Photo © Duccio Malagamba

马里奥·库奇内拉建筑事务所设计的圣玛丽亚戈雷蒂教堂
Santa Maria Goretti Church by Mario Cucinella Architects

由专筑网江鹏，小R编译

当Mario Cucinella设计一座教堂时，教堂不可避免的会展现出曲线，这是他35年来作为建筑师的首次设计，其中30年他在管理自己的公司。他认为他在年轻时对弗朗切斯科•博罗米尼（Francesco Borromini）的巴洛克式教堂很着迷，其中包括四喷泉圣卡罗教堂（San Carlo alle Quattro Fontane）和圣依华堂教堂（Sant’Ivo alla Sapienza），它们都在罗马，都以弯曲的表面而闻名。因此，在赢得了在意大利南部卡拉布里亚Mormanno建造的新圣玛丽亚戈雷蒂教区教堂的比赛后，“我向年轻时着迷的教堂案例”寻求了灵感。

这座教堂和配套的单层教区中心（包括教室和牧师宿舍）的预算只有175万美元左右，建筑师很难做到巴洛克风格。相反，他选择了一个不规则的四叶草形状，使教堂成为山坡上最吸引人的一点，立刻让人想起博罗米尼的杰作和镇上简陋的石头建筑。

52英尺高的混凝土围墙只有几个开口。在北侧，由分开的两面墙创造出了一个入口，同时也形成了曲线十字架的边缘，在夜间由LED照明。在它的南面，有一扇小窗户，可以将7月6日下午的光线聚焦的耶稣受难像。7月6日也是这个教区同名牧师的生日，在1902年，这位11岁的牧师殉教。正如Cucinella所说，虽然你从外部看到是几何图形，但在教堂内部，你能够感觉到它。

教堂的外墙是光滑的白色，而内墙的表面是由手工打造，混合了大麻纤维和石灰的石膏，呈现出一种令人愉悦的斑驳纹理，就像大地色调的表面。从天窗射入的光线经过12英尺厚的棉布过滤，棉布呈漩涡状，让人想起博罗米尼的褶皱，但它是由生物塑料织物制成的。艺术家Giuseppe Maraniello用石头、青铜和马赛克创作了讲台、神龛和洗礼池，而简单的金属和木制座椅则由Cucinella设计。

It was inevitable that when Mario Cucinella designed a church—his first in 35 years as an architect, 30 of those years at the helm of his own firm—it would showcase curves. As a young man, he says, he was fascinated by the Baroque churches of Francesco Borromini, among them San Carlo alle Quattro Fontane and Sant’Ivo alla Sapienza, both in Rome and both known for sinuous surfaces. So after winning a competition to create the new parish church of Santa Maria Goretti in Mormanno, Calabria, in the south of Italy, he says, “I turned to my oldest friends” for inspiration.
With a budget of just about $1.75 million for the church and an accompanying, single-story parish center (containing classrooms and priests’ quarters), the architect could hardly go Baroque. Instead, he chose an irregular four-leaf clover shape that makes the church an alluring presence on its hillside site, at once reminiscent of Borromini’s masterpieces and the town’s humble stone buildings.
The 52 foot-high concrete enclosure has only a few openings. On its north side, two walls part to create an entrance—while also contributing edges to a crucifix cut into the curves and lit by LEDs at night. On its south side, a small window is positioned to focus afternoon sunlight on a crucifix on July 6, the birthday of the parish’s namesake, who was martyred in 1902 at age 11. While you can see the geometry from the outside, on the inside, Cucinella says, “you feel it.”
The exterior walls are smooth and white, while interior surfaces were hand-finished in plaster mixed with hemp fibers and lime, producing a pleasingly mottled, earth-toned surface. Light entering from skylights is filtered through a 12-foot-deep scrim in a swirly shape reminiscent of Borromini’s folds but made of bioplastic fabric. Artist Giuseppe Maraniello created a lectern, tabernacle, and baptismal font in stone, bronze, and mosaic, while the simple metal and wood seating is by Cucinella.






