圣保羅教堂

地點：意大利佩魯賈

時間：2001年-2009年

業(yè)主：意大利主教會

建筑師：馬希米亞諾·福克薩斯，多麗安娜·福克薩斯

面積：1,300平方米

干預面積：20,690平方米

攝影：?Moreno Maggi

SITE: Foligno, Perugia, Italy

PERIOD: 2001-2009

CLIENT: Italian Episcopal Conference - Diocesi of Foligno

ARCHITECTS: Massimiliano and Doriana Fuksas

AREA: 1,300 sq. m.

INTERVENTION AREA: 20,690 sq. m.

PHOTOS: ?Moreno Maggi

“層層嵌套的懸浮狀態(tài)。無論從里、從外，都能通過建筑物仰望到天空。”—— 馬希米亞諾·福克薩斯

該項目獲得了一項國家獎，該獎項評比由意大利主教協(xié)會組織，旨在為教會的新教區(qū)提供設(shè)計：“依照最新的國際性研究，樹立一個創(chuàng)新性和決定性的里程碑，以此象征震后城市的重生”。

根據(jù)該宗教中心的職能劃分，教區(qū)樓體由兩個主要部分組成。第一個組成部分是教堂，純幾何形狀的龐然大物，可以為體量提供層層嵌套懸浮的空間，吸引人們對立體感的注意。主要的外部樓體的尺寸是30x22.5x25（高）米，與對應房間的尺寸保持一致。第二個組成部分是一個長扁狀的平行六面體，里面主要設(shè)有教區(qū)委員會、田園部和管區(qū)的處所等。

第三個組成部分是透明的樓體，作為平日的教堂使用，是前兩個主要組成部分的銜接和分割點。

在整個龐然大物內(nèi)部，環(huán)周縮減了一圈，從切口處能夠看到天空，光線從兩個互相嵌套的體量間隙中照射進來。

截頭錐體形狀的結(jié)構(gòu)元素把外樓體和懸浮體連接起來，使得缺口處的形狀與雕刻在南北兩樓側(cè)邊的形狀保持一致。光束能直接通過這些帶有不規(guī)則切口的缺口照進屋內(nèi)。內(nèi)部設(shè)計意在強調(diào)圣壇位置的中心性，然而洗禮池和安汶的位置卻與圣壇均不對稱。該設(shè)計的主導思想是為了強調(diào)慶祝大會的積極作用。

室內(nèi)的設(shè)計和照明設(shè)施旨在喚起本質(zhì)和純潔的理念。橡木長凳清晰的輪廓引發(fā)人們?nèi)コ了肌Ｊ频淖诮田椘罚热缡层牒褪ハ闯兀诠馐怪焙蛢A斜穿過這座龐然大物的過程中熠熠生輝。白天的光束效果在晚上會通過掛燈重現(xiàn)，這些掛燈棱角分明，再現(xiàn)了兩座樓體上雕刻的缺口輪廓。

主教Enzo Cucchi在教堂外的區(qū)域創(chuàng)造了紀念碑“Stele-Croce”，該雕塑有13.50米高，由混凝土和卡拉拉白色大理石制成，也成為一個標志性的建筑元素。

主教Mimmo Paladino已經(jīng)創(chuàng)造了14座代表耶穌受難的鐵雕塑像。

"The suspension of a volume within another. See the sky through the concrete, outside, inside, outside"——Massimiliano Fuksas

This project won the national competition organised by the Italian Episcopal Conference to design new parish centres: “to provide an innovative and decisive landmark in accordance with the latest international research and symbolising the rebirth of the city after the earthquake”.

The parish complex is made up of two main elements that are identified by the functions of the religious centre. The f rst element, the Church, is a monolith of pure geometry which accommodates

the suspension of a volume within another, while drawing attention to the sense of verticality. The dimensions of the major external volume, 30 x 22,5 meters and 25 meters high, correspond to the dimensions of the room.

The second element, an extended and short parallelepiped, houses the V estry, the premises of the Pastoral Ministry and the Rectory.

A third translucent body, the Ferial Chapel, connects and separates the two main elements.

Inside the monolith, a perimetral cut of fering a glance of the sky lights up the interstitial space between the two volumes contained one within the other.

Structural elements in the shape of a pyramidal frustum connect the external volume to the suspended one and create openings having the same geometrical shape that are carved on the northern and southern sides of both volumes. From these openings - with an irregular cut – beams of light enter directly inside the room The interior was intended to emphasize the centrality of the Altar, whereas the Baptismal Font and the Ambon are located asymmetrically to the former. The dominant idea is to underline the active role of the celebrating Assembly.

The design of the interior and the lighting bodies evokes the idea of essentiality and purity . The sober shape of the oak pews inspires meditation. The religious ornaments made of stone, such as the Altar,the Ambon and the Baptismal Font, are emphasized by the beams of light crossing the monolith both

vertically and obliquely. The effect created during the day by the natural light is recreated at night by

hanging lights whose angular shape retraces the prof le of the openings carved on both volumes.

The Master Enzo Cucchi has created the monument “Stele-Croce” for the area outside the Church,a 13,50 meter high sculpture, made of concrete and Carrara white marble, that also becomes an architectural element.

The Master Mimmo Paladino has created the 14 iron sculptures representing the Stations of the Cross.