匈牙利,罗马天主教堂 / Tamás Nagy

建筑师:Tamás Nagy

地点:匈牙利Gödöllő

项目面积:1,340 sqm

项目年份:2007

摄影:József Hajdú

合作者:Tamás Lévai, Ildikó Bujdosó, Anna Meditz

建筑师提供的项目信息。建筑的三个部分——教堂、教区和社区中心——围绕一个中规中矩的方形庭院布置。庭院很快就会变成一个种植树木和鲜花的花园,中间有一个喷泉,就像很久以前寺院中的那样。

建筑模型源于寺院,但不同的是,这个庭院在第四个面是开放的,只有一排窗饰花格栅栏围合,这是一条重要信息,告诉外面世界的人们:请进,这里是开放的。一旦花园也建设完成,喷泉的水就会像静脉里的血液一样流向栅栏处,最终在那里形成一个湖。这种运动突出了之前的设计概念:内外之间联系紧密。

服务系统似乎具有象征意义:玻璃走廊沿庭院延伸,在社区中心前面变宽。某些功能区域,如教区的居住和办公区、社区中心的房间以及教堂空间都连在一起,形成了U形系统。

教堂的中央空间面向后殿。由于建筑的三个部分围绕庭院设置,因此U形的走廊也环绕着后殿——建筑的主要中心点。后殿是建筑中唯一的弧形结构,不仅形式与其他结构不同,颜色也不一样。

63个彩色玻璃窗隐含了一条信息。荷兰作曲家Alexander Skrjabin进行了一项研究并创建了一个矩阵,其中每一个音符都对应一种颜色。建筑师利用这种音符-颜色代码对弧形墙体上的窗户进行了设计。它意外地给人们带来了惊喜,即使在没有阳光时,彩色的玻璃窗也会像燃烧了一样发出光芒。

教堂的彩色世界——或许对某些人来说太过纯净,太过奇怪——更加强了这种效果。根据一天中时间的不同,教堂空间或徜徉在光束中,或沐浴在夕阳里,但享用圣餐的地方一直是人们关注的焦点。

教堂旁边的小礼拜堂被故意设计得很简单,它的窗户是透明的,建筑师试图以此来鼓励人们敞开自己的内心。这里将成为一个安静的祷告空间。建筑的末端是一座塔楼。建造没有塔楼的教堂在20世纪的现代宗教建筑中非常流行。建筑师认为本案教堂应成为匈牙利乃至欧洲21世纪开始的标志,在这里传道看起来十分必要。建筑师希望Gödöll罗马天主教堂七层高的塔楼将成为教堂存在的象征。


Architects: Tamás Nagy

Location: , Hungary

Area: 1,340 sqm

Year: 2007

Photographs: József Hajdú

Collaborators: Tamás Lévai, Ildikó Bujdosó, Anna Meditz

From the architect. The three elements of the building – the church, the parish and the community house - surround a regular quadrat-shaped courtyard. The courtyard will be soon a garden with trees and flowers and with a fountain in the middle. As long ago in the monasteries.

Because the model comes from there. The difference is that this courtyard is opened in its fourth side – it is bordered only by a tracery fence – and this is an important message to the World: come in, we are open. If once the park is finished as well, the water of the fountain will flow as a vein to there and swell into a lake. This movement strengthens the previous idea: the connection between inside and outside is relevant.

The system of the service seems emblematic: the glassed corridors lead along the courtyard and broaden to a forefront in front of the community area. The certain functions as the resident and office part of the parish, the rooms of the community house and the space of the church are strung into this „U” shaped system.

The central space of the church is oriented to the apse. As the three building wings surround the courtyard, so the „U”-shaped gallery does surround the apse, the main central point of the building. The apse, the only arc in the house differs not only by its form from the other elements, but by its colour as well.

The 63 colour glass window contain a hidden message. As the result of the dutch componist Alexander Skrjabin’s research he created a matrix, in which every single note matches to a single colour. Applied this note-colour code I wrote the gregorian tune of our prayer Kyrie eleison to the windows of the arc wall. It is a non-designed surprise that the colour glass windows are even burning when the sun does not shine outside.

The colour world of the church – perhaps too pure and strange for some – is to strengthen this exaltation. Depending on the time of the day the space of the church is swimming in light stream or dawning in dusk, but the place of the eucharisty remains at the centre of our attention.

The chapel next to the church is purposely simpler, with its transparent windows I tried to support one’s inside-turning. It will be hopefully a space of the calm prayer. And at the end about the tower. Building a church without a tower was stylish in the modern sacral architecture of the 20th century. I think the church should be a sign at the beginning of the 21st century in Hungary, in Europe, where the evangelism seems to be needed. I hope that the seven-storeyed tower of the Roman Catholic Church of Gödöll will be the symbol of the presence.