今天的神圣空间应该是什么样子？它应该如何工作？是否有这样的东西，作为一个当代的观念的神圣？
What should a sacred space look like today? How should it work? Is there such a thing as a contemporary idea of the sacred?
© Iwan Baan
(Iwan Baan)
尽管有大量的类型学线索，我们还是选择了反形式。我们不想看清楚。我们试图加强搜寻的经验。宗教的定义是由他们的神秘和个人的故事谁突破。
In spite of a glut of typological clues we choose an anti-form. We did not want legibility. We sought to reinforce the experience of the search. Religions are defined by their mysteries and the stories of individuals who break through.
Floor Plan
我们的当代状况越来越多地被一种共同的流放感所定义-我们从来没有完全呆在家里。看到一个外来的物体，抗拒图像，并呈现一种神秘的经验，预期可能是一个版本的建筑神圣。
Our contemporary condition is increasingly defined by a shared sense of exile—we are never entirely at home. The sight of a foreign object that resists iconography and presents with a furtive experience of anticipation might be a version of the architectural sacred.
© Iwan Baan
(Iwan Baan)
我们在宿务的100面墙教堂的设计是对建筑中奇异性的一种尝试。看到我们不知道的东西会是什么样子？就像客西马尼森林花园里的基督一样，我们莫名其妙地想要拯救我们，我们需要自己去探索和思考这个系统。
Our design for the 100 Walls Church in Cebu is an attempt to think through strangeness in architecture. What would it be to see something we don’t know? Like Christ in the Garden of Gethsemane forest, we are puzzled without reason to save us. We need to wander and think through the system by ourselves.
所有的墙壁都只朝一个方向放置，因此建筑物从一边看是完全不透明的，在相反的角度完全透明。在这两种状态之间的任何一个地方都是光和暗的光学播放。墙壁沿着一个网格排列，这个网格遵循的是两个之间的关系：两者之间的微小尺度。宇宙的个体和宇宙的尺度。墙壁的整体质量破坏了色光透过牧师窗户的短暂现实。毕竟，神圣不可阻挡地与这样一个事实联系在一起：我们在这里的时间很短，而我们的建筑却渴望永恒。
All the walls are placed only in one direction so that the building is completely opaque from one side and totally transparent in the opposite view. Anywhere in between these two states is an optical play of light and dark. The walls are aligned along a grid that follows the spacing of the pews marking the relationship between the two: the minute scale of the individual and the cosmic scale of the universe. The monolithic quality of the walls plays off the fleeting reality of the colored light that filters through the clerestory windows. The sacred is after all inexorably linked to the fact that we are here only for a short time while our architecture aspires towards permanence.
© Iwan Baan
(Iwan Baan)
哥特式的空间理念可能是这个难题中最令人心酸的说法之一。中世纪欧洲最好的教堂试图向教区居民展示一幅建筑形象，里面有密集的、层次分明的支撑、肋骨、拱顶和尖顶-上帝既是一个谜，也是一个启蒙之源。
The gothic idea of space might have been one of the most poignant statements of this conundrum. The best churches of medieval Europe sought to present parishioners with an architectural image of a dense and layered mass of buttresses, ribs, vaults and spires—God as both a mystery and a source of enlightenment.
100面墙教会邀请我们漫步在它的土地上，并发现沉没的花园，口袋的蓝光和神秘的丰富的护身符墙。众多的门和通道提醒我们，有多少条路，就有多少条生命，今天的神圣空间，应该从它的神秘中汲取意义。
The 100 Walls Church invites us to wander around its grounds and discover sunken gardens, pockets of blue light and an enigmatic profusion of talismanic walls. The multitude of doors and passages is a reminder that there are as many paths as there are lives and that a sacred space today should draw out meaning in its inscrutability.
Architects CAZA
Location Cebu City, Philippines
Category Churches
Area 8924.0 m2
Project Year 2013
Photographs Iwan Baan
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