Photos © Duccio Malagamba

除了经营着一家拥有近100名建筑师和工程师的公司，Cucinella还是SOS(可持续发展学校)的创始人和主席。在这里，学生们在攻读专业学位之前，要花一年时间学习如何建造绿色建筑。正如建筑师所说，学校有绿色建筑技术方面的课程，但我们不会用技术来解决气候问题，我们需要看看过去是如何建造的。这位建筑师也是研究绿色建筑的，最近才出版《Building Green Futures》一书。

教堂的弥撒仪式一般会持续45分钟，所以不需要全天候调节温度。在最寒冷的月份里，屋顶上的玻璃框架里会有太阳能加热的水，通过地板上的管道循环供暖。建筑师说:“通过这样的方式，就不用加热整个52英尺的教堂，只需要加热大约5英尺范围内有人活动的空间。有些灯是由低层建筑屋顶上的光伏板供电，而其他屋顶表面由植物覆盖，当然，这些对于绿色建筑来说是不够的。”

该项目始于2012年，当时一场地震破坏了当地的教区教堂。它最终被修复了，但那是在梵蒂冈决定投资修建新的建筑之前。直到2013年，Cucinella赢得了由该国天主教主教议会发起的设计竞赛，他们支付了三分之二的建筑成本。在Ferrara，Benedetta Tagliabue设计的一座教堂也因同样的竞赛而诞生。由于另外三分之一成本必须在当地筹集，该项目从构思到完成花了近8年时间。但是，Cucinella说，这给了他时间去争取最重要的支持者——每天都去做弥撒的老年妇女，她们一开始对教堂的现代主义风格“持怀疑态度”。但当她们进入教堂室内时，看到从天花板上垂下来的面纱和柔软的灰泥墙壁时，一切态度都改变了。

当谈及“Cucinella在这个项目上赚钱了吗”这个话题时，Cucinella的反应是令大多数建筑师尊敬的。他说：“没赚，但至少我们没有输。尽管我的公司建造了很多医院、学校和公寓楼，但我有承担这种小项目的社会责任。我知道，这种小项目能产生多大的社会影响。”

In addition to running a firm, Mario Cucinella Architects, with nearly 100 architects and engineers, Cucinella is founder and president of SOS (School of Sustainability), where students spend a year learning ways of making buildings green, before going on for professional degrees. There are courses in technology, but “we’re not going to solve the climate problem with technology. We need to look at how we used to build,” says the architect, whose work is the subject of the recent book Building Green Futures.
The church, where mass generally lasts 45 minutes, doesn’t require full climate control. Water heated by the sun in glass frames on the roof circulates through pipes in the floor during the coldest months. That way, the architect says, “You are not heating the whole 52 feet—just the five feet or so that people occupy. Some of the lights are powered by photovoltaic panels on the otherwise plant-covered roof of the lower building, but of course, he says, “they’re not enough.”
The project began in 2012, when an earthquake damaged the local parish church. (It was eventually restored, but not before the Vatican decided to invest in newer buildings.) In 2013, Cucinella won the design competition sponsored by the country’s assembly of Catholic bishops, which paid two-thirds of the building’s cost. (The same competition resulted in a church by Benedetta Tagliabue in Ferrara.) Because the other third had to be raised locally, the project took almost eight years from conception to completion. But, Cucinella says, that gave him time to win over its most important constituency: the elderly women who go to mass every day, and who at first “were suspicious of its modernism.” But that all changed once they got inside and saw the veil hanging down from the ceiling, the dominant feature of the interior, and the softly plastered walls, he says.
Did he make money on the project? Cucinella’s response was one most architects can appreciate. “No,” he said. “But at least we didn’t lose.” Although his firm has built hospitals, schools, and apartment towers, Cucinella thinks he has a “social responsibility” to take on small projects. “I know,” he says, “what a big impact they can have.”