GHM中心樓，比耶洛波列，黑山共和國(guó)

建筑設(shè)計(jì)：里法特·阿利霍季奇Architect： Rifat Alihodzic

GHM中心樓，比耶洛波列，黑山共和國(guó)

建筑設(shè)計(jì)：里法特·阿利霍季奇
Architect： Rifat Alihodzic

1 從后山上看中心樓/Exterior view from the hill

這座建筑建于比耶洛波列鎮(zhèn)，是楚科瓦茨墓地保存下來(lái)的一部分。60年來(lái)它一直被荒廢著。這片墓地還保留著古老而珍貴的墓石，都是用當(dāng)?shù)氐囊环N石材制成的。它的選址位于城市的核心，使建筑與之渾然一體，并為城市核心賦予了更加豐富的含義（這一點(diǎn)得到了實(shí)際證明）。從功能上看，建筑屬于當(dāng)?shù)氐膅asulhana禮拜堂，為市內(nèi)的3座墓地服務(wù)。自從建筑啟用以來(lái)，其社會(huì)和文化價(jià)值成為最重要的部分，因?yàn)榻ㄖ屇滤沽值挠绖e有了一個(gè)體面的場(chǎng)所。各個(gè)社會(huì)階層的人都可以使用這里，所以每個(gè)人的待遇都是平等的。

在有這座建筑之前，逝者的凈身儀式是在條件有限的清真寺、甚至是家宅和公寓里臨時(shí)舉行的。有了它以后，逝者會(huì)被運(yùn)到洗禮處或者太平間，然后再是墓地。

悼念儀式以往是在家宅或公寓中舉行的，而客人的數(shù)量就成了一大問(wèn)題。作為該地區(qū)此類(lèi)建筑的首例，這座功能合理的建筑引發(fā)更多類(lèi)似的建筑出現(xiàn)在市內(nèi)和黑山共和國(guó)，并贏得了不同信仰的市民的認(rèn)可。除了用于逝者的告別，這座建筑還是宗教沐浴的場(chǎng)所，并帶有多種實(shí)用功能。為了實(shí)現(xiàn)這一點(diǎn)，就需要一個(gè)通向gasulhana部分的特殊入口。它的旁邊是冷藏室，室外溫度高或等待家人從海外回國(guó)的期間，逝者就在這里靜候儀式的舉行。此外還設(shè)計(jì)了一個(gè)有支架和供暖鍋爐的太平間，以及男女各自舉行沐浴儀式的房間。

建筑的另一部分是由市民和家人悼念的功能決定的，這需要兩個(gè)房間。建筑里有一個(gè)為客人服務(wù)的小廚房，還有保證儀式衛(wèi)生的清潔間。這些功能都集中在有頂部采光的中央大廳周?chē)虼苏麄€(gè)空間都豁達(dá)明亮，而這也是設(shè)計(jì)的目標(biāo)之一。高高突起的屋頂具有多種功能和建筑意義，光線就從這里射入大廳?！酰ㄉ袝x 譯）

項(xiàng)目信息/Credits and Data

投資人/Investor： 比耶洛波列社區(qū)，黑山共和國(guó)伊斯蘭社區(qū)/Community Bijelo Polje & Islamic Community Montenegro

主持建筑師/Principal Architect： Rifat Alihodzic

設(shè)計(jì)團(tuán)隊(duì)/Design Team： Rifat Alihodzic（建筑、給排水/Architecture， Hydro Installation），Rafet Alihodzic（施工/Construction），Cazim Dizdarevic（電氣/ Electro Installation），Meho Tokovic（暖通空調(diào)/HVAC Installation）

場(chǎng)地面積/Site Area： 1000m2

首層建筑面積/Ground Floor Area： 400m2

總建筑面積/Total Floor Area： 400m2

造價(jià)/Cost： 593，307 USD

設(shè)計(jì)時(shí)間/Design Period： 2005-2006

攝影/Photos： Rifat Alihodzic， Zeljko Stajkic

2 總平面/Site plan

3 外景/Exterior view

The building was built in Bijelo Polje，Montenegro as a part of Cukovac Cemetery， a preserved cemetery that has not been functioned for over six decades. Within the cemetery， there are preserved ancient and valuable tombstones made out of a local stone. The cemetery itself is an integral part of the urban core， and this project， incorporated into that cemetery， gives a richer meaning to the urban core （as was later proven）. Functionally， the building is a local gasulhana， or funerary chapel，which serves the city's three active cemeteries that cater to the Muslim population. It appears that after the gasulhana had begun functioning， it picked up a social and cultural value， mainly because the Muslim population received a dignified place for a last farewell. The building is utilized by every social class，so treatment of the deceased and the mourners is completely equal.

