建筑承包商Beard建筑结构工程师价格与Myers M

Building Contractor Beard Construction Structural Engineer Price and Myers M & E Engineer Synergy Consulting Engineers Acoustic Engineer Paul Gillieron Acoustic Design Quantity Surveyor Ridge and Partners LLP Stone Consultant Harrison Goldman Access Consultant Jane Toplis Associates Planning Consultant Nathaniel Lichfield and Partners CDM-Coordinator HCD Management Limited Approved Building Control Inspector HCD Building Control Construction Consultant Richard Bayfield Cost 2,034,000

架构师提供的文本描述。客户简介为Ripon神学学院(Ripon Theology College)寻找了一个新的教堂，为居住在牛津郡(Oxfordshire)校园的两个相互关联的团体、大学社区和一个小型宗教团体的修女(Begrick修女)提供服务。这个小教堂取代了19世纪末乔治·埃德蒙街(GeorgeEdmundStreet)设计的现有教堂，这座教堂后来证明规模太小，无法满足学院目前的需求。该简报要求设立一个小礼拜堂，以便在合议的座位安排中满足两个社区的各种崇拜需要，并适用于社区聚会和个人祈祷。

Text description provided by the architects. The client brief sought a new chapel for Ripon Theological College, to serve the two interconnected groups resident on the campus in Oxfordshire, the college community and the nuns of a small religious order, the Sisters of Begbroke. The chapel replaces the existing one, designed by George Edmund Street in the late nineteenth century, which had since proved to be too small for the current needs of the college. The brief asked for a chapel that would accommodate the range of worshipping needs of the two communities in a collegiate seating arrangement, and would be suitable for both communal gatherings and personal prayer.

此外，简报还设想了一个单独的空间，供修女们背诵他们的办公室、宽敞的圣礼和必要的附属住所。除了这些概要要求之外，这份简报还列出了客户对礼拜堂的渴望，最重要的是，这是一个“与神明的个人相遇的地方”，这将使居住者能够创造性地思考空间与礼拜仪式之间的关系。客户总结了他们对这个项目的期望，菲利普·拉金(Philip Larkin)在他的诗“教堂”中说：“在严肃的地球上有一座严肃的房子.他曾经听说过，这是明智的.”。

In addition the brief envisioned a separate space for the Sisters to recite their offices, a spacious sacristy, and the necessary ancillary accommodation. Over and above these outline requirements, the brief set out the clients’ aspirations for the chapel, foremost as ‘a place of personal encounter with the numinous’ that would enable the occupants to think creatively about the relationship between space and liturgy. The client summarised their aspirations for the project with Philip Larkin’s words from his poem Church Going, ‘ A serious house on serious earth it is...which, he once heard, was proper to grow wise in...’.

在山脊上有一棵巨大的山毛榉树，面对山毛榉和后面的大学大楼，高地上有一圈成熟的树，俯瞰着向加辛顿延伸的山谷。这片空地有自己的特色，充满了风和光，树叶沙沙作响。该网站的这些优势也带来了重大的规划限制。这所学院现有的建筑具有相当重要的历史意义。G.E.街是维多利亚时代的著名建筑师，其南部的主要学院建筑和教区都是二级建筑*。

On the site is an enormous beech tree on the brow of the hill.  Facing away from the beech and the college buildings behind, there is ring of mature trees on high ground overlooking the valley that stretches away towards Garsington. This clearing has its own particular character, full of wind and light and the rustling of leaves. These strengths of the site also presented significant planning constraints. The college’s existing buildings are of considerable historical importance. G.E. Street was a prominent architect of the Victorian Age and both the main college building and vicarage to its south are Grade II* listed.

 Ground Floor Plan

该遗址位于南牛津郡地方规划区的绿化带内，从山谷西面的相当远的地方也可以看到。该地点附近有成熟的树木，并对东部边界的一群人适用树木保存令。该设计需要与全景图的特征相结合，保护大学校园和周围树木的设置。要解决这些相互关联的规划敏感问题，就需要与南牛津郡区议会、英国遗产委员会和当地居民进行广泛协商。

The site is designated within the Green Belt in the South Oxfordshire Local Plan and is also visible from a considerable distance across the valley to the west. The immediate vicinity of the site is populated with mature trees and has a Tree Preservation Order applied to a group at the eastern boundary. The design needed to integrate with the character of the panorama and preserve the setting of the college campus and the surrounding trees. The mediation of these interlocked planning sensitivities required extensive consultation with South Oxfordshire District Council, English Heritage and local residents.

这个项目的出发点是隐藏在西默斯·希尼诗歌“照明八世”中心的单词“nave”。这个词描述了教堂的中心空间，但与船“Navis”有着相同的起源，也可以表示旋转轮的静止中心。由此产生了两种建筑意象。第一个是地下的空穴，作为社区的聚集地，仍然是中心。第二种是漂浮在树冠上的精致的船状木材结构，树冠是光和声音的聚集地。

The starting point for this project was the hidden word ‘nave’ at the centre of Seamus Heaney poem Lightenings viii. The word describes the central space of a church, but shares the same origin as ‘navis’, a ship, and can also mean the still centre of a turning wheel. From these words, two architectural images emerged. The first is the hollow in the ground as the meeting place of the community, the still centre. The second is the delicate ship-like timber structure that floats above in the tree canopy, the gathering place for light and sound.

