架构师提供的文本描述。在离开建筑界十多年后，西格德·莱韦伦茨再次出现在斯德哥尔摩比约尔根的圣马克教堂。他为教堂设计的获奖作品使他回到了建筑艺术领域，他对重要性的恰当控制也引起了圣马克教会的国际关注。

Text description provided by the architects. After over a decade of absence from architecture, Sigurd Lewerentz reappeared with the creation of St. Mark’s Church in Björkhagen, Stockholm. His winning design for the church brought him back to the art of building, and his apt control of materiality brought the St. Mark’s Church international attention.

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莱温兹通过一次竞赛获得了圣马克教会的委托。他被邀请和其他四位建筑师一起为新教堂提出想法。莱温兹提出了多种想法，并最终在1956年被选为新教堂的设计师。

Lewerentz received the commission for St. Mark’s Church through a competition. He was invited, along with four other architects, to propose ideas for the new church. Lewerentz submitted multiple ideas and was ultimately chosen as the designer for the new church in 1956.

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圣马克教堂位于瑞典斯德哥尔摩的郊区。这两座建筑坐落在一片桦树林中，与周围的郊区几乎没有联系。西部建筑靠近主干道，但仍被树木所缓冲。在建筑物之间形成了一个庭院，中间有一个游泳池。

St. Mark’s Church is located in a suburb of Stockholm, Sweden. The two buildings on the site are set amongst a grove of birch trees with little connection to the surrounding suburbs. The western structure is located closer to the main road, but still buffered by the trees. A courtyard is formed between the buildings with a pool in the center.

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院子里是教堂的入口处，门廊上有一个木制的门廊。这个木制门廊是从砖结构中分离出来的，强调了两者之间的区别。建筑物里的砖块分别矗立着，以显示莱温兹对材料的掌握。

From the courtyard is the entrance to the church, marked by a wooden portico. This wooden portico is detached from the brick structure, emphasizing the difference between the two. The brickwork in the buildings stands separately to show Lewerentz’s mastery of the material.

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教堂是通过木门廊进入的，在那里，一个人被放置在一个灯光昏暗的门厅里。砖头环绕着来访者。在教堂里，砖块被用来做地板、墙壁和天花板。这种材料过去和现在仍然是一种简单而乏味的材料。20世纪初，它在瑞典被用来建造许多公共建筑。Lewerentz没有通过削减或塑造基本单位来增加利息来操纵基本单位。相反，他用迫击炮厚度和单元的放置或分离来将平庸的单位转变成值得欣赏的东西。

The church is entered through the wooden portico to where one is deposited into a dimly lit foyer. Brick surrounds the visitor. Within the church, brick is used to make floors, walls, and ceilings. The material was, and often still is, seen as a simple, uninteresting material. It was used to make many public buildings in Sweden in the early 20th century. Lewerentz did not manipulate the basic unit by cutting or shaping it to add interest. Instead, he worked with the mortar thickness and the placement or separation of the units to transform the banal unit into something to be appreciated.

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这两座建筑都是用同样颜色的砖块和较轻的灰泥建造的。西楼设有办公室，东楼设有入口门厅、房间、大厅和教堂的内殿。砖的单位创造弯曲和直墙在这两个建筑物。在东部的建筑中，它作为地板向下倾斜，引导一个人进入教堂，同时它也在天花板上的拱顶。

Both buildings on site are made with the same color of brick with a lighter mortar. The western building contains offices while the eastern building holds the entrance foyer, rooms, great hall, and nave of the church. The brick unit creates curved and straight walls in both buildings. In the eastern building it slopes down as the floor to lead one into the church, while it also vaults in the ceiling above.

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圣马克教堂于1960年建成。这是莱温兹在职业生涯中断后设计和建造的第一座建筑，但这并不是他的最后一座建筑。随着圣马克教会的竣工和认可，莱温兹在1975年去世之前，继续建造了其他项目，其中最著名的是克利潘的圣彼得教堂。他继续在砖块物质性投资于圣彼得教堂的设计，随后他在圣马克教堂的第一个砖块杰作的成功。

St. Mark’s Church was completed in 1960. It was the first building designed and built by Lewerentz since his hiatus from the profession, but it was not his last. With the completion and resulting recognition of St. Mark’s Church, Lewerentz went on to build other projects, most notably St. Peter’s Church in Klippan, before his death in 1975. He continued his investment in brick materiality into the design of St. Peter’s Church, which followed in the success of his first brick masterpiece at St. Mark’s Church.

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