架构师提供的文本描述。梅里洲教堂坐落在中国杭州一处树木茂密的发展之中，它不仅试图与现有的自然环境无缝融合，还试图融入周边社区的生活。我们的客户浙江万科梅里周堂不仅是为宗教服务而创建的，同时也是周围所有社区的一种精神和社区的静修场所，无论宗教信仰如何，都是一种精神和社区的静修。梅里洲教堂被大自然包围，它并不是一个可以从远处观看的物体，而是试图自然地融入周围的环境。在设计过程中，用户体验和功能不仅是非常重要的，而且使用环境低影响材料和尽量减少环境破坏对项目的成功也是非常重要的。由于我们在建筑和景观方面的广泛研究，教堂的边界与周围的景观变得模糊，使得建筑与自然之间有了无缝的流动。

Text description provided by the architects. Nestled within a wooded development in Hangzhoug China, the Mei Li Zhou Church was an attempt to seamlessly merge not only into the existing natural environment, but also into the lives of those who live within its surrounding community. Carefully developed in coloration with TDS (Tsushima Design Studio), and our client Zhejiang Vanke, Mei Li Zhou Church was not only created for religious services, but as both a spiritual and community retreat for all of the surrounding community regardless of religious beliefs. Surrounded by nature, the Mei Li Zhou Church sits not as an object to be viewed from afar, but rather attempts to blend in naturally into the surrounding environment. During the design process not only was user experience and functionality of great importance, but also working with environmentally low impact materials and minimizing environmental damage were both very important to the projects success. As a result of our extensive studies in architecture and in landscape, the churches boundary blurs with the surrounding landscape, allowing for a seamless flow between building and nature.

 © Masao Nishikawa

(C)Nishikawa Masao

梅里洲教堂的设计有两个压倒性的主题。第一，创造内部空间和自然之间无缝的空间流动；第二，着眼于永恒和纯洁的观念。

The Mei Li Zhou Church was designed with two overwhelming themes. First the creation of a seamless flow of space between the interior spaces and nature, while the second looks at the idea of timelessness and purity.

 © Masao Nishikawa

(C)Nishikawa Masao

教堂建筑群由三座独立而又相连的建筑(梅里洲教堂、较小的花园教堂以及庭院办公室)和一座钟楼组成。这两座较小的建筑物被认为是公共展览馆。虽然每座建筑都使用不同的材料和设计特色，但流动空间的概念将它们连接在一起。梅里洲教堂在建筑和自然两方面都是通往该项目的门户。它的简单规划，广阔的内部空间和巨大的开放立面允许自然的无缝流动和自然照明进入建筑物。除了教堂前后的两个大开口外，还有一系列巨大的垂直天窗位于讲道坑上方，在教堂内部创造了一种短暂的感觉。

The church complex consists of three separate, yet connected buildings (The Mei Li Zhou Chapel, The smaller Garden Chapel, as well the Courtyard Offices) and a single bell tower. The two smaller buildings are considered public galleries. Although each building utilizes different materials and design features, the concept of flowing spaces connects them together. The Mei Li Zhou Chapel serves as the gateway to the project in both architecture and nature. Its simple plan, vast interior space and large open facades allow for the seamless flow of nature and natural lighting into the building. Along with the two large openings at the front and rear of the chapel, a series of large vertical skylights are located over the pulpit creating a very ephemeral feeling within the church.

