Spain murcia Church

位置：西班牙

分类：公共设施

内容：实景照片

图片来源：David Frutos

项目规模：27平方米

图片：42张

“视觉欺骗”是一种建筑手法，通过周边环境、视角、阴影和其他视效的变化来实现，创造一种“强化现实”或是“替代现实”的效果。宗教解释了复杂的事物，把它们分成两级，地狱和天堂。该项目的建筑师则不然，他们反其道行之，把简单的事物变复杂，把庄严的变成创新的。这座建筑采用的是钢铁框架。

建筑采用混凝土材料、石质材料以及较轻的玻璃材料。构造上用的是钢筋混凝土，用在水平的玻璃外观之间。建筑内部和外部也是用玻璃相连。入口处有涂漆的折叠板设计，进去后会看到圣坛。看上去，建筑好像腾空跃起一般，很有创意。石质材料非常重要，是建造时不可或缺的部分。设计上，很有创意，又不失庄重，材料耐用，可持续性强。圣坛上，天窗的光正好照到基督雕像上。

铁制雕塑是由Fernando Sáenz de Elorriaga精心制作的，采用氧化技术，模拟基督指甲的血色。在室内，雪花石膏控制着光线，调节钢筋混凝土的颜色。壁龛采用的是石灰岩，地板和天花板的设计元素相同，突显了建筑的整体性。我们的祖先曾经建造高大宏伟的教堂，让我们的祷告更高洁。现在，这座建筑会让我们觉得自己比较渺小，有很多超然存在于外部世界的东西，非常神奇，就像这座看似漂浮的建筑一样，等待我们去探索。

译者： Odette

From the architect. A trompe-l’œil (French for «deceive the eye») is by definition a technique which tries to deceive the eye by means of the architectural surrounding environment, the perspective, the shading, and other optical illusions, creating an “intensified reality” or a “substitution of the reality”.

Religion translates complex situations, polarizing and placing them opposite in hell and heaven, two antagonistic ends. Our purpose was to make difficult what was simple, and to turn what was sober into something innovative. Concrete in this project is nothing but facing and it delegates its traditional carrying function to steel, the truly structural skeleton.

What is made with stone materials is weightless. Therefore, concrete somehow gravitates whereas glass, traditionally a weightless material has a carrying function. What is physical, what is tectonic, represented by reinforced concrete, seems to stand up between two glass horizontal figures which connect the internal and the external sides of the construction. The lacquered sheet folder indicates the entrance and shows the way to the altar. Once again, it looks as if it was overflying the ground. The stone material was almost a requirement of the developer.

The innovation consists in the loss of the carrying function of the stone material. On the other hand, the use of concrete was in line with our purpose of using lasting and sober materials, which would generate a perpetual dialogue. The idea was to reinterpret them in a contemporary context. In the altar, Christ is illuminated with a skylight.

The iron sculpture, elaborated by Fernando Sáenz de Elorriaga, and treated with an oxidation that simulates Christ nail’s blood, appears to be floating. In the interior, the alabaster controls the light keeping the colours of the reinforced concrete with a higher arid proportion. The limestone covers the front of niches and columbaria. The floor maintains the ceiling concrete modular elements to reinforce the impression of continuity.

Our ancestors used to build cathedrals which straightened to the sky to uplift our prayers. The material homogeneity is in this case what sends us to the monumental scale, what makes us think that there might be something bigger than ourselves which transcends us, just like the magic of the heavy material which levitates.

西班牙穆尔西亚教堂外观图

西班牙穆尔西亚教堂外部局部图

西班牙穆尔西亚教堂

西班牙穆尔西亚教堂正面图

西班牙穆尔西亚教堂详图

西班牙穆尔西亚教堂图解

西班牙穆尔西亚教堂截面图

西班牙穆尔西亚教堂平面图