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設計單位? RCNKSK

項目地點? 捷克南摩拉維亞州

建成時間? 2024年

建筑面積? 186平方米

本文英文文字由設計單位提供，由有方編譯。

一百多年來，Nesva?ilka村的人們一直希望建設一座小教堂，一個可供自省的場所，一個可以讓他們在一起聚會的空間。當?shù)氐纳窀高M一步提出愿景：建造一座既能塑造周圍景觀，又能影響這個地方的文化、社會和遺產(chǎn)的建筑。

For over a hundred years, the people of Nesva?ilka longed for a chapel, a place of spiritual reflection, a space where they could gather as a community of faith. Father René Strouhal, together with the parishioners, shared not only this desire but also a vision: to create a building that would not only shape the surrounding landscape but would also influence the culture, society, and heritage of this place.

作為建筑師，當時的我并不知道，建造這一教堂的旅程將長達12年。

Little did I know at the time that this decision would set us on a twelve-year journey.

南摩拉維亞州的地勢起伏平緩，一望無際的田野綿延不絕。Nesva?ilka村自巴洛克時期誕生以來幾乎沒有什么變化，保留著最初的布局。村子上方的一片高地一直沒被開發(fā)，從遠處就能看到，房屋從這里自然延伸。

The gently undulating landscape of southern Moravia is vast, with endless fields stretching as far as the eye can see. Nesva?ilka has changed little since its baroque inception, with its original layout preserving an elevated spot above the village where the settlement naturally ascends and is visible from afar.

這里似乎天生匹配巴洛克式開墾土地的理想——強調人類對自然的征服。在這片土地上看不到森林或巖石，只有土壤和田地。而使用石材和木材等當?shù)睾币姷奶烊徊牧蟻斫ㄔ?，具有象征意義，如同將信仰帶給焦渴的土地。

This site seemed destined to fulfill the baroque ideals of cultivating the land – a land where no forests or rocks are in sight, only soil and fields. The use of natural materials, rare in this region, such as stone and wood, holds symbolic significance: to bring faith into a parched landscape.

我將建筑的概念設定為一個“中心”，它將矗立在山丘上，如同一座燈塔，在空間和精神上指明方向。

I chose the concept of a central structure, one that would stand on the hilltop as a beacon, a point of orientation both in space and in spirit.

當?shù)厝诉x擇以圣母瑪利亞為小教堂命名，紀念她所承受的苦難。她的故事和情感在這里以各種方式表達。

The locals selected Our Lady of Sorrows as the chapel’s patroness, symbolizing the suffering she endured. Her story and emotions are reflected in the space.

建筑的地面以場地上的灰塵和泥土為材料鋪就。立面下部由片麻巖石塊構成，代表著頑固、不聽話、難以塑造的人類。七根木梁從這些石頭中升向天空，象征著瑪利亞“七苦”。

Upon the dust and soil of this place, which form the floor, we build a temple. The lower section, made of gneiss stones, represents us – stubborn, disobedient, and difficult to mold. From these stones, seven beams rise toward the heavens, symbolizing the Seven Sorrows of Mary, connecting us to God.

建筑天花板如同一幕帷紗，象征著圣母之淚。精巧的木結構與小窗戶交織在一起，讓陽光隨時都能照進小教堂的中心。

From the sky falls a veil of Mary’s tears, weeping over us. The delicate wooden structure, interwoven with small windows, allows sunlight to penetrate the heart of the chapel at all times.

建筑四周以苦路環(huán)繞，并在通往小教堂的主路兩邊種植蘋果樹，后面的果園則與周圍的田野相融合。

The building is encircled by a ring of the Stations of the Cross, complemented by apple trees, which form an avenue leading to the chapel, and an orchard behind it connecting to the surrounding fields.

該建筑結構融合了傳統(tǒng)與現(xiàn)代。中世紀的建筑技術是該設計的靈感來源，但項目也結合運用了現(xiàn)代技術。

The structure blends tradition with modernity. The construction is inspired by medieval building techniques, in dialogue with modern technologies.

