建筑设计： Susuka事务所

克里斯托·萨尔瓦多礼拜堂，拉巴斯镇，塔尔卡，智利

建筑设计： Susuka事务所

1 外景/Exterior view

2 地段位置/Location

3 概念草图/Concepe sketches

在贫民区，一座教堂不仅仅是一个宗教场地，同时也含有社会性功能。这个项目的预算非常低（一个200m2教堂的预算为6万美元），并且基地狭小而不规则。

它由一系列方案逐渐发展为一个独立的扭曲体量，没有通常意义上的正立面和背立面。与主导的几何学呼应：与其称它为建筑，倒不如说它是一个被罩起来的广场，它像是恶劣状态下的乐观主义符号，仿佛黑暗中的光芒……

由于人们常常把石头和其他东西扔到这里，设计中采用了陶瓷马赛克的外饰面，这层表皮易于修补、廉价而且已然呈现出破碎的外观，这同时遵循着千年之久的宗教技艺。□（辛梦瑶 译）

项目信息/Credits and Data

主持建筑师/Principal Architects:Juan Pablo Corvalán,Gabriel Vergara

项目团队/Project Team: Pablo Sepúlveda, Jaime Pavez

马赛克/Mosaic: Simón Fuentes/Simbiotika

工程师/Engineer: Cesar Moreira/Sigma Ingenieros

建筑面积/Building Area: 200m2

预算/Budget: 60,000 USD

结构/Structure: 金属/Metallic

材料/Materials: 板材，陶瓷马赛克，回收砖/Panels, ceramic-mosaic, recycled refractary bricks

时间/Year: 2006 - 2008

摄影/Photos: Cristobal Palma(Fig. 1, 2, 9, 10), Pepe Mardones(Fig. 7)

4 外景/Exterior view

5 屋顶平面/Roof plan

6 平面/Plan

7 外景/Exterior view

评论

李晓鸿：如果不是耸立在高处的十字架，这里更像是一个受居民喜欢的社区活动中心？整面花窗的分格与建筑形体的展开图似乎一致，加上近乎涂鸦的用陶瓷马赛克镶嵌的饰面，本该肃穆神圣的教堂被涂抹上了一丝诙谐亲切的亮色。因其基地处在贫民区内，我想，也许建筑师就是想创造一个穷人与上帝联欢的场所，让上帝帮助他的子民，用乐观主义抵抗生活中的窘迫与无奈。

易娜：对地形的回应让建筑师从一个多边形平面出发，又对它的体量进行了三维切割和扭错，让小教堂内部获得了充满神性的空间，外部屋顶则展现出钻石般的形状。一个充满现代感的体量，却没有用浅色石材、清水混凝土或者白色涂料（像欧洲或者日本建筑师惯用的那样），在这里，外墙材料出乎意料地用了镶嵌马赛克这一古老的工艺，既便宜又好修补，更重要的是，展现出智利当地建筑一种热烈、随性的传统氛围。

8 剖面/Section

In difficult neighborhoods a church is not only a place of worship. It embraces a social program. In this case, the budget was very low (60,000 USD for a 200 m2chapel) and the site, small and irregular.

A series of proposals evolved to a single torsion volume that avoids a front and rear facade. It evokes the reigning geometry: a covered plaza rather than a building, a sign of optimism in harsh conditions, a light in darkness…

Since stones (and other objects) are constantly thrown at it, a ceramic-mosaic finish is specified, acting as an easy to repair, cheap and already broken wrapping. Furthermore it follows an ancient religious technique.□

Comments

LI Xiaohong: Were it not for the soaring Cross, this place would have looked more like a popular community center. The latticework of the whole stained-glass window seems to be in accordance with the planimetric unfolding of the architectural form. Thanks also to the graffiti-like mosaic facing, the supposedly sober and sacred church has acquired a brightly humorous and genial tone. Since it is located in the slum area, I tend to think that the architects meant to create a place for the poor to share festivals with God, where He could help His people, taking up optimism to resist life's distress and frustration.

YI Na: Echoing the typography, the architects start with a polygonal plan, and then cut and twist its volume 3-dimentionally, endowing the church interior with a spatial divinity, while its exterior displays a diamond form. The consummately modern volume is however dispensed with light-colored stones, fairefaced concrete or white paint (as conventionally used by European or Japanese architects); instead, the ancient mosaic craft, inexpensive and easy to repair, is unexpectedly applied to exterior walls. More importantly, the material exhibits an ardent, free atmosphere which is characteristic of Chilean tradition.

Capilla Cristo Salvador, Villa la Paz, Talca, Chile, 2008

Architects: Susuka