Las Chumberas的圣救世主教堂和社區(qū)中心 西班牙加那利群島

業(yè)主：帕羅基亞·圣西莫·雷登托·德拉斯丘姆布拉斯-特內(nèi)里費教區(qū)，拉古納市政廳

建筑師：費爾南多·梅尼斯

建筑設(shè)計團隊：巴巴克·阿薩迪、胡安·貝爾塞多、瑪麗亞·貝爾加、羅伯托·德爾加多、哈維爾·埃斯皮雷斯、安德烈斯·費雷爾、尼爾斯·海因里希、亞尼拉·萊昂、喬安娜·馬科斯卡·澤爾斯卡、保拉·曼扎諾、娜塔莉亞·皮齊奧、勞爾·里維拉、杰拉爾多·羅德里格斯、埃絲特·塞尼斯、安德烈亞斯·韋納希特、朱莉婭·薩達(dá)

功能：教會及社區(qū)中心

用地：1,590平方米

建造：1,050平方米 (已建建筑面積 538平方米+已建休

憩用地面積 512平方米)

總造價：2,000,000.00歐元

造價/平方米：1,904.76歐元

結(jié)構(gòu)：鋼筋混凝土和鋼結(jié)構(gòu)

材料：混凝土、局部火山石

日期：2004-2005年設(shè)計，2005-2008 (社區(qū)中心)，2020 (教堂完成)，2021 (環(huán)境預(yù)定完成）

Client:Parroquia Santísimo Redentor de Las Chumberas-Diocese of Tenerife,City Hall of La Laguna

Architect:Fernando Menis

Architectural Design team:Babak Asadi,Juan Bercedo,María Berga,Roberto Delgado,Javier Espílez,Andrés Ferrer,Niels Heinrich,Yanira León,Joanna Makowska Czerska,Paula Manzano,Natalia Pyzio,Raúl Rivera,Gerardo Rodríguez,Esther Senís,Andreas Weihnacht,Julia Zasada

??黃娟:《保守抑或激進(jìn)? ——從居委會與業(yè)委會的關(guān)系看居委會的未來變革》，《河北學(xué)刊》2010年第2期。

Program:Church and Community Centre

Site area:1,590 m2

Built:1,050 m2(built building area 538 m2+built open space area:512 m2)

Cost:2,000,000.00 Euros

Cost/m2:1,904.76 Euros

Structure:Reinforced concrete

Dates: 2004-2005 Design,2005-2008 Community Centre,2020 Church is completed,2021 Environment is scheduled for completion

它的相關(guān)性由兩個細(xì)節(jié)同等地決定。首先，該地塊位于世界上最受游客歡迎的島嶼之一特內(nèi)里費島，但矛盾的是，它位于一個貧困社區(qū)，因此并不受關(guān)注。其次，這座建筑近二十年來通過捐款來獲取資金。建筑的構(gòu)思和建造過程，也是提高社區(qū)自身認(rèn)識以及居民重新定義身份的過程。

該項目位于特內(nèi)里費島上圣克魯斯-德特內(nèi)里費和拉古納之間的郊區(qū)。在這個名為Las Chumberas 的多邊形社區(qū)，住著670 戶家庭，由70 年代的42 個街區(qū)以及購物中心和工業(yè)倉庫組成。由于不穩(wěn)定和瓦解的城市結(jié)構(gòu)，在該地區(qū)有一個貧困社區(qū)。在此背景下，社區(qū)改造開始了，居民們設(shè)想未來的建筑將成為改造的催化劑：目的是成為城市中心參照點。

Its relevance is determined in equal parts by two particularities.First of all,the plot is located on one of the most touristic islands in the world,the island of Tenerife,but paradoxically within a disadvantaged neighborhood,out of focus.Second,it's about the way the building has been funded,through donations over nearly two decades.The process of conception and construction of the building overlaps with the process of raising awareness of the neighborhood towards its own identity and the involvement of its residents in redefining it.

The site is located on the outskirts halfway between Santa Cruz de Tenerife and La Laguna within a 670 homes polygon organized into 42 blocks from the '70s plus shopping centers and industrial warehouses.Flawed by precariousness and disintegrated urbanism,the area is inhabited by an unprivileged community.In this context,a process of transformation of the neighborhood began,in which the future building is envisioned by the residents as a catalyst for change:It is meant to be a place of urban centrality and reference.

