建筑师：Cino Zucchi建筑事务所
地点：意大利，米兰
设计团队：Cino Zucchi, Helena Sterpin, Filippo Carcano, Cinzia Catena, Silvia Cremaschi, Cristina Balet Sala, Anna Bacchetta, Annalisa Romani, Martina Valcamonica, Valentina Zanoni
结构工程：Mauro Giuliani, Redesco srl
灯光设计：Cinzia Ferrara
礼仪顾问：Giovanni Mariani, Giovanni Zuffada
年份：2010
摄影：Cino Zucchi事务所授权特邀

环境（米兰的一个工业郊区）和现存建筑（60年代一群牧师由仓库改建的教堂）导致该项目在一定程度上受到限制，面临一个困难的问题需要处理：一个现代教堂如何能不沉迷于结构的表现欲或是对堆砌辞藻的探索之中。

竞赛概要提出的详细要求和现存建筑和开放空间做出的限制使得我们必须尊重场地，做出一种紧密的空间结构。项目的目的在于使教堂庭院和城市、花园、体育场之间的关系最小化。教堂的体积和毗邻的房间创造出一个隐蔽的接待区域，面对南面街道对面的社区和西面划分足球场的树篱。

后部现存的体育场保留了原有形状和大小。沿街立面上，尖顶，对街栏杆和辅助元素组成凹面环拥教堂庭院，利用了城市立面长对角视线。

比萨路上的正立面完美地表现了“帆形”的悠久传统，从17世纪的教堂（的作者）到米兰的教堂。新的正面提取了附近的小礼拜堂屋檐的思路；两个侧面中间的凹角在入口外营造了一个隐蔽的区域并塑造了教堂庭院的形状。

在教堂大厅的主要空间周围，一个坡屋顶的低矮空间包含了教区全体教民社会生活所需空间：牧师的办公室，会议室，圣器保藏室，一个门廊通向与礼拜大厅相对应的巨大的地下审判室。如果空间的总体框架完全是传统的，一个相关区域的精确定义，房间的面积，照明，礼拜空间的简单设计和家具表达出一个对现代基督社区受欢迎的空间的探索。

礼拜建筑的室内空间应当是平静的，神秘但不夸张的，日常但不平凡的。它的建筑结构是两种历史上主要的典型教堂的当代演绎：纵向单轴大厅，轴线以祭坛为中心点，中央或为椭圆形的平面集中于圣坛。这两种空间形式的变体混合为许多历史范例，从帕齐礼拜堂到在Via Flaminia路上的圣安德鲁教堂——一个简单的长方体上放一个圆形或椭圆穹顶，正如瓜里尼多个巴洛克晚期的范例那样。

建筑内部与两种对立的比喻本体产生共鸣：方济各会和多明我会，不加修饰的墙体，外露的屋顶结构，反对宗教改革运动的教堂绘有壁画的穹顶。

在教堂庭院和内部大厅之间有一个低矮的横向空间，作为门廊和洗礼圣器的摆放之处，在古代圣坛位置的对面。

教堂大厅的天花板特点是包围天窗的厚重横肋排成富含韵律的直线。两个白色水泥的“帆”或者说“翼”从墙上伸出包围了一片空间；后墙上一个大天窗将阳光从北面投射到祭坛之上。外立面表面是一列尺寸相同材料不同的厚板：白石，灰石，氧化锌板，丝绢网玻璃。它们的韵律、位置、质量随太阳方位、内部空间质量和与城市环境关系而变化，形成了二维装饰图案，就其大胆的空间表达来说，是一种精致的表皮。

尽管这座神圣的宗教建筑和法国艺术家Hélène Delprat的壁画尚未完成，教堂已经为社区居民完全接受，在各种私人和公共场合使用该建筑，证明了设计现代宗教空间的成功。

