克雷泰伊大教堂擴建，克雷泰伊，法國

克雷泰伊大教堂擴建，克雷泰伊，法國

建筑設(shè)計：AS建筑工作室

Architects: Architecture-Studio

2009年，在Santier主教的倡議和紅衣主教工程協(xié)會的支持下，克雷泰伊教區(qū)管理協(xié)會為克雷泰伊圣母院教堂擴建項目選擇了一個富有野心的方案。該教堂原有建筑部分由羅馬大獎獲得者夏爾-古斯塔夫-施托斯科普夫（Charles-Gustave Stoskopf）設(shè)計，是一幢十分符合1970年代“共融式神學(xué)”精神的建筑。現(xiàn)在，它也被認為是克雷泰伊城當(dāng)代遺產(chǎn)的一部分。

項目的主要目的是為了將原教堂的使用面積擴大一倍，并讓它在城市中獲得更強的識別性。

包括內(nèi)部裝修在內(nèi)，該項目對教堂進行了較大程度的改造，使之在象征意義和教化效用方面都獲得了更持久的生命力。這座改造后的教堂矗立于一片多文化融合的城市區(qū)域中：地塊內(nèi)包括5座天主教堂、10座猶太教堂、一座清真寺、一座新教教堂、4座福音派教堂、一座佛寺和一座巴哈教的集會中心。

該設(shè)計在兩種不同卻具有相容性的建筑風(fēng)格之間建立了對話。指向天空的穹頂源于原建筑的形式。具有人性化設(shè)計的入口處輪廓與新項目宏大的規(guī)模相結(jié)合，從教堂中殿擴展開的兩個木質(zhì)覆蓋的球狀外殼，猶如位于祭壇上方正在祈禱的雙手。

改造后的空間可以容納大型的集會。設(shè)計改變了原有圣壇的形狀，并將禱告長凳按照一個寬闊的圓弧形布置在了大廳中。在陽光下，兩片殼形結(jié)構(gòu)中間的染色玻璃將彩色的光斑投射在圣壇上。天黑后，教堂的內(nèi)部被點亮，這些發(fā)光的玻璃則代表著一個活躍的基督教社區(qū)的存在。

鐘樓與主體建筑脫離開來，位于教堂前廣場的一角，用狹長的輪廓標識出了教堂的主入口，其樓身上有3個開洞，洞里分別放置了3個老鐘樓內(nèi)的鐘擺。這座鐘樓使教堂保有了城市建筑的尺度感，并成為了在大型住宅樓群旁樹立起的城市標志物。大教堂前的原有樹木被移走，打開了廣場上的視野。城市建設(shè)部門在教堂另一側(cè)設(shè)立了一座新廣場，不僅為市民生活提供了便利，也促進了教會生活的擴展。

另一個重要動機——一條軸線與原有軸線垂直，穿過教堂內(nèi)部。這條軸線是天頂?shù)牟世L玻璃，陽光透過玻璃形成的五彩光線環(huán)繞空間。同時，這里還有一條朝光源上升的流線：一條從圣壇通往進入畫廊的兩個臺階入口的流線——該線路在染色玻璃的彎曲下被延長了一些。在圣壇正上方落下一道光線，作為Udo Zembok壯觀的染色玻璃作品的構(gòu)圖中心。這樣，這個十字形結(jié)構(gòu)就從3個維度上定義了這個空間：首先，這是一個隨晝夜和季節(jié)變化的空間，教堂的方向與方位基點相差無幾，并通過精心設(shè)計染色玻璃的位置而獲得全天日照。

建筑的基本概念是兩個殼形空間的交合，它強調(diào)并升華了兩個殼體之間重疊的邊界式空間。

這個被設(shè)計為一個玻璃拱的空間是本項目的重頭戲。半圓拱在空間中自東向西展開。作為空間內(nèi)的唯一自然光源，玻璃拱延伸到空間的最高點處，垂直環(huán)繞在圣壇之上。作為結(jié)構(gòu)，木質(zhì)截面肋在每隔相同的距離之間將連續(xù)的玻璃條帶打斷。

對建筑形體的藝術(shù)回應(yīng)依賴于入射光的奇妙變幻，也就是說，在進入神圣空間的時刻，光線自身已經(jīng)被神圣化了。光線本身是無形的，我們只能通過它們在物體上的反射或有色過濾才能察覺到光的存在。因此，這一概念的簡約性和組成元素之間的微妙關(guān)系為觀者提供了不同層面上的想象空間。不同的理解可以是簡單的對于彩色光線以及它們對內(nèi)部空間產(chǎn)生的效果的喜愛，而更深層次地，也可能是對于光的三原色、它們的空間角色及其與“三位一體”的象征性關(guān)系的聯(lián)想。□（張裕翔 譯）

1 外景/Exterior view

2 鳥瞰/Aerial View

2

3 內(nèi)景/Interior view

In 2009，on the initiative of Bishop Santier，the diocesan association of Créteil，supported by the Chantiers du Cardinal，opted for an ambitious project to expand the cathedral of Notre- Dame de Créteil.Conceived by Charles-Gustave Stoskopf，owner of the Prix de Rome，this building is typical of the 1970s when "the theology of blending-in" prevailed at the time.It is part of the contemporary heritage of the City of Créteil.

The commission was to double the capacity of the cathedral and to enhance its visibility towards the city.

More than a renovation，this project involves a major redevelopment of the cathedral，giving it a new architectural lease on life from a symbolic and pastoral point of view.The new cathedral is anchored in a multicultural city，which includes five Catholic churches，ten synagogues，a mosque，a Protestant church，four Evangelical churches，a Buddhist temple and a Bahai assembly.