?Patricia Campora

?Patricia Campora

?Simona Rota

整體剖面 General Section

剖面 Section

總體草圖 General sketch

社區(qū)本身通過捐款確保資金，而不均衡的捐款節(jié)奏決定了該設(shè)計及其隨后16 年的實施情況：四個獨立模塊及其周圍建筑，分階段交付。由于迫切需要建立社區(qū)中心，包括其社會和文化項目，因此，設(shè)計的構(gòu)思是先完成兩個模塊，目前已經(jīng)投入使用了13 年。

這座建筑的設(shè)計靈感來自火山島的地質(zhì)，主體嵌入地下，地上部分則由四個巨大的結(jié)構(gòu)組成，像是巨大的不安分的巖石。裸露混凝土的粗糙質(zhì)感與它周圍的傳統(tǒng)住宅環(huán)境形成鮮明對比。就好像郊區(qū)發(fā)生了地質(zhì)現(xiàn)象，仿佛大自然在與平庸作斗爭。堅硬的體塊被狹窄的裂縫隔開，裂縫中充滿了由金屬和玻璃制成的雕塑結(jié)構(gòu)，日光通過這些結(jié)構(gòu)進(jìn)入建筑物，構(gòu)成一個簡樸而鮮明的復(fù)合體，此外沒有任何多余的元素。

?Patricia Campora

The community itself ensures the funding through donations and the uneven rhythm of remittances is what determined the design and its subsequent execution over 16 years:four independent modules and its surroundings,which would be delivered in stages.The Community Centre,with its social and cultural program,was urgently needed though thus,the design was conceived in such a way that two modules could be completed and they have been in use for 13 years now.

The building,inspired by the geology of the volcanic island,is embedded in the ground and rises with its four massive volumes resembling large restless rocks.The rough texture of the exposed concrete strikes a sharp contrast with the conventional residential context where it goes up.It is as if a geological phenomena had occurred on the outskirts,as if nature were fighting against banality.Its petrous volumes are separated by narrow cracks filled with sculptural structures made of metal and glass,through which daylight enters the building to configure an austere and stark compound,which relinquishes all superfluous elements.

?Simona Rota

?Patricia Campora

?Simona Rota

日光漏過縫隙，形成一個自由流動和向內(nèi)的空間，突顯了基督教的每一個圣禮，在彌撒中發(fā)揮重要作用。日出時，光通過十字架進(jìn)來，形成一道道光束，盈滿圣壇后面的空間，象征著耶穌基督埋葬的洞穴的入口，洗禮池也被照亮，這是基督徒的第一道光。中午時，圣壇、堅信禮和圣餐通過天窗采光。之后，一束光落在懺悔室。天窗的布局在涂油禮、婚姻和牧師儀式上達(dá)到了同樣的效果。

混凝土作為主要材料來使用，可同時兼顧幾個方面的問題：外部、內(nèi)部、結(jié)構(gòu)、形式、物質(zhì)和質(zhì)地。首先，混凝土是一種當(dāng)?shù)爻Ｒ姷牟牧?，因此我們只需要和本地公司合作獲取，這也符合我們一直堅持的Km 0 建筑原則。其次，由于混凝土的各向同性，它所具有的能源效率在厚實心墻的熱慣性下得到了增強。最后，為了達(dá)到一定的空間聲學(xué)效果，我們以兩種方式使用裸露混凝土：在聲音擴散上，我們采用常規(guī)的裸露混凝土；在聲音吸收上，我們將先前摻有輕質(zhì)多孔火山石（picón）的裸露混凝土的表面鑿碎。這樣所達(dá)到的聲學(xué)效果類似于歌劇中常有的聲學(xué)效果，適合于演唱和演講。

?Simona Rota

Daylight filters down through the cuts to shape a free-flowing and introverted void and to play an essential role in mass by stressing each of the Christian sacraments.At sunrise the light comes in through the cross as a cascade of light that fills the space behind the altar to symbolize the entrance to the cave in which Jesus Christ was buried and illuminating the baptismal font,the first light of a Christian.The altar,the confirmation and the communion receive light at noon through the skylight.Later,a shaft of light falls on the confessional.The strategic layout of the skylights achieves the same effect on unction,matrimony and priesthood.

The use of concrete as the main material,manages to address several aspects at the same time:exterior,interior,structure,form,matter and texture.First of all,it is a common material,accesible locally,which allows us to work only with local companies and materials,in accordance with the Km

?Simona Rota

?Simona Rota

0 architecture principles to which we adhere.Second,the energy efficiency provided by concrete,due to its isotropic nature,is enhanced here by the thermal inertia of the thick solid walls.Finally,in order to achieve a certain acoustic quality of the spaces,we use exposed concrete in two ways:for diffusion,we use conventional exposed concrete;for absorption,we chipped the surface of the exposed concrete previously mixed with light porous volcanic stone (picón).The acoustics thus achieved resemble the usual in the opera,suitable for singing and speech.

?Patricia Campora

?Simona Rota

?Simona Rota

?Simona Rota

?Patricia Campora