© Hassan Bagheri

哈桑·巴赫里

即使在哥伦布这个以其杰出的现代建筑组合而闻名的地方，这座教堂也是特别的。当萨里宁在1959年2月被选中设计这座建筑时，他已经是该镇最受欢迎的被收养的儿子，他曾经设计过该镇的赞助人J·欧文·米勒(J.Irwin Miller)和附近的欧文联合银行(Irwin Union Bank)的私人住宅，取得了巨大的成功。米勒是当地一家发动机工厂的富有老板，他热衷于现代建筑，并将世界上许多伟大的人才带到哥伦布工作，其中包括贝(I.M.Pei)、罗伯特·文丘里(Robert Venturi)、伊莱尔·萨里宁(Eliel Saarinen)、理查德·梅尔(Richard Meier)和塞萨尔·佩利(Ces米勒亲自为新教堂的建筑委员会服务，据说萨里宁是被选中的，他甚至不用出示一张幻灯片就可以完成这项工作。[1]当建筑师在建筑物竣工前不幸去世时，建造教堂的努力成了他的记忆和他对这座城市的许多贡献。

Even in Columbus, a place known for its remarkable assemblage of modern architecture, this church is special. When Saarinen was selected to design the building in February, 1959, he was already a favorite adopted son of the town, having previously designed the private residence of the town’s patron, J. Irwin Miller, and the nearby Irwin Union Bank to great success. Miller, the wealthy owner of a local engine factory, was an avid lover of modern architecture and took it upon himself to bring many of the world’s great talents to work in Columbus, including I.M. Pei, Robert Venturi, Eliel Saarinen, Richard Meier, and Cesar Pelli. Miller personally served on the building committee for the new church, and it was said that Saarinen was selected for the job without even having to show a single slide of his work. [1] When the architect tragically passed away before the building’s completion, the effort to build the church became a tribute to his memory and his many contributions to the town.

就像萨里宁的建筑一样，教堂的几何结构简洁而巧妙。在计划中，教堂是一个简单的六边形，沿着东西轴稍微拉长，入口在较短的两侧。从六边形的每个角落，巨大的桥墩支撑着屋顶的结构肋，这些肋在屋顶的顶部会聚在一起，并向上成一个尖顶。这座建筑的高度上升到了192英尺，距离200英尺的标高仅差一点点，这就要求不情愿的建筑师在金十字顶上放置一个飞机信标。

As is often the case with Saarinen’s buildings, the geometry of the church is elegant in its simplicity and ingenious in its structural arrangement. In plan, the church is a simple hexagon, elongated slightly along the East-West axis with entrances on the shorter sides. From each corner of the hexagon, massive piers support the structural ribs of the roof that converge at the top of the roof and angle upward into a spire. The height of the building rises to a soaring 192 feet, just shy of the 200-foot mark that would have required the unwilling architect to place an airplane beacon atop the gold cross.

 © Hassan Bagheri

哈桑·巴赫里

在里面，雕刻的线条的铸造-就地混凝土天花板美丽地反映了该计划的角度几何图形，并铸造了一个沉重的存在，在下面的崇拜空间。怪异的自然照明是由中央祭坛上的一个单独的Oculus提供的，并辅之以在光滑的混凝土天花板上的昏暗人工灯光的舞蹈。由灰色板岩地板和红木皮组成的黑色天然材料托盘完成了洞穴般的氛围。

Inside, the sculpted lines of a cast-in-place concrete ceiling beautifully mirror the angular geometries of the plan and cast a heavy presence over the worshipping space below. Eerie natural lighting is provided by a lone oculus over the central altar and is supplemented by a dance of dim artificial lights over the smooth concrete ceiling. A dark, natural material pallete consisting of gray slate floors and mahogany pews completes the cave-like ambiance. 

 © Hassan Bagheri

哈桑·巴赫里

 © Hassan Bagheri

哈桑·巴赫里

教堂的著名设计被认为是对萨里宁在当代宗教建设中所注意到的变化的回应。在他看来，现代避难所已经成为教堂建筑中庞大的二级空间综合体的后遗症，这些建筑总是包括聚集空间、教室，甚至娱乐休息室。虽然扩大宗教存在对萨里宁来说本质上并不是一件坏事，但将注意力从崇拜行为转移到远离宗教的神的中心似乎是不正确的。因此，他的目标是设计一座能够满足当代需要的建筑，同时又不失去教会作为崇拜和接近上帝的地方的原有功能的重点。

The church’s famous design was conceived as a response to changes that Saarinen noted in contemporary religious construction. In his view, modern sanctuaries had become afterthoughts to massive complexes of secondary spaces in church buildings, which invariably included gathering spaces, classrooms, and even recreational lounges. While an expanded religious presence was not inherently a bad thing for Saarinen, the shift of focus away from the act of worship seemed to de-center God from religion. His objective was therefore to design a building that could meet contemporary needs without losing focus of the church’s original function as a place for worshipping and coming closer to God.

