Las Chumberas的圣救世主教堂和社区中心西班牙加那利群岛

2022-04-22巴巴克·阿萨迪,胡安·贝尔塞多,玛丽亚·贝尔加等

世界建筑导报 2022年1期

业主：帕罗基亚·圣西莫·雷登托·德拉斯丘姆布拉斯-特内里费教区，拉古纳市政厅

建筑师：费尔南多·梅尼斯

建筑设计团队：巴巴克·阿萨迪、胡安·贝尔塞多、玛丽亚·贝尔加、罗伯托·德尔加多、哈维尔·埃斯皮雷斯、安德烈斯·费雷尔、尼尔斯·海因里希、亚尼拉·莱昂、乔安娜·马科斯卡·泽尔斯卡、保拉·曼扎诺、娜塔莉亚·皮齐奥、劳尔·里维拉、杰拉尔多·罗德里格斯、埃丝特·塞尼斯、安德烈亚斯·韦纳希特、朱莉娅·萨达

功能：教会及社区中心

用地：1,590平方米

建造：1,050平方米 (已建建筑面积 538平方米+已建休

憩用地面积 512平方米)

总造价：2,000,000.00欧元

造价/平方米：1,904.76欧元

结构：钢筋混凝土和钢结构

材料：混凝土、局部火山石

日期：2004-2005年设计，2005-2008 (社区中心)，2020 (教堂完成)，2021 (环境预定完成）

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

⑮㉟黄娟:《保守抑或激进? ——从居委会与业委会的关系看居委会的未来变革》，《河北学刊》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

它的相关性由两个细节同等地决定。首先，该地块位于世界上最受游客欢迎的岛屿之一特内里费岛，但矛盾的是，它位于一个贫困社区，因此并不受关注。其次，这座建筑近二十年来通过捐款来获取资金。建筑的构思和建造过程，也是提高社区自身认识以及居民重新定义身份的过程。

该项目位于特内里费岛上圣克鲁斯-德特内里费和拉古纳之间的郊区。在这个名为Las Chumberas 的多边形社区，住着670 户家庭，由70 年代的42 个街区以及购物中心和工业仓库组成。由于不稳定和瓦解的城市结构，在该地区有一个贫困社区。在此背景下，社区改造开始了，居民们设想未来的建筑将成为改造的催化剂：目的是成为城市中心参照点。

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

©Simona Rota

整体剖面 General Section

剖面 Section

总体草图 General sketch

社区本身通过捐款确保资金，而不均衡的捐款节奏决定了该设计及其随后16 年的实施情况：四个独立模块及其周围建筑，分阶段交付。由于迫切需要建立社区中心，包括其社会和文化项目，因此，设计的构思是先完成两个模块，目前已经投入使用了13 年。

这座建筑的设计灵感来自火山岛的地质，主体嵌入地下，地上部分则由四个巨大的结构组成，像是巨大的不安分的岩石。裸露混凝土的粗糙质感与它周围的传统住宅环境形成鲜明对比。就好像郊区发生了地质现象，仿佛大自然在与平庸作斗争。坚硬的体块被狭窄的裂缝隔开，裂缝中充满了由金属和玻璃制成的雕塑结构，日光通过这些结构进入建筑物，构成一个简朴而鲜明的复合体，此外没有任何多余的元素。

©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

日光漏过缝隙，形成一个自由流动和向内的空间，突显了基督教的每一个圣礼，在弥撒中发挥重要作用。日出时，光通过十字架进来，形成一道道光束，盈满圣坛后面的空间，象征着耶稣基督埋葬的洞穴的入口，洗礼池也被照亮，这是基督徒的第一道光。中午时，圣坛、坚信礼和圣餐通过天窗采光。之后，一束光落在忏悔室。天窗的布局在涂油礼、婚姻和牧师仪式上达到了同样的效果。

混凝土作为主要材料来使用，可同时兼顾几个方面的问题：外部、内部、结构、形式、物质和质地。首先，混凝土是一种当地常见的材料，因此我们只需要和本地公司合作获取，这也符合我们一直坚持的Km 0 建筑原则。其次，由于混凝土的各向同性，它所具有的能源效率在厚实心墙的热惯性下得到了增强。最后，为了达到一定的空间声学效果，我们以两种方式使用裸露混凝土：在声音扩散上，我们采用常规的裸露混凝土；在声音吸收上，我们将先前掺有轻质多孔火山石（picón）的裸露混凝土的表面凿碎。这样所达到的声学效果类似于歌剧中常有的声学效果，适合于演唱和演讲。

©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

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.