A dialogue between two different architectural styles，yet consistent，is established.The dome pointing skywards is based on the footprint of the original cathedral.The silhouette of the entrance，on a human scale，is now joined with the monumental proportions of the new project，focusing on the nave of the cathedral that extends from two spherical wood-clad hulls，like two hands joined in prayer that meet above the altar.

Large gatherings can be held in this new space.The existing sanctuary has been remodeled and the benches are placed in a broad semicircle.In daylight，the stained-glass window located at the junction of the two hulls shed a colored light onto the sanctuary，while at night，illuminated from inside，they become the symbol of a living Christian community.

The steeple，detached from the building on the corner of the forecourt，marks the cathedral entrance with its slender silhouette，punctuated by three bells from the old campanile.It restores the building urban scale and become a sign in the city beside the large residential buildings of the neighborhood.The view onto the cathedral forecourt is freed by opening the curtain of trees.The new square，built by the city on the opposite side，is an amenity for local residents，and an extension of parish life.

Another movement，another axis，perpendicular to the previous one，crosses the space of the cathedral.This axis is the one of the stained glass，whose colored light encircles the space from its zenith.There is also an ascending path that rises to the source of this light: a movement from the altar to the two accesses steps to the gallery，which is extended by the curve stained glass.A path of light hangs vertically from the altar，climax of the composition of the Udo Zembok's magnificent stained glass.The cross thus signs this space in three Dimensions，a space that vibrates to the rhythm of day and seasons，the orientation of the cathedral on the points of the compass-give or take a few degrees-and the positioning of the stained glass at the head of the southern hull，allowing the building to receive sunlight throughout the day.

The architectural concept of two intersecting shellshaped spatial forms celebrate a space which unfolds like a border along the interface of the two volumes.

This space，designed as a glass arch，is the feld of play for this commission.Spatially，the semicircular arc opens up from east to west.As the only source of natural light the arc culminates at the zenith，vertically centered over the altar.At regular intervals，cross section wooden ribs interrupt the continuous ribbon of glass.

The artistic response to the given architectural shape is based on the idea that the incident sunlight artistically metamorphoses and thus should enter equally "sublimated" into the sacred space.Paradoxically，however，light itself is invisible，because it is only perceptible to our senses when it reflects on material or flows through filters.The simplicity of the concept and composition opens up a range of different levels of understanding for the observant visitor.The spectrum ranges from our delight in chromatic filtered colors and their effects on the interior architecture of the cathedral，to the concept of the three primary colors of light，their spatial positions and the symbolism of the Holy Trinity.□

4 首層平面/Floor 0 plan 1-主入口/Main Entrance 2-前廊/Narthex 3-唱詩班/Choir 4-中殿/Nave 5-小禮拜堂/Chapel 6-會議廳/Conference room 7-禮堂/Auditorium 8-展覽空間/Exhibition space 9-畫廊/Gallery 10-辦公/Ofces 11-咖啡廳/Café12-次入口/Secondary entrance

項目信息/Credits and Data

項目信息/Credits and Data

承包機構(gòu)/Contracting Authority: Diocesan Association of Créteil，Association "Chemin des arts" in Val-de-Marne

授權(quán)承包機構(gòu)/Delegated Contracting Authority: Les Chantiers du Cardinal

協(xié)助承包機構(gòu)/Assisting Contracting Authority: TEWAKO

結(jié)構(gòu)和表皮/Structure and Wrap: T/E/S/S

動線/Fluids: Louis Choulet

聲環(huán)境設(shè)計/Acoustics: AVA

光環(huán)境設(shè)計/Light Designer: 8'18"

理財/Economy: éco-Cités

木材顧問/Wood Specialist: Sylva Conseil

染色玻璃設(shè)計/Stained-Glass Window Conception: Pascale and Udo Zembok

染色玻璃藝術(shù)指導(dǎo)/Stained-Glass Window Art Direction: Udo Zembok

BET玻璃/BET Glass: Hoffmann GTD

窗加工/Window's Production: Glasmalerei Peters Studio

改造表面積/Surface of the Deployment: 1400m2

教堂高度/Height of the Cathedral: 2240m

鐘塔高度/Height of the Bell Tower-Signal: 4450m

南側(cè)殼體梁/Beam South Shell in the Axis: 1957m for 63 bows北側(cè)殼體梁/Beam North Shell in the Axis: 1995m for 64 bows

弓形層壓梁截面/Section of Stuck-Laminated Bows: 160×750 mm弓形梁之間的軸/Axis between the Bows: 560mm

殼體總表面積/Surface of the Shells: 1600m2

弓形層壓梁總體積/Laminated Wood Stuck Bows in Spruce: 350m3

金屬框材/Metallic Frame: 40t

木條線性長度/Wooden Strips of Douglas Linear: 25，000m

總造價/Total Cost: €9，000，000（稅前/Before Tax）

人工費用/Cost of Work: €575，000，000（稅前/Before Tax）建成時間/Completion: 2015

效果圖/Synthesized Images: Architecture-Studio，T/E/S/S

攝影/Photos: Luc Boegly，Yves Mernier，Udo Zembok

The Expansion of the Cathedral of Créteil，Créteil，F(xiàn)rance，2015

6 外景/Exterior view

7.8 拱頂細部/Details of the arches

9 結(jié)構(gòu)及覆層/Structure and cladding

10 內(nèi)景/Interior view