(Thomas Mayer)

© Thomas Mayer

2010年3月21日，两座建筑作为鲁尔2010文化之都的一部分在德国的格尔森基兴开业。根据我们的建议，1735年建造的Bleck教堂附近安装了一座犹太教堂和一座清真寺，作为临时建筑，但规模为1：1。这些空间计划在2010年3月至11月之间使用。所需的区域已经可用，并创建了空间，以便为其提供内容。该项目的目的是通过展览、专题讨论会、音乐会和儿童一起演奏，将不同出身的人聚集在一起。尽管建筑物很小，但这个项目对我们来说是一个城市社会学项目。

In March 21 2010, two buildings were opened as a part of Ruhr 2010 culture capital in Gelsenkirchen, Germany. According to our (Agirbas/Wienstroer) proposal, a synagogue and a mosque as temporary buildings but of 1:1 scale were installed near Bleck Church which was built in 1735. These spaces are planned to be used between 2010 March and November. The required area was already available and the space was created in order to give it content. The aim of the Project is to bring together people of different origins by exhibitions, symposiums, concerts and children playing together. In spite of the small size of the buildings, this Project is a city sociology project for us.

(Thomas Mayer)

© Thomas Mayer

犹太教堂-教堂-清真寺：每一种神圣的宗教都建立了自己独特的庙宇.犹太教堂来自便携式犹太庙宇(会议帐篷)；罗马墓穴通向基督教教堂的拱顶和拱门；阿拉伯贝都因人的帐篷成为穆斯林通往天堂和清真寺的尖塔(…)。这些寺庙的出现，不仅是宗教文化变迁的标志，也是人类聚居地宗教安全的决定性标志。犹太教堂、教堂和清真寺决定了世界范围内的城市环境。

Synagogue-Church-Mosque: Each of the heavenly religions has created their particular temples. Synagogue comes from portable Jewish temple (meeting tent); Roman catacombs led to Christian churches’ vaults and arches; Arabian Bedouin tents became Muslims’ minarets directed to heaven and mosques… The appearance of these temples is not only the indicator of the transformations of religious Culture, but also a decisive symbol of religious security in the habitats of people. Synagogues, churches and mosques determine world-wide city contexts.

(Thomas Mayer)

© Thomas Mayer

Gelsenkirchen教堂是最古老的教堂之一，每年有近100万名游客。在这里，人们可以进入和玩游戏，尽管它们是暂时的。在教堂的左边，右边是犹太祈祷的建筑标志(会议帐篷/犹太教堂)和穆斯林祈祷的建筑标志(尖塔/清真寺)。在项目接近尾声的时候，所有三座建筑都连在一起：邀请他们在不同信仰之间漫步。所涉及的是一场可以生活和经历的顿悟对话。我们希望我们的体验-它们可能是不完美的-成为这些空间的用户的体验。

Next to the oldest church of Gelsenkirchen, which has almost 1 million visitors a year, spaces are created in which people can enter and play games, although they are temporary. To the left of the church, the architectural sign of Jewish devotions (meeting tent/synagogue), and architectural sign of Muslim devotions (minaret/mosque) to the right. Towards the end of the Project, all three buildings are conjoined: an invitation to walk amongst faiths. What is at stake is a dialogue of epiphanies which can be lived and experienced. We want our experiences –imperfect they may be– to become experiences of the users of these spaces.

(Thomas Mayer)

© Thomas Mayer

建筑师走遍世界各地，如果需要的话，可以到边缘去反映他或她的经历。建筑师有时用石头，有时用木头。用户应该能够提出正确的问题时，考虑房子-这是理想的条件。这里的问题不是形式和数字。这里最重要的是一次又一次激励我们的渴望，即什么是对什么是错的问题。这个问题一直困扰着我们。有时，我触摸教堂五颜六色的墙壁，我的手变得无比强大，另一次，我的眼睛触摸清真寺的书法，变得前所未有的锋利，当我从犹太教堂的12扇窗户中的一扇看到时，我会意识到自己的历史。12个小时，12个月，12个部落。根据历史和不完整的历史，出现了一个新的问题；一个显然不容易回答的问题：“我们如何想要生活在一起？”

Architect moves all around the world, travels to the edges if needed to reflect his or her experiences. Architect sometimes uses stone, sometimes uses wood. The user should be able to ask the right questions when contemplating the house – this is the ideal condition. Here the matter is not form and figure. The important thing here is the longing that motivates us again and again, the question of what is right and what is wrong. This question bothered us all the way in the project. Sometimes I touch the colorful walls of a basilica and my hands becomes infinitely powerful, another time my eyes touch the calligraphies of a mosque and becomes unprecedently sharp, and when I look from one of the 12 windows of a synagogue, I become conscious of my own history. Twelve hours, twelve months, twelve tribes. A new question emerges in the light of history and incomplete histories; a question apparently not easy to answer: “How do we want to live together?”

(Thomas Mayer)

© Thomas Mayer

尽管如此，每件事都可以很简单。但似乎我们解决的越多，问题就越难以解决。大多数认为自己无所不知的人不再为不同的想法提供空间。世界是在自转，还是静止不动？其中一所房子的头远远超出地平线，到达太阳第一束出现的地方，正好向东。事实上，它是上帝的家，保存着生命的秘密，也就是赋予一切意义的事物的秘密。另一家人前往麦加。上帝不是无所不在吗？这个地方必须是干净的，你必须在里面行走，不穿鞋。它最古老的元素是祭坛(Mihrab)；第二个元素是讲坛(MIBER)，它是几个世纪后增加的。祭坛的目的是神性，用它的步子给社会，而讲坛是为了世俗。

Nevertheless, everything can be simple. But it is as if the more we solve, the more inaccessible the problem becomes. The majority who think they know everything do not provide space for a different thought any more. Is the world turning around itself or is it standing still? One of the houses heads far beyond the horizon, to the place where the first beams of the sun appear, precisely to east. The fact that it is a house of God, keeps the secret of life, the secret of the thing that gives everything their meaning. The other house heads to Mecca. Is not God omnipresent? This space must be clean; you must walk in it without shoes. The oldest element of it is the altar (mihrab); the second is the pulpit (mimber) which was added a couple of centuries later. The altar is intended to divinity, to the community with its steps, whereas the pulpit is intended to worldliness.

