结构：Bollinge

Structure : Bollinger & Grohmann, AIST Fluides, Electricité, Thermique G.I. Engineering Cost Management Consulting HanMi Global Construction Firms ELAND construction, Kdome Construction Supervision shinslab, MOON Bo-Yeon Manufacturers Loading... More Specs Less Specs

 © Jin Hyo-Sook

金孝淑

架构师提供的文本描述。“生命之光”礼拜堂位于韩国首尔30公里处的柏里山南侧的SeolGok路的尽头。这座建筑是在新教和长老会社区南首尔恩典教堂为退休传教士发起的乡村项目的中间建造的。因此，除了礼拜天仪式的接待处之外，这是一个冥想和祈祷的地方，每天开放。

Text description provided by the architects. The "Light of Life" Chapel can be found at the end of the SeolGok Road on the south side of the Bori mountain, in Gapyong at 30 km from Seoul, South Korea. This building is built in the middle of a village project for retired missionaries initiated by the Protestant and Presbyterian community Nam Seoul Grace Church. Thus, beyond the reception of Sunday services, it’s a place of contemplation and prayer open every day of

此外，该中心可以容纳一百人在宗教静修，有房间和提供膳食在一家餐厅和咖啡馆。

In addition, the center can host a hundred people in religious retreat with the availability of rooms and the offer of meals in a restaurant and cafe.

 © Lee Dong-Hwan

李东焕

该项目始于2008年，一位在韩国和俄罗斯工作的企业家向教会牧师洪荣吉捐赠了大量西伯利亚红雪松木材。

The project began in 2008 with the donation to the church Pastor Hong Jung-Gil of a large quantity of Siberian red cedar wood by an entrepreneur working between Korea and Russia.

 Floor Plan

外部和内部的区别。外部质量/内部质量。为了尽可能减少建筑物对这个非常多山和森林覆盖的场地的影响，该项目试图融入景观。在地块最平坦的部分，在桩柱上，朝南，建立了1500平方米的底层面积，从而利用了更开阔的视野。同样，主要用于外涂反射材料和透明材料，如玻璃和聚碳酸酯，这座建筑试图与大自然的形象相呼应，降低建筑质量的不透明度。另一方面，主要的室内空间-礼拜堂-展现了一个与外界截然不同、无法想象的“内在质量”，一个与外界不同的世界，一个“自己的宇宙”。(Henri Focillon，The Life of Forms，第33页)新教一向以反对一切形式的偶像崇拜为原则，禁止在其礼拜场所绘画和雕塑。同样地，通过拒绝任何神圣的空间，它也寻求了一种简单的形式。然而，斯宾诺莎的“亚物种”或康德在自然景观面前的“崇高”，难道与礼拜场所的宗教信仰无关吗？在保持新教原则和表达基督教象征主义的同时，该项目试图从仪式、哲学、精神和艺术的角度来表达情感。

Distinction between the outside and the inside. External mass/ Internal mass. In order to reduce as much as possible the impact of a building on this very mountainous and forested site, the project tries to melt into the landscape. The ground floor area of 1500m2 has been established on the flattest part of the plot, on pilotis and facing South, thus taking advantage of the orientation for a more open view of the site. Similarly, using mainly for external coating reflective and transparent materials such as glass and polycarbonate, the building seeks to echo the image of nature and reduce the opacity of the built mass. On the other hand, the main interior space, the chapel, reveals an "internal mass" quite different, unimaginable from the outside, a world apart, its "own universe". (Henri Focillon, The Life of Forms, p33) The Protestant religion has always had as a principle to fight against all forms of idolatry prohibiting painting and sculpture in its places of worship. Similarly by refusing any sacredness of space, it has sought a form of simplicity. Yet the "sub specie aeternitatis" of Spinoza or Kant's “sublime” in front of the spectacle of nature, have they not to do with the religiosity of a place of worship? While remaining within the principles of Protestantism and in the expression of Christian symbolism, the project attempts to bring forth emotions from a liturgical, philosophical, spiritual and artistic

 © Jin Hyo-Sook

金孝淑

循环。我们发现卡尔文已经找到了圆形礼拜场所的处方，这将接近早期教会和改革的精神。如果天主教会喜欢十字形的大教堂装置，那么改革教会的痕迹就会显示出一个循环的计划。事实上，这个圆圈代表了信徒之间的交流，在上帝面前的人的平等，以及教会内部等级制度的废除。同样，这一圈象征着路德倡导的“普世祭司身份”，让所有人都能庆祝，并与上帝面对面地相遇。

Circular.  We find already with Calvin the prescriptions for a circular worship place that would be close to the spirit of the Early Church and Reform. If the Catholic Church favoured a cruciform basilica device, the traces of the churches of the Reform showed a circular plan. In fact, the circle represents the communion of the faithful, the equality of men in front of God and the abolition of hierarchy within the church. Similarly, the circle symbolizes the "Universal priesthood" advocated by Luther that allows all to celebrate and a personal encounter with God.