 © Masao Nishikawa

(C)Nishikawa Masao

花园教堂和庭院办公室也试图引入自然，但在一个更微妙的层面上。梅里洲礼拜堂利用它的高度和广阔的视野来带来自然，而这两座较小的建筑则使用非常精心布置的地板水平窗户，让空间无缝流动。虽然主礼拜堂和较小的建筑都是从相同的概念演变而来的，但由此产生的设计和创造的景观是相当独特的。建筑物与景观的结合使得整个项目能够创造出无缝的空间流动。钟楼位于三座建筑的中心，是一座大型户外公共庭院。庭院是一种装置，通过这三座建筑中的每一座建筑，将它们彼此连接起来，并将它们与自然联系在一起。在两座画廊建筑中，每个房间都仔细地连接到这个庭院，形成了一系列相互连接的空间。每个空间是独特的，提供不同的景观周围的看法。这一系列流动的空间引导人们在一条道路上，鼓励他们探索建筑和他们所提供的所有经验。

The Garden Chapel and Courtyard Offices also attempt to bring nature in, but on a much more delicate level. While the Mei Li Zhou Chapel utilizes its height and large views to bring nature in, the two smaller buildings use very carefully placed floor level windows to allow the spaces to flow seamlessly. Although both the main chapel and the smaller buildings evolved from the same concept, the resulting design and created views are quite unique. The buildings integration with the landscape allow for the creation of a seamless flow of space throughout the project. Situated in the center of all three buildings and housing the Bell Tower is a large outdoor public Courtyard. The courtyard acts as a device, which continues through each of the three buildings, connecting them to each other as well as nature. In the two gallery buildings, each room is carefully connected to this courtyard creating a series of interconnected spaces. Each space is unique and offers different views of the surrounding landscape. This sequence of flowing space guides people on a path, encouraging them to explore the buildings and all of the experiences they have to offer.

 © Masao Nishikawa

(C)Nishikawa Masao

另一方面，我们研究了永恒/纯洁的概念，以及这对建筑及其居民意味着什么。一个固定的物体，在一个不断变化的环境中，如何从季节变化的颜色，到人们信仰和文化的变化，完美地融合在一起？对我们来说，这种永恒存在于材料和细节中。这种永恒存在于主礼拜堂及其木结构中。除去所有的装饰元素，这座建筑显得纯净而庄严。在混凝土结构成为中国建筑规范的时代，我们的结构更倾向于日本传统的木结构体系。设计和建造在日本，工程木屋屋顶允许一个美丽的详细的柱-无空间11米x35米。除了木质结构外，墙壁上还覆盖着未完成的木头，与白色的瓷砖地板形成鲜明对比。永恒是在木材的颜色，光，和开放的内部空间，这是不断变化与变化的性质周围的建筑。尽管主教堂试图与周围的森林更多地融合，但这两座画廊建筑呈现出一种更单一的物质性，更多地融入了周围的景观。用更小的方法来详细说明，这些建筑物使用的材料，如浇筑混凝土在外部，和较轻的木材完成在内部发挥与轻和重之间的对比。周围的景观也利用当地的石头，以同样的未经处理的方式处理，使每一块石头的性质和特征都能被优雅地表达出来。

On the other hand we examined the concepts of timelessness / purity, and what that means for the architecture and its inhabitants. How can a fixed object, within an ever-changing environment blend seamlessly from the changing colors of the seasons, to the changing of people’s beliefs and cultures? For us this timelessness was found in the materials and details. This timelessness can be found in the main chapel, and its wood structure. Stripped of all decorative elements, this building stands pure and dignified. In a time when concrete structures are norm in Chinese construction, our structure looks to a more traditional Japanese wood system. Designed and constructed in Japan, the engineered wood roof allows for a beautifully detailed column-less space of 11M x 35M. Besides the wood structure, the walls are clad in unfinished wood, in contrast to the white tile flooring. Timelessness is created in the colors of the wood, light, and openness of the interior spaces which are constantly changing in conjunction with the changing of nature surrounding the building. While the Main chapel attempts to blend in more with the surrounding forest, the two gallery buildings take on a more monolithic materiality, blending in more to the surrounding landscape. With a more minimal approach to detailing, these buildings use materials such as poured concrete on the exterior, and a lighter wood finish in the interior to play with the contrast between light and heavy. The surrounding landscape also utilizes local stones, treated in the same untreated way allowing for each stones nature and character to be elegantly expressed.