設(shè)計/竣工年份：2011～2021年

業(yè)主：圣賈科莫教區(qū)教堂復(fù)合體

建筑師：貝娜蒂塔·塔格利亞布

項目負(fù)責(zé)人：瓊·卡利斯

合作者：恩佐·庫奇（藝術(shù)家）、Vincenzo Gatti （禮拜儀式）

建筑面積：1 800平方米

攝影師：保羅·法索利、馬蒂亞·佩德拉齊

Design / Construction Years：" 2011 - 2021

Client： Complesso Parrocchiale San Giacomo

Architects： Benedetta Tagliabue–Mirales Tagliabue EMBT

Project Principal： Joan Callís

Collaborators： Enzo Cucchi （Artist）， Vincenzo Gatti （Liturgist）

Building Area： 1 800 m2

Photographs： Paolo Fassoli， Mattia Pedrazzi

EMBT事務(wù)所設(shè)計建造的圣賈科莫教堂和教區(qū)建筑群項目已經(jīng)持續(xù)了十幾年的時間（2011-2021年），建筑群包括一座710平方米的教堂、一座873平方米的教區(qū)綜合體和一處600平方米的戶外景觀空間，可以為包括教會和非教會社區(qū)在內(nèi)的整個社區(qū)所用，因此對Arginone周邊地區(qū)具有一定的價值。

圣賈科莫教堂的屋頂輕盈且懸浮，起伏的輪廓表面覆蓋著銅材，靈感來源于熱氣球的漂浮和紀(jì)念形式。從外部看，有機形狀構(gòu)成的輕型建筑被纖細(xì)的樹林環(huán)繞，兩條側(cè)向道路通往教堂前自然風(fēng)格的廣場。作為交匯點，廣場代表著向社區(qū)展開雙臂的中心。

材料組合和建造體系采取不同的調(diào)配方式，以突出該項目不同區(qū)域的特點。從最具紀(jì)念意義的教堂空間到教區(qū)建筑群空間，設(shè)計團隊通過相同材料呈現(xiàn)出更為日常的設(shè)計。立面上，灰泥抹灰的墻體和裸磚墻體以不同的方式排列，呈現(xiàn)出三段式設(shè)計，讓人聯(lián)想到費拉拉文藝復(fù)興時期的杰作——迪亞曼蒂宮（Palazzo dei Diamanti）。

祭壇是教堂中心的主角，它位于圓形長老會中，將大廳和側(cè)廊、洗禮堂和附屬空間組織起來。象征中世紀(jì)教堂中殿的拱形木天花，以放射狀排列在懸浮華蓋的光環(huán)周圍，華蓋的形狀像代表使徒圣雅各的貝殼一樣。光線透過中央天窗落在祭壇區(qū)域，使這里在一天之中呈現(xiàn)出變化的效果。巨大的十字木梁橫穿整個中殿，極具象征意義。這個十字梁采用專門為該教堂從舊費拉拉市政廳回收的木材制成，設(shè)計團隊沒有對它們進(jìn)行修復(fù)，這樣一來，古老而簡陋的材料就會傳遞出所有原始的象征意義。

從教堂的開放空間經(jīng)由外部通道，可以進(jìn)入舉行“感恩圣事（Blessed Sacrament）”的日常禮拜堂。建筑群中最具雕塑感的部分囊括了更偏向日常使用的空間，如圣器室、教區(qū)住宅和信徒與教區(qū)牧師談話室，而低調(diào)且有機的體量內(nèi)是附屬空間，將為社區(qū)提供教育、集會和娛樂服務(wù)，同時作為附近學(xué)校的多功能區(qū)。教區(qū)建筑群也在體量上與周圍環(huán)境展開了對話。室內(nèi)照明采用由薄木板制成的吊燈，這些薄木板組成小穹頂，發(fā)出的光創(chuàng)造出詩意的幾何形狀和神圣的反射效果。

Benedetta Tagliabue – EMBT studio presents its latest realized project “San Giacomo Apostolo” church and parish complex in Ferrara， Italy. This work has been developed over 10 years （2011–2021） and is a value for the peripheral neighbourhood of Arginone， since the new complex is available to the entire community， both ecclesiastical and secular. The complex consists of a church of 710 m2， a parish complex of 873 m2 and a landscaped outdoor space of 600 m2.

The church surprises with its light and suspended roof， with an undulating silhouette covered with copper that is inspired by the aerial and monumental forms of a hot air balloon. From the exterior， you can see a light building of organic shapes， surrounded by a slender grove， which is accessed through two lateral routes that lead to a naturalistic design square in front of the church， which acts as a meeting point and symbolizes the centre of two large arms open to the community.

Both the combination of materials and the construction system are modulated differently to characterize the different areas of the program. With the same materials it has been possible to work from the most monumental space， the church， to the spaces of the parish complex， with a more domestic aspect. The facades play with plaster and exposed brick placed in different arrangements and made to measure with a three-pointed design reminiscent of the Palazzo dei Diamanti in Ferrara， a masterpiece of the Renaissance.

In the centre of the church the altar is the protagonist. Located in a circular presbytery， the altar is also the point around which the hall and the side chapel are organized， as well as the baptistery and all the annexed spaces. The vaulted wooden ceiling， which alludes to the naves of medieval churches， has been arranged radially around a ring of light surrounding a suspended baldachin， whose shape resembles the shell of St. James. The central skylight allows light to descend on the altar area， changing its effect at different times of the day. A large cross of wooden beams flies over the entire nave with great symbolic force. The cross has been made with some woods that were originally found in the old Town Hall of Ferrara， and that were recovered especially for the church. It was decided not to restore them so that they would transmit all the primordial symbolism through their ancient and humble material.

As an altarpiece， a Roman cross has been installed in serene stone that is inspired by the cross of gems， which was used in the early days of the Church and is surrounded by gleaming pieces of coloured ceramics that symbolized stars and planets， saints， angels and sacred figures of Christianity. On both sides of the cross a is wooden altar that houses the relics of the Apostle St. James and a niche containing a wooden statue of the Virgin Mary of the seventeenth century， found in the closed church of the Holy Trinity. The ancient baptismal font has been donated by the Tagliabue Family and comes from an abandoned church near Bergamo.

From the open space of the church， you can access the chapel of daily worship that contains the Blessed Sacrament， thanks to an external access. From the most sculptural part of the complex you can access the more domestic spaces for the sacristy， the parish house and the conversation room between the faithful and the parish priest， while in a low profile and organic volume are the annexed spaces that will offer educational， associative and recreational services to the community， as well as new multifunctional areas for the nearby school， with which the parish complex also formally dialogues with a volume attentive to the relationship with its environment. The interior is illuminated through suspension lamps made with thin wooden slats that make up small domes that radiate light creating poetic geometries and angelic reflections.