我们喜欢椭圆的几何学。为了构造一个椭圆，稳定的圆圈对着这条线，这条线是来回运动的。对我们来说，这反映了基督教思想中心的完美与不完美之间的交流。几何中固有的运动是通过周界流动的礼拜堂来表达的。人们可以在礼拜堂周围走来走去，向中心的更明亮的空间望去。观察一片明亮的空地的感觉可以追溯到最早的教堂。我们做了一片空地，以便在光线中聚集。

We enjoyed the geometry of the ellipse. To construct an ellipse the stable circle is played against the line, which is about movement back and forth. For us this reflected the idea of exchange between perfect and imperfect at the centre of Christian thought. The movement inherent in the geometry is expressed in the chapel through the perimeter ambulatory. It is possible to walk around the chapel, looking into the brighter space in the centre. The sense of looking into an illuminated clearing goes back to the earliest churches. We made a clearing to gather in the light.

 Cross Section BB

横截面BB

教堂，从外面看，是一个单一的石头围场。我们使用的是在质地和颜色上都具有同情心的剪影石，用于现有学院的石灰石。外墙为绝缘型腔结构，由弯曲加固的内叶和经过修整的石材外叶组成。礼拜堂的底座和附属建筑都是用灰浆石包着的，这些石料都是按规则的路线铺设的。主礼拜堂的上部穿着修剪过的墙石，用狗牙键固定在常规的球场上。教堂的墙壁是用天然石鳍组成的光环覆盖的。翅片位于高性能双层玻璃装置的前面，安装在隐蔽的金属框架中.

The chapel, seen from the outside, is a single stone enclosure. We have used Clipsham stone which is sympathetic, both in terms of texture and colouration, to the limestone of the existing college. The external walls are of insulated cavity construction, comprising of a curved reinforced blockwork internal leaf and dressed stone outer leaf. The base of the chapel and the ancillary structures are clad in ashlar stone laid in regular courses. The upper section of the main chapel is dressed in cropped walling stone, laid in a dog-tooth bond to regular courses. The chapel wall is surmounted by a halo of natural stone fins. The fins sit in front of high-performance double glazed units, mounted in concealed metal frames.

主礼拜堂的屋顶和附属块都是温暖的甲板结构。礼拜堂的屋顶排水到穿过外墙的洞的隐蔽的雨水管道。当雨水管道暴露在牧师的水平上时，雨水管是用铝制的袖子包着，表面涂上青铜，然后插入石鳍。屋面和内部框架是独立的，独立于外墙.屋顶和墙壁之间的最小交界处表达了这一点。屋顶栏杆向后退，以减少其在牧师之上的存在；屋顶结构的底部向上上升到外墙形成龙骨的形状，表达了Heaney诗歌中漂浮的“肚脐”。

The roof of the main chapel and the ancillary block are both of warm deck construction. The chapel roof drains to concealed rainwater pipes running through the cavity of the external wall. Where exposed at clerestory level, the rainwater pipes are clad in aluminium sleeves with a bronze anodised finish and recessed into the stone fins. The roof and the internal frame are self-supporting and act independently from the external walls. A minimal junction between the roof and the walls expresses this. Externally the roof parapet steps back to diminish its presence above the clerestorey; inside the underside of the roof structure rises up to the outer walls to form the shape of a keel, expressing the floating ‘navis’ of Heaney’s poem.

 Detail Section CC

详细部分CC

内部木结构采用预制构件格鲁仑截面与钢固定和完全隐蔽的钢基板连接。Glulam部分是由视觉级云杉层压板组成的，采用两部分染色系统处理，这给出了一个轻微的白色洗后处理。屋顶和柱子的结构表达了椭圆本身的几何结构，在中间和边缘之间穿梭着一条直线，在两端显示出两个稳定的焦点，反映在祭坛和讲台这两个焦点下面的大学布局中。当你在礼拜堂周围移动时，柱子的灌丛和简单的椭圆墙之间有一种展开的节奏相互作用。礼拜堂可以理解为瓶中的船，隐藏的“内殿”。

The internal timber structure is constructed of prefabricated Glulam sections with steel fixings and fully concealed steel base plate connections. The Glulam sections are made up of visual grade spruce laminations treated with a two-part stain system, which gives a light white-washed finish. The structure of roof and columns express the geometrical construction of the ellipse itself, a ferrying between centre and edge with straight lines that reveals the two stable foci at either end, reflected in the collegiate layout below in the twin focus points of altar and lectern.  As you move around the chapel there is an unfolding rhythm interplay between the thicket of columns and the simple elliptical walls beyond. The chapel can be understood as a ship in a bottle, the hidden ‘nave’.