(Thomas Mayer)

© Thomas Mayer

这些房子还没有被碰过。他们就像玩捉迷藏，根据你的立场和看树。叶子上这些空格的颜色询问名称、99个不同的名称或不可提及的名称。当夜晚来临时，一束脉冲的光会发光。锐利的轮廓揭示了建筑的精确几何形状，其中一个是模糊和漫射的光束，它只显示了另一个建筑的主要外观。光永不停息。它几千年来从未这样做过，在这里的九个月里也不会这样做。在凝视提问和寻求答案的深度中，临时出现的人们试图回答这样一个问题：“我们想要怎样生活在一起？”

The houses are still untouched. They are as if playing hide and seek with the trees according to where you stand and look. The colors of these spaces in foliage ask the name, 99 different names or the unmentionable name. A pulsing light will shine when the night comes. With sharp contours revealing the exact geometrical shape of the building for one, with indistinct and diffuse beams which reveals only the main outlook for the other. Light never rests. It has never done that for thousands of years and will never do for nine months here. In the depth of the gazes asking questions and seeking answers, temporary appearances are trying to answer the question: “How do we want to live together?”

(Thomas Mayer)

© Thomas Mayer

我们通常追踪时间，看到我们想要看到的东西。不是说清真寺应该有穹顶吗？大卫的星在会堂里在哪里？深度的提问，特别是对自己的质疑，总是很难的。当选择简单的方式时，人们会变得更快乐，因为所谓的目标实现得更快。也许忽略了一些重要的东西？小马赛克正在等待挑选。大卫之星，十字架，新月，尖塔，讲坛和祭坛，十二扇窗户。当我们放置片段(如果你喜欢的话，用现代词汇，像素)，请不要按照习惯的模式。只有这样，它才成为一种努力，用别人的眼睛看。如果你把它当作邀请函，还能有什么愿望呢？

We usually trace the time seeing the things we want to see. Is it not that a mosque should have a dome? Where is the star of David in the synagogue? A questioning in depth, especially questioning ourselves is always very hard. One gets happier when choosing the easy way, since the alleged goal is achieved faster. Something important is omitted, maybe? Little mosaic pieces are waiting to be picked. Star of David, cross, crescent, minaret, pulpit and altar, twelve windows. When we place the pieces (in modern words, pixels, if you like), please not according to an accustomed pattern. Only then it becomes an effort to see with the others eyes. If you take it as an invitation, what else one can wish for?

(Thomas Mayer)

© Thomas Mayer

更多关于碎片的东西，关于马赛克的东西：一些喜欢想象的(梯形的墙壁，一个没有结束和开始的形式)，还有一些喜欢现实(方形计划，通往天堂的楼梯)。我还不能决定我所代表的是现实还是感觉？这些真的是不相容的东西(东方和西方)，人文主义和宗教等吗？事实上，一切都是如此的近，我们只需要伸手去亲吻别人的手掌。现在，如果说“我们有意识地使用有被使用痕迹的剩余材料，以表明社会的多样性”，那就太简单化了。我们决定拼凑，因为这是关于最古老的寺庙，关于发展，暂时性和再开发。

Something more about the fragments, about the mosaic pieces: some likes the imaginary (trapezoid walls, a form without an end and a beginning), some likes the reality (square plan, stairs to heaven). I could not decide which one I am representing yet: realities or sensations? Are these really so much incompatible: east and west (orient and occident), humanist and religious, etc.? In fact, everything is so close that we only need to reach our arms in order to kiss the others palm. Now, it would be over-simplifying to say “we consciously used residual material which has traces of being used, in order to indicate the multiplicity of the society”. We decided on patchwork, because this is about the oldest of the temples, about developing, temporality and re-development.

(Thomas Mayer)

© Thomas Mayer

在建筑物从鲁尔地区(暂时性)移除后，另一个项目将开始(开发)，并将重建伊斯坦布尔(RE-发展)，另一个欧洲卡图尔首都，在2010年11月之后。在伊斯坦布尔的Kınalı岛，长期以来没有文化活动的地方，将用这些建筑的材料建造一个图书馆和一个活动沙龙。Kınalı岛是伊斯坦布尔，甚至土耳其的文化原型。岛上的主要目的是通过知识和共同的文化活动，使每个人都认识到自己的其他人，并将空间与心灵的邻接联系在一起。这是一个由不同种族组成的马赛克岛。

After the buildings are removed from Ruhr area (TEMPORALITY), another project will begin (DEVELOPMENT), and they will be rebuilt in Istanbul (RE-DEVELOPMENT), another European kulture capital, after 2010 November. In Kınalı Island, Istanbul, where there has been no place for cultural activities for a long time, a library and an activity saloon will be created with the materials of these buildings. Kınalı Island is a cultural prototype of Istanbul, even of Turkey. The main aim on the island, which is a mosaic of different ethnicities, is to make everyone recognize their others and conjoining the adjacency of spaces with adjacency of minds through knowledge and common cultural activities.

(Thomas Mayer)

© Thomas Mayer