂與柱廊，帶有隔水墻，由鋼筋混凝土筑成。由于意外和低級錯誤，涂刷混凝土?xí)r，施工現(xiàn)場遭逢水患?！?/p>

（葉揚 譯）

項目信息/Credits and Data

攝影/Photos: Radu Malasincu(fig.1), STARH(fig.3,4,9,10,11)

Built in a newly built Orthodox cemetery, it comprises in fact three buildings, the chapel itself(60m2), a ossuary and another as a portico. Through the ossuary we reach the basement of the chapel where there was to be a crypt. As an unfinished project, it was suspended suddenly and seemed definitive. The chapel as a whole is now an expression of the structure as such: the chapel is made of brick masonry with an armed heart and covered with a dome of reinforced concrete and the others two, the ossuary and the portico, of diaphragm walls, as well, reinforced concrete thought as apparent. By accident and stupidity the concrete was painted in the precipitous moments of the construction site overflow.□

3.4 外景/Exterior views

5 草圖/Sketch

6 剖面/Section

7 地下室平面/Basement plan

8 首層平面/Ground floor plan

9 內(nèi)景/Interior view

10 細(xì)部/Details

評論

張繼元：禮拜堂以混凝土外殼形成了一個很個人的而又與世隔絕的靜思之地，尺度比較小，極簡的空間以及東正教傳統(tǒng)元素給人以震撼美。從禮拜堂室內(nèi)看到一個群眾聚集的空間，高挑空和穹頂?shù)奶齑埃@些宗教特征被現(xiàn)代語言所轉(zhuǎn)化，在造價不高的情形下，禮拜堂要通過兩點：尺度和宗教特征，將東正教的基本元素和精神運用現(xiàn)代的手法呈現(xiàn)。整體的墓園以陣列方格分離出獨立的逝者空間，形成個體與集體之間的相互關(guān)系。禮拜堂的組成部分：禮拜堂本體、納骨堂和柱廊，3個半封閉的空間組成整體，在個體與集體的對比之下完成了空間的定義。

斯蒂芬·菲里米塔：這不是一個很老的項目，1996年離我們沒有那么遠(yuǎn)。但是，這個項目給人的第一印象是它比朗香教堂的混凝土看起來更破舊，盡管它的內(nèi)部是很新的。羅馬尼亞1990年代初的低成本建造方式促成了這座復(fù)合宗教建筑的整體架構(gòu)，一切都如愿地向自然環(huán)境開放。沒有技術(shù)，沒有窗戶，也沒有暖氣，你可以在建筑中感受到歲月與天氣的痕跡。禮拜堂的簡單立面、建筑高度和立面裝飾（封閉的窗戶）的形狀尺寸之間的比例，完美地呼應(yīng)了15-16世紀(jì)摩爾多瓦北部教堂的立面裝飾與繪畫的傳統(tǒng)。（母卓爾 譯）

11 外景/Exterior view

Comments

ZHANG Yingfan:The chapel creates a very intimate and secluded meditation space with a concrete shell.The small-scale simple space with its Eastern Orthodox elements is strikingly beautiful. Inside the chapel, one could see a space where people gather, as well as a high ceiling and dome windows. These religious motifs are transformed with a modern architectural language.With a small budget, the chapel uses a contemporary gesture to present the basic elements and spirits of the Eastern Orthodox Church through the skillful use of scale and religious motif. The churchyard is divided into grids to create separate spaces for the dead,forming interrelationships between the individuals and the collective. The chapel is composed of several parts: the chapel building, the monumental cemetery,and the colonnade. The three semi-open spaces form an integral whole. The contrast of the individual against the collective helps define what space means.(Translated by MU Zhuo'er)

Stefan Firimita:This is not an old project, 1996 is not that far back and still the first mental image that you have about this project is it looks more worn out than Ronchamp's concrete and yet besides this all is fresh inside. The low construction means of the early 1990s Romanian construction techniques helped the overall format of the buildings that compose this religious compound, with all open to the nature and its will. There is no technology, no windows, no heating, you can feel the impact of years and weather on this architecture. The simple decoration of the main chapel and the proportions between the height of the building and the shape and size of the decoration(enclosed windows), it is a perfect quote of the outside decoration and paintings of old 15th-and-16th-century North Moldavian churches.