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Portugal Jesus Mestre chapel

设计方：Site Specific Arquitectura

位置：葡萄牙

分类：公共设施

内容：实景照片

设计团队：SimãoBotelho

委托方：InstitutoMissionárioPioSociedade de São Paulo

项目合作伙伴：Bartolomeu de Gusmão

图片：30张

摄影师：do mal o menos

这是由Site Specific Arquitectura设计的Jesus Mestre礼拜堂。这座小礼拜堂仅服务于InstitutoMissionárioPioSociedade de São Paulo学院兄弟会的成员。该项目的设计原则主要为：位于多户住宅的中央区；是祈祷和交流的空间；是私有的也是集体的。这座礼拜堂，供奉Jesus Mestre，位于里斯本郊外Apelação的Quinta Rainha dos Apóstolos。该礼拜堂的所在位置同时是城镇的中心。因此无论从地理位置上还是从象征意义上，该礼拜堂被视为学院的中心。它为兄弟会的成员提供联络情感之地外，还通过公开宣教来将福音散播到社区当中。

该项目重新利用原有建筑并赋予它新的意义。建筑设计朴素而严谨，体量简洁有力，自然光的运用纯洁而神圣，建筑材料的使用内敛而稳重。混凝土结构被保留，外表有些粗糙却不突兀。主房间被设计成一个宽敞明亮的整体，没有过多的人工痕迹和装饰：只有一面绘有耶稣的背景墙，用以告知和加强空间宗教和神学的氛围。

译者：筑龙网艾比

This is a chapel, or a small church, built in a particular house for particular people – the brotherhood of InstitutoMissionárioPioSociedade de São Paulo. The project brief is based on principles that don’t necessarily concur: it should be the central area for a house of many homes; a space for prayer and for communication; a place of intimacy as well as assembly.

The chapel, consecrated to Jesus Master, sits within Quinta Rainha dos Apóstolos, in Apelação, on the outskirts of Lisbon. This is a rural plot, overlooking a broad valley open to the river Tagus, where the Institute has been located since the 1970s. The existing complex includes a pair of long 4-storey blocks sitting on a ground-floor podium, originally used as a warehouse. This was the area chosen to locate the chapel, taking advantage of its central position in relation to the spaces where to live, to work, to welcome and to pray. The chapel therefore operates as the heart of the Institute, both physically and symbolically; it provides the link between members of the brotherhood and reaches the wider lay community through their publishing/ missionary activities.

The project reuses the existing building and aims to provide it with a new meaning; this is done through a process of austere and rigorous designing, which relies on the simplicity of volumes, natural lighting and inherent qualities of proposed materials. The concrete structure is retained, bare and imperfect but suitable nevertheless, and somehow up-lifted by the new context. The room is revealed as a whole and wide space, without artifice or excess: a backdrop for the liturgical fittings to enhance and impart with a sacred and theological sense.

Among those, the central altar stands out. This is built in solid timber, with no delineation of presbytery - a place for all, without hierarchies. In conjunction with the pulpit, this allows a wide range of layouts and different degrees of intimacy for liturgical celebrations: private celebrations with community brothers gathered around the altar with the garden behind (orientation north / south); regular celebrations with lay assembly (placed along the longitudinal axis with the celebrant facing west); and festive celebrations that fill the chapel (orientation north / south).

The Cross is designed as an integral part of the celebrations and the building. It is physically connected to the concrete structure through an interlocking joint, but can be disengaged to be carried in procession, thus marking the beginning and the end of celebrations.The internal space is strongly marked by two joinery elements, both with clear liturgical function: the sacristy to the west side, which includes the confessional booth open to the garden, and the partition wall to the south side, which frames the depictions of Jesus Way of the Cross. This wall does not enclose the chapel completely: it allows for the room to be perceived as a whole, through glimpses of the corridor behind it providing connection between the existing buildings.

The external space to the north replicates the volume of the chapel. More than a mere garden, this area is designed as an extension to the praying space. Part of the whole through geometry and materiality, it adds water and vegetation to the simplicity of the set. Public access to the chapel is granted from the south, identified by a timber door with an engraved cross and a bell, both designed in line with the general principles of the project.

The brief required depictions of particular devotions of this brotherhood to be included. These were considered from the start as part of the design, instead of later additions. Original art work was executed in situ by Bartolomeu de Gusmão, on walls and joinery surfaces, creating an intense and global relationship between the space and the religious community. Together, the space and the elements that populate the space convey a clear and critical message to its users – reinforcing the sense of belonging and sharing that imbued the original commission.

葡萄牙Jesus Mestre礼拜堂外部实景图

葡萄牙Jesus Mestre礼拜堂外部实景图

葡萄牙Jesus Mestre礼拜堂外部实景图

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葡萄牙Jesus Mestre礼拜堂内部实景图

葡萄牙Jesus Mestre礼拜堂内部实景图

葡萄牙Jesus Mestre礼拜堂内部实景图

葡萄牙Jesus Mestre礼拜堂内部实景图

葡萄牙Jesus Mestre礼拜堂内部实景图

葡萄牙Jesus Mestre礼拜堂内部实景图

葡萄牙Jesus Mestre礼拜堂内部实景图

葡萄牙Jesus Mestre礼拜堂内部实景图

葡萄牙Jesus Mestre礼拜堂内部实景图

葡萄牙Jesus Mestre礼拜堂内部实景图

葡萄牙Jesus Mestre礼拜堂内部实景图

葡萄牙Jesus Mestre礼拜堂内部实景图

葡萄牙Jesus Mestre礼拜堂内部实景图

葡萄牙Jesus Mestre礼拜堂内部实景图

葡萄牙Jesus Mestre礼拜堂内部实景图

葡萄牙Jesus Mestre礼拜堂内部实景图

葡萄牙Jesus Mestre礼拜堂内部实景图

葡萄牙Jesus Mestre礼拜堂内部实景图

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