Chapel Maria Magdalena Sacher.Locicero.Architectes

2015-07-27 05:00

 © Paul Ott

保罗·奥特

架构师提供的文本描述。由建筑师格哈德·萨赫尔设计的家庭礼拜堂玛丽亚·马格达莱纳是一个由白色混凝土(SCC“自密实混凝土”)制成的壮观的雕塑物体。建筑家们已经证明了他们对建筑的一大部分心、信任和深刻的理解，因为他们创造了这一非凡的、永恒的空间，在这个项目中，家庭仪式和庆祝活动可以在一个独特的环境中体验到宁静、沉思和回忆。在距离马格达伦斯堡山和霍乔斯特维茨城堡不远的地方，这座建筑代表了一个现代地标，象征着一种无艺术的形式语言。

Text description provided by the architects. The family chapel Maria Magdalena by the architect Gerhard Sacher is a spectacular sculptural object made of white concrete ( SCC „self compacting concrete“). The constructers have proved a great portion of heart, trust and deep understanding for architecture in having created this project of an exceptional, timeless spaciousness, in which family ceremonies and festivities take place and where tranquillity, contemplation and remembering can be experienced in a unique setup. In a sighting distance to the Magdalensberg hill and the Hochosterwitz castle, the piece of architecture represents a modern landmark as an expressive symbol of an artless form language.

 © Paul Ott

保罗·奥特

你不可能通过白色混凝土(SCC)雕塑而不留下深刻印象。它就像一根竖起的手指，矗立在一座年轻的葡萄园中间，坐落在卡林西亚的佐菲尔德(Zallfeld)的小山锁上。混凝土发光的白色是如此完美，建筑如此和谐朴素，在孕育着历史的景观中，这里的位置是如此壮观-具有悠久文化和历史传统的富饶平原佐菲尔德坐落在马格达伦斯堡山之间，它的朝圣教堂位于东南部，霍乔斯特维茨城堡(Hochosterwitz)雄伟地坐落在岩石锥上长达千年之久，位于北方。如果你走过去，你会爱上现代地标的闪亮白色和它简单的形式语言，即使你是最坚定的不可知论者。

You can´t pass the sculpture made of white concrete (SCC) without being impressed. It stands there as an erected finger in the landscape of gentle hill locks of Zollfeld, Carinthia, in the midst of a young vineyard. The glowing white of the concrete is so perfect, the architecture so harmoniously unadorned, and the location is so spectacular in the landscape pregnant with history – Zollfeld, the fertile plain with long cultural and historical tradition, lies between the Magdalensberg hill with its pilgrimage church on top in the southeast, andthe Hochosterwitz castle majestically sitting on a rock cone for over a thousand years, in the north. If you stroll by, you will fall for the radiant white of the modern landmark and for its simple form language even if you are the most convinced agnostic.

 © Paul Ott

保罗·奥特

项目说明

Description of the project

游客通过缓缓倾斜的入口坡道接近宽敞的、圆形的、略有下降的砾石前院。前院里有白色混凝土和玻璃切割的建筑，基本元素以当代的方式诠释了古典教堂的形式。完美、光滑的白色混凝土为这座建筑提供了一种特殊的、人造的美学和纯洁。不同的光线和天气条件改变了颜色和表面印象，从一个发光，光泽白色到寒冷的，无光泽的黎明白色蓝色，通过那里有无数的阴影和纹理可供观察。

The visitor approaches the spacious, round, slightly descending gravel forecourt via gently sloping access ramp. In the forecourt, there is the building from white concrete and glass incised in it, and the base elements interpret the form of a classical chapel in a contemporary way. The immaculate, smoothly formed white concrete provides this piece of architecture with a special, artificial-like aesthetics and purity. Various light and weather conditions change the colour and surface impressions from a glowing, glossy white to a cold, matt white blue of the dawn, through which there are innumerable shadings and textures to be observed.

