GHM中心楼，比耶洛波列，黑山共和国

建筑设计：里法特·阿利霍季奇Architect： Rifat Alihodzic

GHM中心楼，比耶洛波列，黑山共和国

建筑设计：里法特·阿利霍季奇
Architect： Rifat Alihodzic

1 从后山上看中心楼/Exterior view from the hill

这座建筑建于比耶洛波列镇，是楚科瓦茨墓地保存下来的一部分。60年来它一直被荒废着。这片墓地还保留着古老而珍贵的墓石，都是用当地的一种石材制成的。它的选址位于城市的核心，使建筑与之浑然一体，并为城市核心赋予了更加丰富的含义（这一点得到了实际证明）。从功能上看，建筑属于当地的gasulhana礼拜堂，为市内的3座墓地服务。自从建筑启用以来，其社会和文化价值成为最重要的部分，因为建筑让穆斯林的永别有了一个体面的场所。各个社会阶层的人都可以使用这里，所以每个人的待遇都是平等的。

在有这座建筑之前，逝者的净身仪式是在条件有限的清真寺、甚至是家宅和公寓里临时举行的。有了它以后，逝者会被运到洗礼处或者太平间，然后再是墓地。

悼念仪式以往是在家宅或公寓中举行的，而客人的数量就成了一大问题。作为该地区此类建筑的首例，这座功能合理的建筑引发更多类似的建筑出现在市内和黑山共和国，并赢得了不同信仰的市民的认可。除了用于逝者的告别，这座建筑还是宗教沐浴的场所，并带有多种实用功能。为了实现这一点，就需要一个通向gasulhana部分的特殊入口。它的旁边是冷藏室，室外温度高或等待家人从海外回国的期间，逝者就在这里静候仪式的举行。此外还设计了一个有支架和供暖锅炉的太平间，以及男女各自举行沐浴仪式的房间。

建筑的另一部分是由市民和家人悼念的功能决定的，这需要两个房间。建筑里有一个为客人服务的小厨房，还有保证仪式卫生的清洁间。这些功能都集中在有顶部采光的中央大厅周围，因此整个空间都豁达明亮，而这也是设计的目标之一。高高突起的屋顶具有多种功能和建筑意义，光线就从这里射入大厅。□（尚晋 译）

项目信息/Credits and Data

投资人/Investor： 比耶洛波列社区，黑山共和国伊斯兰社区/Community Bijelo Polje & Islamic Community Montenegro

主持建筑师/Principal Architect： Rifat Alihodzic

设计团队/Design Team： Rifat Alihodzic（建筑、给排水/Architecture， Hydro Installation），Rafet Alihodzic（施工/Construction），Cazim Dizdarevic（电气/ Electro Installation），Meho Tokovic（暖通空调/HVAC Installation）

场地面积/Site Area： 1000m2

首层建筑面积/Ground Floor Area： 400m2

总建筑面积/Total Floor Area： 400m2

造价/Cost： 593，307 USD

设计时间/Design Period： 2005-2006

摄影/Photos： Rifat Alihodzic， Zeljko Stajkic

2 总平面/Site plan

3 外景/Exterior view

The building was built in Bijelo Polje，Montenegro as a part of Cukovac Cemetery， a preserved cemetery that has not been functioned for over six decades. Within the cemetery， there are preserved ancient and valuable tombstones made out of a local stone. The cemetery itself is an integral part of the urban core， and this project， incorporated into that cemetery， gives a richer meaning to the urban core （as was later proven）. Functionally， the building is a local gasulhana， or funerary chapel，which serves the city's three active cemeteries that cater to the Muslim population. It appears that after the gasulhana had begun functioning， it picked up a social and cultural value， mainly because the Muslim population received a dignified place for a last farewell. The building is utilized by every social class，so treatment of the deceased and the mourners is completely equal.

Before this gasulhana was built， the act of ritually bathing the deceased took place under restricted conditions in mosques， or through improvisation within houses and apartments. After the ritual， the deceased were transported by wagon to the burial places - cemeteries.

The ritual of people expressing condolences to the deceased formerly took place in the family's house or apartment， which was a big problem especially when there were large amounts of visitors. As the first building of this purpose in a wide area， it stimulated the construction of similar buildings in Montenegro. Citizens of all backgrounds have widely approved of the building and its purpose. Other than providing a final farewell for the deceased， the building serves as a place for the bathing ritual， and adequate facilities are provided. For that purpose of delivering the deceased， a special service entrance into the gasulhana is furnished. There are also lowtemperature rooms which store the deceased before the rituals take place； for example， for when the temperatures outside are high or for waiting for a family from abroad to arrive. There is also a storage room for necessary equipment and boilers， as well as rooms designated male and female for carrying out the bathing ritual.

The other portion of the building is designed for mourners， primarily for the function of expressing farewells to the deceased. For that purpose， two rooms are provided. Within each，there is a kitchenette that can provide meals for those attending the service. Also， there are sanitary rooms provided for visitors to exercise ritual hygiene （abdesthana）. These rooms are organized around a central lobby， which is lighted by a skylight， making the entire space highly luminous， an aim of the building's design. The light enters the lobby through a strongly articulated roof projection， which has multiple functional and architectural purposes. □

4 建筑原型——礼拜示意图/Archetype - salah diagram

5 剖面/Section

6 遗体安放室的窗户/Window of the room for displaying defunct

7 屋顶/Roof

评论

胡越：不管你是否喜欢这幢建筑，它伫立在那里。平面组合方式、起伏的坡顶、入口门廊、室内装修……都与这个国家的历史以及当地穆斯林发生着极其紧密的关联，让你觉得它就应该在那里，它属于那片土地。

周渐佳：读了建筑原型的草图，立刻明白了剖面设计的用意：将躬身祈祷的曲线抽象为起伏的线条，这样的转化不乏一种率真感。我想，在比耶洛波列这样一个多宗教聚集的小镇（数据显示有53%的东正教、45%的伊斯兰教及少数天主教），该栋建筑的建成对于伊斯兰社区的意义远胜于对建筑本身的评价。将以往较为私密的悼念仪式转入一个在城市中有着明确公共形象的建筑，这意味着教派内的使用习惯会发生改变，也意味着必须面对城市内有着不同信仰的民众的评价。因此，建筑剖面上的曲线虽然柔和，象征却很明确，以一种内敛但智慧的姿态融入城市生活。

8 内景/Interior view

9 祷告用的入口平台/Entrance platform - open space for prayers

10 服务用入口平台/Service platform with back door

Comments

HU Yue: The building stands there， no matter whether you like it or not. The combination of building planes，its undulating sloped roofs， the entrance porch， and its interior design shows its close connection with the history of the nation and the Muslim religion，persuading people that it indeed belongs there.

ZHOU Jianjia: The sketches illustrate how the curvilinear portion of the building is abstracted from the gesture of a kneeling prayer， full of sincerity. In my view，within a town like Bijelo Polje， with its multiple ethnicities and multiple religions （according to Wikipedia， Orthodox and Islam dominate with 53% and 45% respectively， while Catholic and others are a minority）， the inauguration of this building is far more significant for the Islamic community than for the architecture itself. It means that the rituals and condolences that formerly took place in a private or an improvised setting now find a place with an explicit public image. It also means that people's religious habits will change， but also implies that the building will be judged by the public， many with different religious beliefs. Therefore， the curves that appear on the sections are gentle but unequivocal， they outline a humble but wise figure serving the community.

Central Building for the Use Gasulhana， Hatme & Mevlud， Bijelo Polje， Montenegro，2010