韩国“生命之光”教堂——原木下的阳光（by Shinslab + IISAC）

**Crystal_Jane** · 游客|**Crystal_Jane** 发表于 2015-4-11 23:40:23

本文由E拓建筑网www.eeeetop.com的Crystal_Jane原创翻译，未经本站与译者书面许可，不得转载！

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Architects（建筑师）: shinslab architecture, IISAC

Location（建筑地址）: 105-4Seolgok-ri, Seorak-myeon, Gapyeong-gun, Gyeonggi-do, South Korea

Architect In Charge（主持建筑师）:Tchely SHIN Hyung-Chul et Claire SHIN

Area（建筑面积）: 4109.0 sqm

Year（建设年份）: 2014

Photographs（建筑摄影）: Jin Hyo-Sook,Lee Dong-Hwan

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Structure（结构设计）: : Bollinger & Grohmann, AIST Fluides, Electricité, Thermique: G.I. Engineering

Cost ManagementConsulting（造价咨询）: Han MiGlobal

Construction Firms（施工单位）: ELAN Dconstruction, Kdome

Construction Supervision（工程监理）:shinslab, MOON Bo-Yeon

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From the architect. The “Light of Life”Chapel can be found at the end of the SeolGok Road on the south side of theBori mountain, in Gapyong at 30 km from Seoul, South Korea. This building isbuilt in the middle of a village project for retired missionaries initiated bythe Protestant and Presbyterian community Nam Seoul Grace Church. Thus, beyondthe reception of Sunday services, it’s a place of contemplation and prayer openevery day of the week.

这座漂亮的教堂，位于韩国京畿道东北方向山岳地带加平郡，在波利山南面塞尔高克路的尽头，距首尔30km，取名为“生命之光”。教堂在这个村庄项目里位于核心位置，它是为一些退休传道士准备的，他们曾在首尔怀恩堂开创了新教会和长老教会。除了做礼拜日之外，它每一天都欢迎人们来这静心沉思和祷告。

In addition, the center can host a hundredpeople in religious retreat with the availability of rooms and the offer ofmeals in a restaurant and cafe.

此外，这里可用的房间、餐馆及咖啡厅的膳食供给等足够100人退休后来住了。

The project began in 2008 with the donationto the church Pastor Hong Jung-Gil of a large quantity of Siberian red cedarwood by an entrepreneur working between Korea and Russia.

2008年，洪荣吉牧师收到了一位往返于韩国和俄国的企业家所馈赠的大量西伯利亚红衫木，教堂于是动工建设。

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Distinction between the outside and theinside. External mass/ Internal mass. In order to reduce as much as possiblethe impact of a building on this very mountainous and forested site, theproject tries to melt into the landscape. The ground floor area of 1500m2 hasbeen established on the flattest part of the plot, on pilotis and facing South,thus taking advantage of the orientation for a more open view of the site.Similarly, using mainly for external coating reflective and transparentmaterials such as glass and polycarbonate, the building seeks to echo the imageof nature and reduce the opacity of the built mass. On the other hand, the maininterior space, the chapel, reveals an “internal mass” quite different,unimaginable from the outside, a world apart, its “own universe”. (HenriFocillon, The Life of Forms, p33) The Protestant religion has always had as aprinciple to fight against all forms of idolatry prohibiting painting andsculpture in its places of worship. Similarly by refusing any sacredness ofspace, it has sought a form of simplicity. Yet the “sub specie aeternitatis” ofSpinoza or Kant’s “sublime” in front of the spectacle of nature, have they notto do with the religiosity of a place of worship? While remaining within theprinciples of Protestantism and in the expression of Christian symbolism, theproject attempts to bring forth emotions from a liturgical, philosophical,spiritual and artistic point of view.

内外十分不同。为尽可能减少对美丽的山和森林的影响，建筑努力想融进景观里。1500㎡的首层建在平坦的地块上，底层架空朝南，利用方位优势获得了更开阔的视野。同样的，建筑外涂层采用反光和透明的材料，诸如玻璃和树脂，能倒映自然的美景、降低建筑物的厚实感。但从外面你难以想象建筑内部的主空间会是很不同的感觉，那完全是另一个世界。新教徒们通常有个原则，会抵制一切偶像崇拜和在他们做礼拜之处乱涂乱刻的行为。他们也拒绝在教堂空间里营造神圣感，朴素简单即可。即便斯宾诺沙的“永恒观念”或者康德的“崇高”在大自然的面前，他们就不用在一个祷告的地方为信仰做点事情吗？尽管遗留了新教徒的原则和基督徒的象征表现，设计仍然尝试从礼仪、哲学、心灵和艺术视角带来情感共鸣。

