絲帶教堂，尾道，廣島，日本

建筑設計：中村拓志 & NAP建筑設計事務所

Architects: Hiroshi Nakamura & NAP Co., Ltd.

絲帶教堂，尾道，廣島，日本

Ribbon Chapel, Onomichi, Hiroshima, Japan, 2013

建筑設計：中村拓志 & NAP建筑設計事務所

Architects: Hiroshi Nakamura & NAP Co., Ltd.

1 遠景/Distant view

2 總平面/Site plan

項目信息/Credits and Data

結構設計/Structure Design: 奧雅納工程顧問有限公司/ Ove Arup & Partners. Ltd.

承建方/Contractor: 三菱建設/P. S. Mitsubishi Construction Co., Ltd.

結構/Structure: 鋼結構/Steel structure

基地面積/Site Area: 2500m2

總建筑面積/Total Floor Area: 80m2

攝影/Photos: 藤井浩司/Nacasa及合伙人事務所/Koji Fujii/ Nacasa and Partners Inc.

兩根螺旋合二為一

這座婚禮教堂位于廣島縣尾道市貝拉·維斯塔境之濱度假酒店的花園內。場地處在一座小山的半山腰上，可以觀賞到瀨戶內海全景。通過讓兩段螺旋樓梯相互纏繞，我們實現了一座自力支撐的建筑，它具有前所未有的新奇造型，并且在建筑上以某種純潔的形式體現了結婚這一行為。假如只有一段單獨的螺旋樓梯，它在水平方向上會不穩(wěn)定,且易于產生垂直震動，這樣會極其不堅固。

通過連接兩段螺旋樓梯使其相互支撐，我們完成了一個自力支撐的結構。就像兩個生命一直相互扭轉纏繞直至最終聯結在一起，這兩段螺旋樓梯在15.4m高的頂端天衣無縫地相接，形成了一根完整的絲帶。教堂位于它們動態(tài)的中心位置，人們在那里等待向新娘、新郎送出祝福。教堂的通道通向一棵現存的有象征意義的樹，圣壇就位于樹前，這里一共有80個座位，從每個位置都可以通過樹林的縫隙望向大海。

一座建筑通常由確切的元素組成：屋頂、墻體和樓板。然而在這里，盤旋纏繞的樓梯演繹出屋頂、檐、墻體、樓板，構成了這座建筑的空間。樓梯在寬度上擴大是為了回應場地與功能，例如在夫婦相遇的頂端處、在具有良好視野的朝向上、在需要屋檐足夠深以實現室內遮陽的地方。

建筑外觀用豎向木板制成，并且為保持長久美觀將其漆成了白色，還使用了鋅鈦合金這種材料，可以抵抗海風腐蝕，并且非常柔韌，便于彎折。在壓頂、墻體、天花和窗框上采用鋅合金，使一個簡潔統(tǒng)一的設計由單一材料實現。

婚禮教堂這種建筑類型總是伴隨著一個路線式布局。新娘和她的父親從通道走下去，在儀式結束后新娘和新郎又從這條通道啟程。這段路的每一步都會喚醒不同的記憶和心情。幸運的是在這個教堂中，儀式的形式也與空間相和：新娘和新郎分別從不同的樓梯走上頂端，相遇，然后向上帝獲得在一起的許可，發(fā)表誓詞，最后這兩個曾擁有不同生命軌跡的人再一起走下樓梯。這座簡單的建筑僅由路徑構成，海洋、山、天空和遠處的島嶼等景色沿著這條路徑成功地出現和消失。盡管這只是一個小建筑，我們仍努力嘗試通過將通道延長至160m和擴大空間體驗的豐富性，以此提升新娘、新郎的情緒以及神父的思考?！酰ㄖ写逋刂?文，辛夢瑤 譯）

3 外景/Exterior view

4 樓梯/Stairs

5 軸測圖解/Axo diagram

Two Spirals Become One

This wedding chapel stands in the garden of a resort hotel, "Bella Vista Sakaigahama", in Onomichi, Hiroshima. The site is midway up a hill enjoying a panoramic view of the Inland Sea of Japan. By entwining two spiral stairways, we realized a free-standing building of unprecedented composition and architectonically embodied the act of marriage in a pure form. A single spiral stairway would have been unsteady in a horizontal direction or prone to vibration in a vertical direction, hence very unstable.

