巴切斯墓地禮拜堂，茨維申瓦瑟爾，奧地利

建筑設(shè)計(jì)：馬爾特.馬爾特建筑事務(wù)所

巴切斯墓地禮拜堂，茨維申瓦瑟爾，奧地利

建筑設(shè)計(jì)：馬爾特.馬爾特建筑事務(wù)所

1 北立面，其后是克萊門斯·霍茨邁斯特設(shè)計(jì)的老教堂/ North facade, historical church by Clemens Holzmeister in the back

2 南立面/South facade

巴切斯位于茨維申瓦瑟爾的農(nóng)村地區(qū)，這里的特色是離散分布的獨(dú)棟住宅?，F(xiàn)存教堂和墓地是由克萊門斯·霍茨邁斯特設(shè)計(jì)的，位于村莊中一片非常開(kāi)闊的場(chǎng)地中。場(chǎng)地東側(cè)為一片綠地，其上幾乎什么建筑也沒(méi)有；東側(cè)則是一望無(wú)際的萊茵河谷。這座教堂和墓地最顯著的特征就是兩種景觀元素的清晰分野。彼此相鄰的二者，在這片極其開(kāi)闊的環(huán)境中表達(dá)著各自的自治態(tài)度。在這樣的結(jié)構(gòu)下，這座新建的建筑也只能采取一種純粹的獨(dú)立形態(tài)。因此，這座墓地?cái)U(kuò)建部分也被看作是兩個(gè)現(xiàn)存因素之間的獨(dú)立延續(xù)。

設(shè)計(jì)的目標(biāo)非常單純——即采用與村落建筑呼應(yīng)的結(jié)構(gòu)。我們盡可能多地保留現(xiàn)有的路徑連接，并在需要的地方增加連接。新的墓地可以從老墓地中穿過(guò)或繞行抵達(dá)。

一座哀悼禮拜堂及骨灰墻也是墓地?cái)U(kuò)建的一部分。它們通過(guò)同質(zhì)化的方式與具有空間限定意義的平臺(tái)相關(guān)聯(lián)，在功能和形式上都成為整個(gè)建筑群的一部分。禮拜堂的設(shè)計(jì)構(gòu)思是一座內(nèi)向的立方體，室內(nèi)擁有精心設(shè)計(jì)的自然光線。

在禮拜堂的背景墻上，一根橡木竿嵌入粘土墻中。在兩種元素的對(duì)話中，一個(gè)隱隱的十字架產(chǎn)生了。骨灰墻也是粘土結(jié)構(gòu)的一部分。舊鋼框架沉入地平以下的墓穴中，作為骨灰盒的保藏所。亡者的姓名用纖細(xì)的銅板字鐫刻在粘土墻上予以紀(jì)念。平臺(tái)、哀悼禮拜堂和骨灰墻都采用了不同比例的長(zhǎng)方體，由夯土工藝建成。它們?cè)谛问胶筒牧仙系臉O簡(jiǎn)設(shè)計(jì)將為獨(dú)立設(shè)計(jì)的墓碑提供背景。獨(dú)立的墓地和小徑上鑲嵌著鵝卵石。粘土材料因其條狀的極簡(jiǎn)結(jié)構(gòu)，與周邊自然的空間融為一體。而升高平臺(tái)與其中整合的元素——哀悼禮拜堂和骨灰墻之間的關(guān)系，就仿佛是從泥土中生長(zhǎng)出來(lái)的一樣。

由克萊門斯·霍茨邁斯特設(shè)計(jì)的教堂和墓地建筑群具有極高的價(jià)值，茨維申瓦塞爾市政府在這一擴(kuò)建過(guò)程中，一直都深知這個(gè)項(xiàng)目擔(dān)負(fù)的責(zé)任。

在一個(gè)高強(qiáng)度的規(guī)劃、技術(shù)及后勤準(zhǔn)備的合作階段之后，當(dāng)?shù)厣鐓^(qū)貢獻(xiàn)了極大的力量。這個(gè)項(xiàng)目對(duì)社區(qū)的每個(gè)人都很重要，因而成為一項(xiàng)合作式的工作。巴切斯教區(qū)的居民并不是憑空得到一座擴(kuò)建的墓地，他們是親自把它建造起來(lái)的。□（黃華青 譯）

3 總平面，左起：老教堂、墓地、擴(kuò)建區(qū)及禮拜堂/Site plan, from left: historical church, cemetery field, new urn field and wall with chapel

Batschuns is a rural part of Zwischenwasser, characterized by separate single buildings. The existing church and cemetery by Clemens Holzmeister are located in a part of the village that is spatially very open. To the east is a green space with nearly nothing built on it; in the west, the Rhine valley opens up. The most characteristic feature of the existing church and cemetery is the clear separation of these two elements. Each located next to the other exudes its own autonomy in the midst of this very open environment. This type of structuring can only be complemented by another pure independent form. Thus the cemetery extension has been conceived as an independent continuation of the two pre-existing elements.

The goal of the design is simple path-structures corresponding to the village structure. As often as possible, existing pathway connections are retained and added to where needed. The new grave plots can be reached by passing over, as well as along, the old cemetery.

A mortuary chapel and urn wall is part of the cemetery extension. Through the homogenous connection with the space-defining plateau, they are functionally and formally part of the whole complex. The chapel has been conceived as an introverted cube with positioned light openings.