Circular. We find already with Calvin theprescriptions for a circular worship place that would be close to the spirit ofthe Early Church and Reform. If the Catholic Church favoured a cruciformbasilica device, the traces of the churches of the Reform showed a circularplan. In fact, the circle represents the communion of the faithful, theequality of men in front of God and the abolition of hierarchy within thechurch. Similarly, the circle symbolizes the “Universal priesthood” advocatedby Luther that allows all to celebrate and a personal encounter with God.

建筑师们发现了圆形祈祷空间更接近早期教堂和形制的加尔文理论。如果天主教堂喜欢十字形的巴西利卡式，教堂改革则有圆形空间的痕迹。事实圆代表着诚意的交往、在上帝面前平等的人们，和教堂里等级制度的废除。同样圆还象征了卢瑟所倡导的“宇宙神父”，所有人都可以举行宗教仪式并遇到上帝。

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The cross In the centre of the circle thereis a cross, the unique symbol of Christianity. Only that cross can claim thisplace where all the looks of the faithful are naturally headed. It was designedto be thin, fragile and precious. Constructed of massive aluminum by tearing witharc welding, it seems to show both the suffering of the cross, but trough itssheen, the joy of the resurrection. This cross is planted in the middle of apool of water, so in order to approach it one has to cross the water. Itsymbolizes both the crossing of the Red Sea and of the Jordan River by thepeople of Israel, but most obviously baptism.

圆的中心是十字架——基督徒的独特象征。在这个一切看起来均真诚为自然前提的地方，惟独这个十字架还能说明它是教堂。十字架设计的很纤细、锋利和珍贵，其骨架由大量铝电焊而成，它透露出十字架里所承受的痛苦，但也充满光辉和复活的快乐。十字架就种在一汪池水里，所以你想接近它的话就得穿过这一池水。它象征了横跨红海与约旦河的以色列人，但主要还是一种“洗礼”。

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The gravity of light. The space of worshipis covered with a hemispherical dome. This dome, as it can be found in thePantheon of Rome or in other structures of the Renaissance represents theworld, a whole. It also refers to the Celestial vault mentioned in Genesis, amystical form between “the waters which were under the firmament from thewaters which were above the firmament”. This form is some ways the negative ofa globe that could well be the Earth, in mathematics it would be thetopological space; it could also be the image of Divine perfection. The surfaceof the Dome is formed by the ends of the cut red cedar trunks. Unlike cut woodthat is laid down horizontally, all trunks are standing upright like the treesof the forest ; 834 pieces, all different, seem to tell the story of theresurrection. This is not wood, they are trees.

阳光也有引力。祈祷处的顶部盖上了一个半球形的穹顶，罗马万神庙和当时整个文艺复兴时期都兴起的一种穹顶。它也喻意天堂之顶，似乎“一种神秘之水存在于天空下面和上面之间”。这种形式一定程度上否定了地球存在的伦理，而成为一个数学推算出来的地理位置，或是神学家们一种完美的想象。穹顶表面布满了一段段切断的红衫木，不像木头被砍后就水平倒下，所有树干都还如同林立在森林中的树，834段，每一段都不一样，似乎共同诉说着重生的故事。它们不是木头，它们真的仿佛有生命的树。

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To suspend this mass and form the dome, ittook a lot of strength. The logs resting on the ground serve as poles whichcarry a steel grid structure. At each intersection is suspended a tree trunk. Alower structure made of finer steel lines, warns of any rocking motion andsupports the depth of the dome. It is through this wood and steel structurethat light passes, as the whole is covered by a completely independent glasspyramid. This light is coloured by the wood and seems to acquire a body, agravity.

为了让这些重量悬挂在空中形成穹顶，花费了很多气力。剩在地面的原木承担柱子的作用，内里有钢筋结构。每个交接点都悬浮着一段树干。下面的结构由更好的钢筋排列构成，能抵抗任何剧烈的摆动、支撑穹顶最深处。阳光，正是穿透过这种原木和钢的结构，洒落下来，使得整个空间被照耀得像一个完全独立的玻璃金字塔。而阳光，也因浸透了原木的颜色，变的似乎有肉躯，有重力了。