由专筑网孙云鹏，刘庆新编译

来自事务所的描述：由设计师Gerhard Sacher设计的“玛丽亚家庭礼拜堂”是一个壮观的雕塑般的项目，该建筑的建筑材料为白色水泥。这座礼拜堂被设计用作一处冥想、祈祷、告解之所，创造出一个特殊永恒的空间。在这里，家庭会时常聚会以及庆祝节日，同时还会提供给人们一个静谧的思考空间。该礼拜堂位于马格达恩斯伯格山脚下，在这里还能眺望到著名的高奥斯特维茨城堡城堡。该建筑保留了传统教堂的常见元素，是一个现代化的标志。

From the architect. The family chapel Maria Magdalena by the architect Gerhard Sacher is a spectacular sculptural object made of white concrete ( SCC „self compacting concrete“). The constructers have proved a great portion of heart, trust and deep understanding for architecture in having created this project of an exceptional, timeless spaciousness, in which family ceremonies and festivities take place and where tranquillity, contemplation and remembering can be experienced in a unique setup. In a sighting distance to the Magdalensberg hill and the Hochosterwitz castle, the piece of architecture represents a modern landmark as an expressive symbol of an artless form language.

© Paul Ott

© Paul Ott

场所

在你穿过这个由白色混凝土为原材料的建筑时，你一定会留下很深的印象。它站在那里，像一个手指一样竖立在克恩顿州Zollfeld的小山上的一个葡萄园之中。泛着白光的混凝土材料是那么的完美，架构也是如此和谐质朴。而且位于有着悠久历史而且景色壮观的Zollfeld，这是一个具有悠久的文化和历史传统的肥沃平原，其东南部是马格达恩斯伯格山脉，北部是有千年历史的高奥斯特维茨城堡。即使你是最虔诚的无神论者，漫步到这里，你依旧会爱上这儿白色光芒四射的现代化建筑，并为它的简洁所倾倒。

Location
You can´t pass the sculpture made of white concrete (SCC) without being impressed. It stands there as an erected finger in the landscape of gentle hill locks of Zollfeld, Carinthia, in the midst of a young vineyard. The glowing white of the concrete is so perfect, the architecture so harmoniously unadorned, and the location is so spectacular in the landscape pregnant with history – Zollfeld, the fertile plain with long cultural and historical tradition, lies between the Magdalensberg hill with its pilgrimage church on top in the southeast, andthe Hochosterwitz castle majestically sitting on a rock cone for over a thousand years, in the north. If you stroll by, you will fall for the radiant white of the modern landmark and for its simple form language even if you are the most convinced agnostic.

Courtesy of Gerhard Sacher

项目说明

参观者通过平缓的坡道进入宽敞的、圆形的并且缓缓下沉的砂石前院。这里玻璃镶嵌在白色混凝土的建筑墙面上，明亮而通透，用当代元素演绎古典教堂的形式。完美无暇以及平滑的白色混凝给土这栋建筑提供了一个特殊的人工般的美感和纯度。在不同的光线和天气条件下建筑会给你带来不同的色彩，从白天发光的、光泽的白色，转变成黎明的亚光白蓝色，这样的艺术效果通过它的阴影变化和数不清的纹理来体现。

Description of the project
The visitor approaches the spacious, round, slightly descending gravel forecourt via gently sloping access ramp. In the forecourt, there is the building from white concrete and glass incised in it, and the base elements interpret the form of a classical chapel in a contemporary way. The immaculate, smoothly formed white concrete provides this piece of architecture with a special, artificial-like aesthetics and purity. Various light and weather conditions change the colour and surface impressions from a glowing, glossy white to a cold, matt white blue of the dawn, through which there are innumerable shadings and textures to be observed.

Courtesy of Gerhard Sacher

© Paul Ott

© Paul Ott

山墙屋脊高7.78米。礼拜堂的南北两侧墙面还各设了三扇狭长的彩色窗户。这些窗口的横向条纹被定位在与太阳光线一个位置上，早晨和晚上，阳光可以透过玻璃产生有色玻璃化。有色玻璃化是由Karl-Heinz Simonitsch教授提出的理论，他是一个卡林西亚州的艺术家。窗户是由多色玻璃层和具有历史色彩的壁画层组成。东侧正面是巨大透明的玻璃墙，外面是由捷克艺术家JaromirGargulak设计青铜十字架，代表着耶稣的最后一天。与此相反，朝向前院方向是由相同的捷克艺术家手工设计的巨大的由青铜制成的两扇门，同时他可以敞开并与前院连接，从而为那些站在外面的人提供空间。

The ridge of the gable roof is 7,78 meters high. In the side walls, there are transversely cut-it window slots, three on each side. The transversal cuttings of the windows are positioned in line with the sun rays incidence, so that the morning and/or evening sunshine hits the coloured vitrification made by prof. Karl-Heinz Simonitsch, a Carinthian artist. The windows are made of multi-colour glass layers and depict the six days of the genesis. The east-side front with full-size glazing and the outside bronze cross by JaromirGargulak, a Czech artist, represents the last day of the genesis. The opposite, towards the forecourt situated, massive, bronze, two-wing gate is handmade by the same Czech artist and can be wide opened integrating the forecourt, und thus offer room for those standing outside