地面由土壤夯實而成，墻壁由開采的石塊砌筑。立面上半部分的支撐結構由上千個木制構件組成，構件的加工過程采用了現(xiàn)代的數(shù)控銑床，而連接方式沿用了傳統(tǒng)的木釘和楔子?？缭胶诵目臻g的15米長木梁以手工鑿刻，屋頂上采用了鋼制的尖頂。

The floor is made of compacted, rammed earth, while the walls are made of quarried stone. The supporting lamellar structure, made from a thousand wooden elements, traditionally joined with pegs and wedges, was crafted using CNC milling. The fifteen-meter-long beams are hand-carved, freely traversing the space, crowned by a steel spire on the roof.

5米高的大門將訪客引向中央充滿活力的空間，木梁和木結構圍護吸引著人們向上看。

Upon entry, you are greeted by five-meter-high doors, open into a dynamic space. The perspective of the beams and surrounding structure draws you upward.

建成后的小教堂，體現(xiàn)出一種超越了時間的魅力。其建筑表達、光線、聲音和氣味共同塑造了體驗。天然、觸感細膩、工藝精湛的材料，讓人們忘記日常生活的瑣碎煩惱。

The chapel transcends time. What you experience is its expression, the play of light, acoustics, and scent. The materials are natural, tactile, and imbued with craftsmanship, aiming to lift you beyond the everyday.

選擇材料時，我們的一個關鍵標準是材料能夠隨著時間增添它的魅力，其品質會隨著時間逐漸提升而不是降低。

A key factor in material choice was the ability to age beautifully, enhancing rather than diminishing their quality over time.

整個建筑的資金都來自捐款，這延長了建造的周期。不過，這段時間也讓我得以認真地審視和推敲設計，仔細考慮技術和意義象征等各方面，確保項目得到一絲不茍地執(zhí)行。出于對細節(jié)的關注，我通過與施工方的密切合作制作了施工和構件生產(chǎn)圖紙，并根據(jù)資金和技術限制完善了流程。

The entire construction was funded by donations, which extended the building time. However, this period allowed me to critically reassess the design and carefully consider the technical and symbolic aspects, ensuring meticulous execution. Close collaboration with the builders and attention to detail led me to produce both the construction and production documentation, refining the processes in line with financial and technical constraints.

設計圖紙 ▽

完整項目信息

Studio: RCNKSK

Author: Jan ?í?ny

Co-author: Michal ?í?ny

Project location: Nesva?ilka, 664 54 Tě?any

Project country: Czech Republic

Project year: 2012

Completion year: 2024

Built-up area: 150 m2

Gross floor area: 186 m2

Usable floor area: 147 m2

Plot size: 3 750 000 m2

Dimensions: w=13m / l=15m / h=15m / h=27m [tower steeple incl.]

Client: The Roman Catholic Parish of Moutnice

Photographer: Ond?ej Bou?ka

Collaborator

Structural engineering: Vít Mlázovsky, Filip Chmel

Landscape planning: Eva Wagnerová

Carpentry and stonework, EPDM: David ?ebesta

CNC production: Karel Hrdli?ka

Metalwork and steel tower construction: Záme?nictví Fiala, Kovopolá?ek

Substructure/foundation: Miroslav Klein

Design and production of the chancel elements: Dominik Fiala

Realisation of rammed earth floor construction: Hanno Burtscher, Matěj Jansky

Furniture: Pavel Abrahámek

Oak gates carpentry and steelwork: Daniel Golík and Jakub Jarcovják

Lighting design and supply: ETNA

Quarry stone supplier: HUTIRA

Landscape installation: Ji?í Dohnálek

Electrical installation: ELSTAR PLUS

Heating, water supply and sewerage: Franti?ek Ry?avy

Photovoltaic system installation: Svoboda a syn

Security systems: MAXPROGRES

本項目由RCNKSK授權有方發(fā)布，文字由有方編譯。歡迎轉發(fā)，禁止以有方編輯版本轉載。