A private Chapel ——私人小教堂

显示全部楼层 · 发表于 2014-4-22 14:57:07

Adolf Loos said that “only a small part of architecture belongs to art: tombs and monuments”. Funerary architecture has a highly expressive value encompassing the loving act of those who commisioned it, the sign of an insurmountable desire to defeat death through memory. The tomb, a place of remembrance, moves at the same time towards a new life.

The form of this private chapel, just 3 meters by 3 meters, symbolically manifests this desire for eternity. The structure has two levels: the lower level marks the entrance to the chapel through two large rough-hewn blocks of marble, positioned so as to metaphorically evoke the memory of the stone rolled away from the tomb of the risen Christ. The upper level, a contrast of lightness and simplicity, is made of pure white plaster to represent the spirit that is separated from the materiality of earthly life, with its cares and labours, and ascends to a spiritual dimension to reach Heaven and “return to being the purest divine spark”. The cross, light and weihtless symbol of resurrection, embrace the entire monument and appears suspended in the sky, binding the passage of the spirit, wich annuls the self to return to God, with a line cut into the material.

在一个、、、（偶是英文盲~）网站上看到的这个小建筑，共享下。
其实在下不太清楚英文介绍的是啥,谷歌翻译了下有点不对劲，就原文搬过来了。

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显示全部楼层 · 发表于 2014-7-1 16:52:06

由于对小型公共建筑比较感兴趣，所以粗略地翻译了一下，水平有限，请坛内高手勿拍{:2:}

Adolf Loos said that “only a small part of architecture belongs to art: tombs and monuments”. Funerary architecture has a highly expressive value encompassing the loving act of those who commisioned it, the sign of an insurmountable desire to defeat death through memory. The tomb, a place of remembrance, moves at the same time towards a new life.

阿道夫·路斯（奥地利建筑师）说过“只有一小部分建筑是属于艺术的：墓和纪念碑”。殡葬性建
筑有很高的表现价值，包括那些受委托的人爱的表示，一个籍着记忆、战胜死亡的不可逾越的欲望
的标志；墓，一个纪念的地方，同时也是迈向新生的地方。

The form of this private chapel, just 3 meters by 3 meters, symbolically manifests this desire for eternity. The structure has two levels: the lower level marks the entrance to the chapel through two large rough-hewn blocks of marble, positioned so as to metaphorically evoke the memory of the stone rolled away from the tomb of the risen Christ. The upper level, a contrast of lightness and simplicity, is made of pure white plaster to represent the spirit that is separated from the materiality of earthly life, with its cares and labours, and ascends to a spiritual dimension to reach Heaven and “return to being the purest divine spark”. The cross, light and weihtless symbol of resurrection, embrace the entire monument and appears suspended in the sky, binding the passage of the spirit, wich annuls the self to return to God, with a line cut into the material.

这个私人形式的礼拜堂建筑，只有3米乘以3米（西方‘9’代表有德之人的灵魂之数，有其宗教涵义；由于涉及知识面的关系具体不敢胡乱翻译解释），象征性地体现了这一永恒的愿望，该建筑结构由两层构成，两块巨大粗糙的大理石块，就是进入礼拜堂底层的标志入口；以此重现了当时安置在坟墓里的耶稣在主使把坟墓口石头辊开时，已经复活了的情景（具体参看《马太二十八章》）；上层，外观相对底层显得轻盈简洁，石膏般的纯白色犹如脱离了尘世生活的忧虑与劳动的灵魂，上升到一个可以接近天堂的精神高度，“回到纯洁神圣的火花”（参看《哥林多前书第十五章》）；象征光与复活的十字架，仿佛悬在空中，连接着十字架的一条切割建筑的直线，环抱半个礼拜堂上层，宛如一道具有约束力精神的通道，因此抹去自我回归上帝...