Axonometric/轴测图

© Paul Ott

该建筑内部白色侧壁映衬出周围丰富的文化景观，创造了一个散发着和平与纯洁的内部空间，充满光明并令人沉思。透过东立面的全玻璃结构能看到外面青铜十字架，以此来达到内部与外界的精神交流。简洁的设计同样应用在礼拜堂内部。长方形的体量，地板由米色的洞石砖铺就。一进门就是教堂中殿，往上走一个台阶就是到合唱团区。沿着合唱团的壁是一个长方形壁龛，它的右边，有一个较大的插槽，里面放着教堂的守护神玛丽亚的雕像，左边有12小瓮插槽。在左边，在有色窗口之间，还有不受影响由白色水洗橡木制成的折叠板，它们嵌入式安装在混凝土墙上。

The massive, white side walls inside shield the abundance of the surrounding cultural landscape and creates a bright, contemplative space radiating peace and purity. The fully glazed east-side offers the sight of the dark bronze cross against the Magdalensberg on the horizon building the spiritual connection to the outside.   The interior is deliberately simple and variable at the same time. The formative element of the space is the floor made of cream and beige travertine tiles. Just a single step in the rectangular layout of the chapel marks the transition from the chapel nave to its choir. The walls along the choir include rectangular niches – on the right, there is a larger slot with the statue of Maria Magdalena, the patron saint of the chapel, and on the left, there are 12 smaller urn slots. On the left, in between the coloured windows, there are insusceptible fold-out banks made of white washed oak that are flush mount in the concrete wall.

© Paul Ott

© Paul Ott

光与四季

一个小镇教堂必须要排除外界的干扰以此来获得内部的安宁。因此，在大多数的情况下，教堂建筑的墙面上仅开少数的窗户。位于开阔的乡村里的小教堂本身已经拥有宁静，因此可以朝向自然敞开与外界进行相互的交流。

Light and the four seasons
A town chapel has to exclude the outside world to attain tranquillity. Therefore, in most of the cases, the chapel walls have only a few openings. A chapel situated in the open countryside already has the tranquillity per se, and therefore can be opened towards the outside and profit from the interplay with the nature.

© Paul Ott

侧翼墙上透明的玻璃（12mmESG - 在东边最大尺寸 - 6,20m x1,65m）允许大量的自然光进来，其他光线也能照射进来，室外的自然风景及其四季变换也能一目了然。阳光透过南北各三个的彩色窗缝隙，不同颜色投射到内部空间。对于空间额外的照明，从屋脊垂下的透明圆筒照明灯都可以使用，而沿合唱壁的拟合斑点光提供聚焦的照明。

The transparent glazing (12mmESG - maximum size on the east side - 6,20m x 1,65m)of the flank wall provides for a lot of natural light coming in and allows the inclusion of various seasonal light and weather dispositions. The sunlight coming in through the coloured window slots, three at the north and three at the south, floods the interior with varied colour plays. For additional illumination of the space, the translucent cylinders hanging down from the ridge can be used, whereas the fitted spot lights in the niches along the choir provide focused lighting.

© Paul Ott

在黎明和夜晚，教堂散发出来的漫射光，落在前庭和周围的环境中。从室内发出的光照在户外的十字架上，将十字架包裹在光中，使其成为建筑的一部分。

At dawn and at night, the diffused light comes out of the chapel and falls on the forecourt and the close surroundings. Solely the cross in the chapel garden enjoys a direct highlighted illumination and thus becomes a part of the interior.

© Paul Ott

© Paul Ott

© Paul Ott

© Paul Ott

© Paul Ott

Courtesy of Gerhard Sacher

Courtesy of Gerhard Sacher

Courtesy of Gerhard Sacher

Courtesy of Gerhard Sacher

Courtesy of Gerhard Sacher

Diagram Floor Plan/平面图解

Floor Plan/平面图

Elevation/立面图

Elevation/立面图

Elevation/立面图

Section/剖面图

Formwork/模板

Diagram/图解

Render/渲染

Render/渲染

Render/渲染

Model/模型

Courtesy of Gerhard Sacher

建筑设计事务所：Sacher.Lociciero.Architectes
项目地点：奥地利
主建筑师：格哈德•扎赫尔
面积：27.0平方米
项目年份：2014年
摄影：Paul Ott, Courtesy of Gerhard Sacher
承建单位：Petautschnig Bau GmbH - Murau, Knafl&Co St:Veit a.d.Glan
土木设计：Pittino ZT-GmbH - Graz

Architects: Sacher.Locicero.Architectes
Location: 9063 Zollfeld, Austria
Architect in Charge: Gerhard Sacher
Area: 27.0 sqm
Project Year: 2014
Photographs: Paul Ott, Courtesy of Gerhard Sacher
Construction Company : Petautschnig Bau GmbH - Murau, Knafl&Co St:Veit a.d.Glan
Civil Ingineer Structure: Pittino ZT-GmbH - Graz

出处：本文译自www.archdaily.com/，转载请注明出处。