 Courtesy of Gerhard Sacher

格哈德·萨赫

山墙屋顶的山脊高778米。在侧壁上，有横向切割的窗槽，两边各有三个.窗户的横向切割与太阳射线的入射相一致，使早晨和/或傍晚的阳光照射到教授所做的彩色玻璃化过程中。卡尔·海因茨·西蒙尼奇，卡林提亚艺术家。窗户由多种颜色的玻璃层组成，描绘了创世的六天。由捷克艺术家贾洛米尔加古拉克(JaromirGarGulak)设计的全尺寸玻璃窗和外侧青铜十字的东侧代表了创世的最后一天。相反，朝前厅的位置，巨大的青铜，两翼门是由同一捷克艺术家手工制造，可以被广泛开放，整合前院，从而为站在外面的人提供空间。

The ridge of the gable roof is 7,78 meters high. In the side walls, there are transversely cut-it window slots, three on each side. The transversal cuttings of the windows are positioned in line with the sun rays incidence, so that the morning and/or evening sunshine hits the coloured vitrification made by prof. Karl-Heinz Simonitsch, a Carinthian artist. The windows are made of multi-colour glass layers and depict the six days of the genesis. The east-side front with full-size glazing and the outside bronze cross by JaromirGargulak, a Czech artist, represents the last day of the genesis. The opposite, towards the forecourt situated, massive, bronze, two-wing gate is handmade by the same Czech artist and can be wide opened integrating the forecourt, und thus offer room for those standing outside

 Axonometric

巨大的白色侧壁遮住了周围丰富的文化景观，创造了一个明亮、沉思的空间，散发着和平与纯洁的光芒。全玻璃的东侧提供了黑暗的青铜十字架在地平线上的Magdalensberg建造精神连接，内部是故意简单和多变的同时。空间的形成要素是奶油和米色石灰华砖制成的地板。教堂长方形布局中的一步就标志着从礼拜堂到唱诗班的过渡。唱诗班的墙壁包括长方形的壁龛-在右边，有一个较大的缝隙，上面有教堂的守护神玛丽亚·马格达莱纳(Maria Magdalena)的雕像，在左边，有12个较小的骨灰盒槽。在左边，在彩色的窗户之间，有一些用白色的橡木制成的不敏感的折叠堤，它们都是水泥墙上的平座。

The massive, white side walls inside shield the abundance of the surrounding cultural landscape and creates a bright, contemplative space radiating peace and purity. The fully glazed east-side offers the sight of the dark bronze cross against the Magdalensberg on the horizon building the spiritual connection to the outside.   The interior is deliberately simple and variable at the same time. The formative element of the space is the floor made of cream and beige travertine tiles. Just a single step in the rectangular layout of the chapel marks the transition from the chapel nave to its choir. The walls along the choir include rectangular niches – on the right, there is a larger slot with the statue of Maria Magdalena, the patron saint of the chapel, and on the left, there are 12 smaller urn slots. On the left, in between the coloured windows, there are insusceptible fold-out banks made of white washed oak that are flush mount in the concrete wall.

 Courtesy of Gerhard Sacher

格哈德·萨赫

光与四季

Light and the four seasons

镇礼拜堂必须排除外界的影响才能获得安宁。因此，在大多数情况下，教堂的墙壁只有几个开口。一个位于开阔乡村的礼拜堂本身就有宁静，因此可以向外开放，并从与自然的相互作用中获益。

A town chapel has to exclude the outside world to attain tranquillity. Therefore, in most of the cases, the chapel walls have only a few openings. A chapel situated in the open countryside already has the tranquillity per se, and therefore can be opened towards the outside and profit from the interplay with the nature.

 © Paul Ott

保罗·奥特

透明玻璃(12 mmESG-东侧最大尺寸-6，20米x1，65米)的侧壁提供了大量的自然光线进入，并允许包括各种季节性的光和天气的配置。阳光透过彩色的窗缝进来，三个在北方，三个在南方，在室内充满了各种各样的颜色。为了增加空间的照明，可以使用悬挂在山脊上的半透明圆柱体，而沿唱诗班的壁龛中安装的点灯则提供聚焦照明。

The transparent glazing (12mmESG - maximum size on the east side - 6,20m x 1,65m)of the flank wall provides for a lot of natural light coming in and allows the inclusion of various seasonal light and weather dispositions. The sunlight coming in through the coloured window slots, three at the north and three at the south, floods the interior with varied colour plays. For additional illumination of the space, the translucent cylinders hanging down from the ridge can be used, whereas the fitted spot lights in the niches along the choir provide focused lighting.

 © Paul Ott

保罗·奥特

在黎明和夜晚，弥漫的光从教堂出来，落在前院和周围的地方。只有教堂花园里的十字架才有直接突出的光照，因此成为内部的一部分。

At dawn and at night, the diffused light comes out of the chapel and falls on the forecourt and the close surroundings. Solely the cross in the chapel garden enjoys a direct highlighted illumination and thus becomes a part of the interior.