特别鸣谢翻译一组9号 王一宁提供的翻译，译稿版权归译者所有，转载请注明出处。

---

Architects: Cino Zucchi Architetti
Location: Milan, Italy
Design Team: Cino Zucchi, Helena Sterpin, Filippo Carcano, Cinzia Catena, Silvia Cremaschi, Cristina Balet Sala, Anna Bacchetta, Annalisa Romani, Martina Valcamonica, Valentina Zanoni
Structural Engineering: Mauro Giuliani, Redesco srl
Light Design: Cinzia Ferrara
Liturgist: Giovanni Mariani, Giovanni Zuffada
Year: 2010
Photographs: Courtesy of Cino Zucchi Architetti

The context (an industrial suburb of Milan) and the existing building to be replaced (a warehouse converted church-hall built by a group of worker priest in the 1960s) generated a formally restrained project, which tackles the difficult subject of a contemporary house of worship without indulging in structural exhibitionism or in the search for figurative freedom.

The specifications requested by the competition brief and the limitations imposed by the existing building and open spaces led to the configuration of a necessarily compact spatial solution, which had to respect its site. The project aims to maximise the relationship between the churchyard and the city and with its garden and sports field. The volume of the church and of the adjacent rooms is hollowed out in such a way as to create a covered reception area for the community towards the street to the south and on the west towards the hedges that line the football field.

The existing sports field around the back retains its shape and size. The street façade, steeple, new street- front fence and auxiliary elements make up the concave profile that ‘embraces’ the churchyard, exploiting the long diagonal view of the façade from the city.

The front onto Via Pisa perfectly reflects the long tradition of “sail-style” facades, from the seventeenth century façade of Juan Caramuel’s church in Vigevano (author of the renouned “Arquitectura civil recta y obliqua”) to Gio Ponti’s church in Via Paolo Giovio in Milan. The new front takes the thread of the eaves of the nearby oratory; the concave angle between the two sides creates a sheltered area above the entrance and gives shape to the new churchyard space.

Surrounding the main volume of the church-hall a lower body covered with a pitched roof houses the spaces destined to the social life of the parish complex: priest’s offices, meeting rooms, the sacristy and the atrium to a large underground event room in correspondence to the liturgical hall. If the general layout of the spaces is entirely traditional, an accurate determination of areas of relevance, the proportions of the rooms, lighting, the simple design of the liturgical space and furnishings express the search for a welcoming space for a contemporary Christian community, where contemplation and activity in the world, daily life and a sense of the sacred are not separate moments, but aspects of a unified feeling. The layout of the new environments which form the parish complex aims to maximise their relationship with its open spaces, opening them up to moments of togetherness which constitute a key element of its life.

The interior space of this place of worship is meant to be peaceful, mystical but not theatrical, daily but not prosaic. Its architecture is a contemporary interpretation of the two major typological paradigms of historic churches: the longitudinal single hall, with an axis centred on the presbytery, and the central or oval plan gathered around the altar. In their many variations these two spatial forms are often combined in many historical examples, from the Pazzi Chapel by Brunelleschi, S. Andrea on the Via Flaminia by Vignola – where a circular or elliptical dome is set on a simple rectangular volume – up to several late baroque examples by Guarini.
The architecture of the interior resonates also with two opposite figurative matrices: the Franciscan and Dominican churches, undecorated halls with exposed roof structures, and the enveloping domes of the frescoed churches of the counter -Reformation.

Between the churchyard and the interior hall there is a lower transverse space, which serves as a vestibule as well as being the home of the baptismal font, whose location opposite to the altar harks back to the position it occupied in ancient times.

The ceiling of the church hall features the rhythmical alignment of thick transverse ribs that contain the skylights. Two white stucco “sails” or “wings” – branch out from the walls to generate a spatial embrace; a large skylight on the back wall carries daylight over the presbytery from the north. The outer facades are faced with an array of vertical slabs of equal dimension but different materials: white Trani stone, Grey Serena stone, oxidized zinc sheets, silkscreened glass. Their rhythm, position and quantity changes according to sun orientation, quality of internal spaces and relationship with the urban setting, generating a bi-dimensional decorative pattern which acts as a finer texture in respect to the bolder volumetric statement.

Even if the planned sacred furniture and the artwork by the French artist Hélène Delprat are not yet completed, the church has been fully adopted by the community which uses its premises in a variety of private and public fashions, confirming the success of the design moves apt for a contemporary sacred space.