 Oculus. Image © Flickr user noktulo

奥库勒斯。图片c Flickr用户noktulo

 Oculus. Image © Hassan Bagheri

奥库勒斯。图像：Hassan Bagheri

从程序上讲，萨里宁首先通过区分主教堂和二级教堂的功能并将它们放置在不同的楼层来传达这些优先事项。地上的水平是专门用于大型的中央避难所和周围的救护车。客户所需的剩余空间-浴室、厨房和团契大厅-被埋在地下，字面上和象征性地放置在礼拜空间下面。

Programmatically, Saarinen communicates these priorities first by simply discriminating between primary and secondary church functions and placing them on separate floors. The aboveground level is devoted to the large central sanctuary and the ambulatory that surrounds it. The remaining spaces required by the clients – the bathrooms, kitchen, and fellowship hall – are buried into the ground, literally and symbolically placed beneath the worship space.

 Ground Floor Plan

 Basement Plan

地下室平面图

圣所的布局进一步提升了崇拜的作用，一个不寻常的，中央位置的祭坛。教区的座位以波纹状的圆环向上和向外散发，引导教区居民的注意力转向中心，并要求他们积极参与服务。一个戏剧性的进入序列，要求游客“爬进”圣所，在返回之前与景观向上上升，以同样的效果，把祭坛变成目的地和到达的对象。[2]教会的简单姿态-从地面向天空的扫地-是对理想教会的简单而独特的焦点的进一步评论。

The layout of the sanctuary furthers elevates the role of worship with an unusual, centrally located altar. Seating for the congregation emanates upward and outward from it in ripple-like rings, directing the parishioners’ attention toward the center and demanding their active participation in the service. A dramatic entry sequence that requires visitors to “climb into” the sanctuary by ascending upward with the landscape before going back down works to the same effect, turning the altar into an object of destination and arrival. [2] The simplicity of the single gesture of the church – a sweeping move from the ground into the sky – is a further commentary on the simple, singular focus of the ideal church.

从泥土材料到戏剧性的正式几何图形，建筑努力创造一种亲密、独特和超越性的宗教氛围。从外部到建筑内部的旅程经历了严峻的变化，反映出有意的转变，目的是放大崇拜者的精神之旅。

From the earthy materials to the dramatic formal geometries, the architecture strives to create a religious atmosphere that is intimate, unique, and transcendent. Stark experiential changes in the journey from the exterior to the building’s interior reflect a deliberate transition intended to magnify the worshipper’s spiritual journey.

在提交了他设计的最终版本一个月后，萨里宁在51岁的时候突然意外地去世了，不幸地缩短了二十世纪最有成就、最有前途的建筑师之一的职业生涯。这座教堂是他设计的最后一座建筑，他对此感到非常自豪。它的超凡脱俗形式自从它完成以来已经被复制了很多次，并且它可能已经成为哥伦布最著名的图标。2000年，也就是建成仅仅36年后，它被指定为国家历史地标，作为对该镇和战后美国建筑价值的证明。

Only one month after submitting the final version of his design, Saarinen passed away suddenly and unexpectedly at the age of 51, cutting tragically short the career of one of the twentieth century’s most accomplished and still-promising architects. This church, of which he was so proud, was the last building he would ever design. Its otherworldly form has been copied many times since its completion, and it has become perhaps the most recognizable icon of Columbus. In 2000, only thirty-six years after its completion, it was designated a National Historic Landmark as a testament to its value to the town and to postwar American architecture.

[1]默克尔、杰恩。埃罗·萨里宁。伦敦：菲顿出版社，2005年

[1] Merkel, Jayne. Eero Saarinen. London: Phaidon Press, 2005

[2]Saarinen，Eero和Aline Saarinen，ed。埃罗·萨里宁的作品。纽黑文：耶鲁大学出版社，1968年。

[2] Saarinen, Eero and Aline Saarinen, ed. Eero Saarinen on His Work. New Haven: Yale University Press, 1968.

建筑师Eero Saarinen地点850 Tipton Lane分类教堂景观建筑师丹·基利纺织设计师亚历山大·吉拉德项目年1964年照片Flickr用户多瑙河66，Flickr用户noktulo，Hassan Bagheri

Architects Eero Saarinen Location 850 Tipton Lane Category Churches Landscape Architect Dan Kiley Textile Designer Alexander Girard Project Year 1964 Photographs Flickr user Danube66, Flickr user noktulo, Hassan Bagheri