2009年5月9日，克罗地亚举行了一场一流的文化活动，但是美术馆不够大，容纳不下所有感兴趣的人——在展出的画中，西扎为教堂寻求了最后的表达。一个整体的、几乎完全封闭的体量内衬石灰石板，被建在住宅最高部分的斜坡上。这种与环境的亲密关系表明了教堂苦行僧式的内向。然而，建筑师在自然和人工之间设计了一个过渡区域，作为一个露台或是一个广场——可以看到多山的Zagorje地区和背景中成排的蓝色山脉。令人一个人能感受到进入另一个世界的过渡，即冥想和灵性的世界。

On May 9, 2009, a first-class cultural event took place in Croatia, but the gallery was not large enough to accommodate all those who were interested -- and in the paintings on display, Siza sought a final expression for the church. A monolithic, almost completely enclosed volume lined with limestone slabs is built into the slope of the highest part of the house. This intimate relationship with the environment suggests the ascetic introversion of the church. However, the architects designed a transitional area between nature and man made, as a terrace or a square -- with views of the mountainous Zagorje area and rows of blue mountains in the background. One feels the transition into another world, the contemplative and spiritual world.

建筑本身以其物质性的二元性为标志：外部边界由天然的切割石材制成，而内部表面则是浇筑的混凝土。从最基本的角度来说，混凝土可见的制作技术决定了室内的形象。唯一的“装饰”是外壳的模板和固定它的凹槽。制作方法的严格和纯粹也许会让人想起早期的基督教教堂建筑；就传统而言，过去是现在所固有的。显然，这种极简主义设计的现代性和现实性是毫无疑问的。

The building itself is marked by its physical duality: the exterior borders are made of natural cut stone, while the interior surfaces are cast concrete. At the most basic level, the concrete visible production technique determines the image of the interior. The only "decoration" is the formwork of the shell and the groove that holds it in place. The rigour and purity of the method may be reminiscent of early Christian church architecture; As far as tradition is concerned, the past is inherent in the present. Obviously, there is no doubt about the modernity and reality of this minimalist design.

自然光只能通过祭坛后面水平放置的一个很低的开口进入，所以人造光起着主要作用。西扎设计了这样一种方式，以使游客定向，但最重要的是，创造了一个绝对空间，使其非常特殊，充满了刺激的氛围。在这个意义上，Walter Benjamin把艺术作为一种认知媒介的思想，应用到Miljana的小教堂上。

Natural light can only enter through a very low opening placed horizontally behind the altar, so artificial light plays a major role. Siza designed it in such a way as to Orient visitors, but most importantly, to create an absolute space that makes it very special and full of exciting atmosphere. In this sense, Walter Benjamin applied the idea of art as a cognitive medium to Miljana's little church.

建筑师根据教堂整体的理念设计了教堂所有的设备，精确且一致，没有任何多余的东西。最引人注目的当然还是木制十字架，它的形状让人联想到被钉死在十字架上的基督，令人想起Marco de Canavezes著名的圣玛利亚教堂的十字架，这是西扎最重要的早期作品之一。

The architects designed all the facilities of the church according to the concept of the church as a whole, accurate and consistent, without anything superfluous. The highlight, of course, is the wooden cross, whose shape evokes the crucifixion of Christ and recalls the cross in Marco de Canavezes' famous Church of Santa Maria, one of Siza's most important early works.

和这座神圣的建筑一样，Miljana教堂也有两个尺度，即人作为个体的尺度和世界的尺度。入口旁边的破碎混凝土结构象征着人类的尺度，同时还设置了屋檐、壁龛和长凳。这使得8米高的空间有一个受保护的入口，由于人造光的方向，这个入口似乎被画上了确定性。西扎用他完全个人的诗学，在Miljana创造了一个神圣的空间，它既是个体的，也是普遍的。

Like this sacred building, Miljana church has two scales, the scale of man as an individual and the scale of the world. The broken concrete structure next to the entrance symbolizes the scale of the human being, while also providing eaves, niches and benches. This gives the 8-metre-high space a protected entrance that seems to be painted with certainty due to the direction of the artificial light. Siza, with his entirely personal poetics, created a sacred space in Miljana that was both individual and universal.

Architect:阿尔瓦罗·西扎

Photos:MiljenkoBernfestDamirFabijanić

Words:小鹿