4 內(nèi)景，木板和自然光形成交織/Interior view with play of light, depending on the time, the timber slab and the natural light forming a cross

An oak rod set into the clay wall forms the backdrop. From this dialogue between two elements, a cross ensues. The urn wall is part of the clay structure. Old steel frames sunk into the earth yield grave niches for the preservation of urns. The names of the deceased are commemorated in tender copper script on the clay wall. The plateau, mortuary chapel, and urn wall are reduced cubes made of rammed earth. Their minimal design in form and material creates reserved background for graves designed independently. Individual grave fields and paths are strewn with pebbles. The clay material, with its reticently striated structure, conforms homogeneously with the surrounding natural space and strengthens the earthly relationship between the raised plateau and its integrated elements -mortuary chapel and urn wall.

The municipality of Zwischenwasser has always been conscious of the great responsibility entailed in expanding such a valuable ensemble as Clemens Holzmeisters church and cemetery.

After an intense period of cooperative planning and technical and logistical preparation, an immense amount of work was done by the community. It was a cooperative work on a project very important to everyone. The inhabitants of the parish of Batschuns did not get a cemetery extension, they built one.□

5 內(nèi)景/Interior view

評(píng)論

劉珩：禮拜堂的建筑主體以粘土一層一層地筑成，已經(jīng)干結(jié)硬實(shí)的粘土表面橫向的紋理記錄了獨(dú)特的筑造過(guò)程，在明媚的陽(yáng)光下，顯示出材料特有的質(zhì)感。禮拜堂室內(nèi)的背景墻上，一根橡木竿直直地嵌入粘土墻的正中央，隨著粘土逐漸硬結(jié)的過(guò)程被固定。禮拜堂的木質(zhì)大門以木板拼接而成，木板與木板間的橫向接縫筆直且“明目張膽”地顯露，金屬灰色的門栓鑲嵌進(jìn)去，它們之間的拼接同樣干凈利落，直接撞接在一起，金屬門栓的位置卻經(jīng)過(guò)嚴(yán)格的推敲。溫暖的材質(zhì)與理性的處理方式相結(jié)合，營(yíng)造出靜謐溫暖而又充滿節(jié)制的空間感。明媚的陽(yáng)光從墻體與屋頂之間的縫隙中射入禮拜堂，灑在背景墻上，給靜謐的禮拜空間更添了一絲神秘氣息。

張?chǎng)喊颓兴鼓沟囟Y拜堂及其平臺(tái)以橫平豎直的線條和矩形構(gòu)成，無(wú)疑這是夯土建造最適宜的建筑形式。同時(shí)，小巧的體量和單一的功能性為此夯土墻的結(jié)構(gòu)性應(yīng)用提供了便利。然而，越是簡(jiǎn)單的建筑形體，越是需要設(shè)計(jì)和建造的細(xì)節(jié)來(lái)體現(xiàn)建筑和空間的品質(zhì)。該建筑在僅有的3處開(kāi)口上分別進(jìn)行了精心的設(shè)計(jì)。事實(shí)上，在夯土墻上開(kāi)設(shè)橫向長(zhǎng)洞是不太容易的，此處利用永久性的鋼模板（即外觀可見(jiàn)的平板和梁）巧妙地解決了這一難題。該禮拜堂是在現(xiàn)場(chǎng)夯筑完成的，可以想象在項(xiàng)目進(jìn)行過(guò)程中，建筑師、建造工程師和施工人員在設(shè)計(jì)、技術(shù)和施工配合上的密切程度。夯土的水平向分層肌理在高低兩處開(kāi)口引入的自然光線下充分延展了空間感受，禮拜堂的精神性在樸素的生土材料與精確的構(gòu)造和施工細(xì)節(jié)的對(duì)比中得到了體現(xiàn)。

項(xiàng)目信息/Credits and Data

建筑設(shè)計(jì)/Architects: 馬爾特.馬爾特建筑事務(wù)所/marte. marte architects (Feldkirch, Austria)

客戶/Client: 茨維申瓦瑟爾市政局/Municipality of Zwischenwasser (Austria)

結(jié)構(gòu)工程/Structural Engineer: M+G Ingenieure (Feldkirch, Austria)

建筑面積/Floor Area: 289m2

夯土/Rammed Earth: 176m2, 183t

建造周期/Construction Phase: 2001

攝影/Photos: Bruno Klomfar (fig.1-2,4), Benedikt Redmann (fig.5)

6 西立面/West facade

Comments

LIU Heng:The main part of the chapel is built with clay placed one layer on another. The transverse texture on the dried solid clay records this unique building process, and the special texture of the material is visible against bright sunlight. On the background wall inside the chapel, an oak shaft is embedded right in the middle and just fixed by clay. The timber entrance doors of the chapel are made of wood planks. The transverse joints between the wood planks are straightforwardly exposed, and metallic grey door bolts are embedded in the doors in a tidy and neat manner with very careful selection. Warm materials in combination with rational treatments create a tranquil, cosy and moderate feeling of space. Bright sunlight penetrates into the chapel through the seams between the walls and the roof, casting on the background wall, which adds a sense of mystery to the space of worship. (Translated by WANG Xinxin)

ZHANG Wen:The horizontal and vertical lines and rectangular form of this chapel and its platform is undoubtedly the most suitable form for rammed-earth construction. At the same time, the small volume and simplex function provides convenient structural application of rammed-earth wall. However, simple forms require better treatments of details in design and construction, reflecting the quality of construction and space. The only three openings of this building were carefully designed. In fact, a horizontal long hole in the rammed-earth walls is not easily provided. This problem is cleverly solved with a permanent steel shuttering (visible plate and beam). The chapel was produced on site. We can perceive a close cooperative relationship of the architect, engineer and building team in the design, technology and construction during the whole process. The horizontal layered texture of rammed earth with the natural light through the sky and bottom openings fully extends the feeling of space, and the spirit of the chapel is embodied in the contrast of natural material and accurate construction details.

Chapel of Rest Batschuns, Zwischenwasser, Austria, 2001

Architects: marte.marte architects