Before this gasulhana was built， the act of ritually bathing the deceased took place under restricted conditions in mosques， or through improvisation within houses and apartments. After the ritual， the deceased were transported by wagon to the burial places - cemeteries.

The ritual of people expressing condolences to the deceased formerly took place in the family's house or apartment， which was a big problem especially when there were large amounts of visitors. As the first building of this purpose in a wide area， it stimulated the construction of similar buildings in Montenegro. Citizens of all backgrounds have widely approved of the building and its purpose. Other than providing a final farewell for the deceased， the building serves as a place for the bathing ritual， and adequate facilities are provided. For that purpose of delivering the deceased， a special service entrance into the gasulhana is furnished. There are also lowtemperature rooms which store the deceased before the rituals take place； for example， for when the temperatures outside are high or for waiting for a family from abroad to arrive. There is also a storage room for necessary equipment and boilers， as well as rooms designated male and female for carrying out the bathing ritual.

The other portion of the building is designed for mourners， primarily for the function of expressing farewells to the deceased. For that purpose， two rooms are provided. Within each，there is a kitchenette that can provide meals for those attending the service. Also， there are sanitary rooms provided for visitors to exercise ritual hygiene （abdesthana）. These rooms are organized around a central lobby， which is lighted by a skylight， making the entire space highly luminous， an aim of the building's design. The light enters the lobby through a strongly articulated roof projection， which has multiple functional and architectural purposes. □

4 建筑原型——禮拜示意圖/Archetype - salah diagram

5 剖面/Section

6 遺體安放室的窗戶/Window of the room for displaying defunct

7 屋頂/Roof

評(píng)論

胡越：不管你是否喜歡這幢建筑，它佇立在那里。平面組合方式、起伏的坡頂、入口門(mén)廊、室內(nèi)裝修……都與這個(gè)國(guó)家的歷史以及當(dāng)?shù)啬滤沽职l(fā)生著極其緊密的關(guān)聯(lián)，讓你覺(jué)得它就應(yīng)該在那里，它屬于那片土地。

周漸佳：讀了建筑原型的草圖，立刻明白了剖面設(shè)計(jì)的用意：將躬身祈禱的曲線抽象為起伏的線條，這樣的轉(zhuǎn)化不乏一種率真感。我想，在比耶洛波列這樣一個(gè)多宗教聚集的小鎮(zhèn)（數(shù)據(jù)顯示有53%的東正教、45%的伊斯蘭教及少數(shù)天主教），該棟建筑的建成對(duì)于伊斯蘭社區(qū)的意義遠(yuǎn)勝于對(duì)建筑本身的評(píng)價(jià)。將以往較為私密的悼念儀式轉(zhuǎn)入一個(gè)在城市中有著明確公共形象的建筑，這意味著教派內(nèi)的使用習(xí)慣會(huì)發(fā)生改變，也意味著必須面對(duì)城市內(nèi)有著不同信仰的民眾的評(píng)價(jià)。因此，建筑剖面上的曲線雖然柔和，象征卻很明確，以一種內(nèi)斂但智慧的姿態(tài)融入城市生活。

8 內(nèi)景/Interior view

9 禱告用的入口平臺(tái)/Entrance platform - open space for prayers

10 服務(wù)用入口平臺(tái)/Service platform with back door

Comments

HU Yue: The building stands there， no matter whether you like it or not. The combination of building planes，its undulating sloped roofs， the entrance porch， and its interior design shows its close connection with the history of the nation and the Muslim religion，persuading people that it indeed belongs there.

ZHOU Jianjia: The sketches illustrate how the curvilinear portion of the building is abstracted from the gesture of a kneeling prayer， full of sincerity. In my view，within a town like Bijelo Polje， with its multiple ethnicities and multiple religions （according to Wikipedia， Orthodox and Islam dominate with 53% and 45% respectively， while Catholic and others are a minority）， the inauguration of this building is far more significant for the Islamic community than for the architecture itself. It means that the rituals and condolences that formerly took place in a private or an improvised setting now find a place with an explicit public image. It also means that people's religious habits will change， but also implies that the building will be judged by the public， many with different religious beliefs. Therefore， the curves that appear on the sections are gentle but unequivocal， they outline a humble but wise figure serving the community.

Central Building for the Use Gasulhana， Hatme & Mevlud， Bijelo Polje， Montenegro，2010