Ground Floor Plan

圣莫里茨教堂自近千年前成立以来，经历了许多变化。毁灭性的火灾、礼拜仪式的改变、审美进化和战时轰炸都在建筑物的结构上留下了痕迹。这一最新干预的目的是从美学、功能和仪式的角度重新调整现有的建筑，考虑到神圣的气氛始终是项目的核心。

The church of St Moritz has been through many changes since its foundation nearly a thousand years ago. Devastating fires, changes in liturgical practice, aesthetic evolution and wartime bombing have each left their mark on the fabric of the building. The purpose of this latest intervention has been to retune the existing architecture, from aesthetic, functional and liturgical perspectives, with considerations of sacred atmosphere always at the heart of the project.

 © Hufton+Crow

赫夫顿乌鸦

这项工作包括对教堂复杂结构中的某些元素进行细致的切割，以及对某些工艺品的重新安置，以获得一个更清晰的视野。在现有的词汇形式和元素的基础上，一种建筑语言已经进化，以微妙的方式被识别为新事物，但没有令人不快的外来元素。

The work has involved the meticulous paring away of selected elements of the church’s complex fabric and the relocation of certain artefacts, to achieve a clearer visual field. Drawing on existing forms and elements of vocabulary, an architectural language has evolved that is recognisable in subtle ways as something new, yet has no jarring foreign elements.

 © Hufton+Crow

赫夫顿乌鸦

圣莫里茨是根据“怪人”清晰的线性原理来布置的，这个空间特征，以其强大的前向聚焦于“apse”，在当前的重新排序中得到了保留和加强，眼睛有目的地从内殿画到apse，这是一间由巴洛克雕塑家Georg Petel的形象所引领的光影之所，也是巴洛克雕塑家格奥尔格·佩特尔(Georg Petel)的救世主形象。

St Moritz is laid out according to the clear linear principles of a Wegekirche and this spatial character, with its strong forward focus on the apse, is retained and reinforced in the current re-ordering, with the eye purposefully drawn through the nave to the apse, which is designed as a room of light, heralded by the Baroque sculptor Georg Petel’s figure of Christus Salvator.

 © Hufton+Crow

赫夫顿乌鸦

干预的一个关键的姿态是安静的转变的apse窗口，它必须发挥建筑功能，作为一个光源和礼拜仪式，作为一种超越的门槛的表达。现有的玻璃被薄片的红玛瑙取代。它的作用是产生最佳的光照条件，筛选出直射阳光，并在弥漫发光的朦胧中沐浴空间。

A key gesture of the intervention is the quiet transformation of the apse windows, which must function architecturally as a source of light and liturgically as an expression of the threshold to transcendence. The existing glass is replaced with thin slices of onyx. The effect of this is to generate the optimum light conditions, screening out direct sunlight and bathing the space in a haze of diffused luminescence.

 Longitudinal Section

对光窗的处理代表了更广泛的光战略的顶点，其目的是实现光的清晰分布，而apse是教堂中最明亮的区域。赛后，举行礼拜仪式的地方是最亮的，而侧过道则恢复到更柔和的光线条件下。巴洛克神职人员的窗户，解除了他们以前的作用，照亮艺术作品和装饰，现在作为间接光源。

The treatment of the apse windows represents the culmination of a wider strategy for light, whose aim is to achieve a clear distribution of light, with the apse as the brightest area in the church. After the apse, the area of the nave where the liturgy is performed is brightest, whilst the side-aisles revert to more subdued light conditions. The Baroque clerestory windows, relieved of their former function of illuminating the artwork and decoration, now serve as indirect sources of light.

根据第二次梵蒂冈会议的要求，圣坛被迁至内殿中一个新建的岛屿上，使礼拜仪式更接近于教众，并使人们能够将主要的礼拜仪式地标-祭坛、安博和海岛-放在一个单一的水平上。

In line with the requirements of the Second Vatican Council, the altar is relocated to a newly created island in the nave, bringing the liturgy closer to the congregation and making it possible to site the principal liturgical landmarks - the altar, the ambo and the sedilia - on a single level.

Architects John Pawson

Location Philippine-Welser-Straße 21, 86150 Augsburg, Germany

Category Interiors Architecture

Area 1857.0 sqm

Project Year 2013

Photographs Hufton+Crow