By joining two spiral stairways so that one supports the other, we produced a free-standing structure. Just as two lives go through twists and turns before uniting as one, the two spirals seamlessly connect at their 15.4m summit to form a single ribbon. At the core of their movement is a chapel where the people who have supported the bride and groom are waiting. The chapel aisle looks toward an existing symbol tree. The altar stands before the tree, and 80 seats are so positioned as to allow views of the ocean through the trees.

Ordinarily, a building is composed of distinctelements: roof, wall, and floor. Here, however, the entwining stairways perform as roofs, eaves, walls, and floors to create the architectural spaces. The stairways widen in breadth in response to location and function, such as at the summit where the couple meets, in directions with fine views, and in places where the eaves must be deep to shield the interior from the sun.

The building's exterior is finished in upright wood panels, painted white so as to deepen in beauty as time passes, and titanium zinc alloy, a material resistant to damage from the sea breeze and pliable enough to be applied to curvature. Employing the zinc alloy on the coping, walls, ceilings, and window sashes enabled a simple design unified by a single material.

The building type of wedding chapels has always followed a route configuration. The bride walks down the aisle with her father, and after the ceremony, the same aisle becomes a route of departure for the bride and groom. In the process of walking along this path, every step awakens memories and emotions. Fortunately, in this chapel, the ceremony also takes form as the bride and groom climb separate stairways to meet at the top, ask for heaven's permission to join as one, and declare their marriage. The two, who have lived separate lives, then walk back down the stairway together. The simple building is composed only of paths, along which sceneries of ocean, mountains, sky, and distant islands successively appear and disappear. Although it is only a small building, we endeavored to accommodate the emotions of the bride and groom and the thoughts of the celebrants by extending the aisle to a total length of 160m and expanding the range of experiences.□ (Text: Hiroshi Nakamura)

6 樓梯/Stairs

7 外景/Exterior view

評論

方曉風：這個項目從環(huán)境布局、形態(tài)把握到技術細節(jié)都堪稱完美，建筑別致有趣，能提供富有感染力的非常規(guī)體驗。但這個項目更令我感興趣的是文化問題，西式婚禮或婚禮空間在東方語境中已無多少宗教意味，東方自身的傳統(tǒng)又得不到響應，建筑顯然是現實的反映。當代婚姻也未必看重從一而終的承諾，就這么走上走下，曾經有一段美麗的記憶，是否就足夠了呢？建筑形式給我的另一個聯想是，猶如把中國傳統(tǒng)的假山抽空了，只剩下路徑，曲徑環(huán)繞的是一個漂亮但多少有點兒空泛的寄愿。

Comments

FANG Xiaofeng: This project is perfect in its environmental layout, its grasp of form, and its technical details. The architecture itself is quite delicate and interesting, providing the user an unusual and rich experience. But what really interests me the most about this project is the cultural factor which is contained within. The western-style wedding and associated wedding spaces have lost its religious meaning when located in an oriental context; at the same time, the oriental tradition has not responded either, so obviously the architecture is reflecting the reality of the society. Considering that modern marriage does not necessarily cherish a lifelong commitment, can it be enough to have some beautiful memories during all the ups and downs? The other impression that I get from the architecture reminds me of traditional Chinese artificial hills that have been reduced mere paths, which embrace a beautiful but somewhat hollow wish.

郭屹民：如同婚慶儀式中新人們執(zhí)手相會在坡道上一樣，這座婚慶教堂令人印象深刻的雙螺旋外觀所構成的靚麗姿態(tài)，也同樣匯聚了儀式的功能與支撐的結構，進而使象征性與開放性能共鳴回響在廳堂之間。對客觀要素的集約，不僅將形態(tài)從建筑師主觀的恣意操作中解脫出來，更讓形態(tài)在與合理性的對應之中，獲得了超越視覺表層的深厚感?？梢哉f，建筑在坦蕩如畫的風景之間，用自身的方式釋放出獨有的存在。

GUO Yimin: Symbolizing a wedding couple holding hands on the slope, the attractive duplex form of this wedding chapel combines the ceremonial function with its supporting structure, presenting both symbolism and openness echoing together at the same time. The collective use of objective elements not only releases the architectural form from the wanton control of the architect, but also achieves a sense of depth that is beyond the visual level, in the corresponding relationship between morphology and rationality. It can be said that the architecture reveals its unique existence in its own way, between the picturesque scenes.

8 內景/Interior view