十字架在圆圈的中心有一个十字架，是基督教独特的象征。只有十字架才能宣称这个地方所有的忠诚的外表都自然走向。它被设计成薄薄的、易碎的和珍贵的。它由大量的铝通过电弧焊接撕裂而成，它似乎既表现了十字架的痛苦，又透过它的光辉，展现了复活的喜悦。这个十字架是种在水池的中间，所以为了接近它，我们必须穿过水。它象征着以色列人民跨越红海和约旦河，但最明显的是洗礼。

The cross In the centre of the circle there is a cross, the unique symbol of Christianity. Only that cross can claim this place where all the looks of the faithful are naturally headed. It was designed to be thin, fragile and precious. Constructed of massive aluminum by tearing with arc welding, it seems to show both the suffering of the cross, but trough its sheen, the joy of the resurrection. This cross is planted in the middle of a pool of water, so in order to approach it one has to cross the water. It symbolizes both the crossing of the Red Sea and of the Jordan River by the people of Israel, but most obviously baptism.

 © Jin Hyo-Sook

金孝淑

光的引力。崇拜的空间覆盖着一个半球形的穹顶。这个穹顶，可以在罗马万神殿或文艺复兴的其他建筑中找到，代表着整个世界。它也是指“创世记”中提到的天穹，一种神秘的形式，介于“天空下的水和天空之上的水”之间，这种形式在某种程度上是地球的负值，在数学上是拓扑空间；它也可以是神性完美的形象。穹顶的表面是由切成的红色雪松树干的末端形成的。所有的树干都像森林里的树一样直立着，与水平放置的伐木不同；834块不同的碎片似乎在讲述复活的故事。这不是木头，它们是树。

The gravity of light. The space of worship is covered with a hemispherical dome. This dome, as it can be found in the Pantheon of Rome or in other structures of the Renaissance represents the world, a whole. It also refers to the Celestial vault mentioned in Genesis, a mystical form between “the waters which were under the firmament from the waters which were above the firmament”. This form is some ways the negative of a globe that could well be the Earth, in mathematics it would be the topological space; it could also be the image of Divine perfection. The surface of the Dome is formed by the ends of the cut red cedar trunks. Unlike cut wood that is laid down horizontally, all trunks are standing upright like the trees of the forest ; 834 pieces, all different, seem to tell the story of the resurrection. This is not wood, they are trees.

 © Jin Hyo-Sook

金孝淑

要暂停这个质量并形成穹顶，它需要很大的力量。放置在地面上的原木作为支撑钢网架的杆子。每个十字路口都挂着一棵树干。一种较低的结构，由更细的钢线构成，警告任何摇动，并支撑穹顶的深度。正是通过这种木和钢结构，光线经过，因为整个结构被一个完全独立的玻璃金字塔所覆盖。这种光线被木头染成了颜色，似乎得到了一个物体，一种引力。

To suspend this mass and form the dome, it took a lot of strength. The logs resting on the ground serve as poles which carry a steel grid structure. At each intersection is suspended a tree trunk. A lower structure made of finer steel lines, warns of any rocking motion and supports the depth of the dome. It is through this wood and steel structure that light passes, as the whole is covered by a completely independent glass pyramid. This light is coloured by the wood and seems to acquire a body, a gravity.

 © Jin Hyo-Sook

金孝淑

由于天主教的不同，新教的基本原则之一是唯一的单词(Sola Scriptura)，哲学和音乐的发展是以视觉艺术的牺牲和放纵为代价的，在某种程度上是盲目的。因此，礼拜仪式面向的是字的载体(牧师)和音乐(合唱)。

At the difference of Catholicism, Protestantism had as one of the fundamental principles the only Word (Sola Scriptura), the development of philosophy and music took place at the expense and with the abandon of the visual arts, becoming in some ways blind. Thus, the liturgy is oriented towards the carrier of the Word (the pastor) and towards music (The choral).

作为一名建筑师，同时也是一名实践中的基督徒，我们试图在这里为所有的游客找到与灵性、神圣和神圣有关的情感，这是通过重新介绍图像、故事和符号来实现的。

As an architect, but also as a practicing Christian, it is through the reintroduction of images, stories and symbols that we have tried to find in this place and for all visitors, the emotions related to spirituality, the sacred and the divine.

 © Lee Dong-Hwan

李东焕

Architects IISAC, shinslab architecture

Location 105-4 Seolgok-ri, Seorak-myeon, Gapyeong-gun, Gyeonggi-do, South Korea

Category Chapel

Architect in Charge Tchely SHIN Hyung-Chul et Claire SHIN

Area 4109.0 m2

Project Year 2014

Photographs Jin Hyo-Sook, Lee Dong-Hwan

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