蒙特雷的塞雷纳教区教堂
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虽然整体设计现代，但这座寺庙的设计同时代表了一种具有悠久历史的建筑语言的发展，体现了延续性与更新。教堂的体量概念源自传统教堂平面设计。外立面是一面大型平坦的墙面，强调且呈方形，宣示着内部空间的异质性：教堂内部的神圣空间。祭坛上方是一个高大的天窗，光线透过一个倾斜的面板洒下，该面板分为四个部分，显露出一个大型的拉丁十字架。
“仁慈的主”教堂位于墨西哥蒙特雷一个新型城镇开发的中心，周围环绕着壮观的山景。教堂选址和朝向的最重要因素是它与开发区最大开放空间——一个绿意盎然的广场的关系。教堂的主要入口直接通向广场，宽度达到11.5米 “38英尺”，这一开口使教堂内部空间与广场之间形成了视觉连接。这个入口同时被一个大型的梯形雨篷所界定和保护，雨篷悬挑于主立面。
在入口雨篷上方，外立面是一面没有窗户或装饰的大平面，强调且几乎呈方形，宣示着其背后和内部空间的异质性：教堂内部的神圣空间。它对广场的明显正面朝向是完全有意为之。
人们认为，广场可以作为教堂的附属空间，当参加的信徒人数超过350人的教堂容量时，宗教庆典和仪式可以溢出到广场上。另一方面，当广场的喧嚣与教堂活动的庄重发生冲突时，大型滑动屏幕可以减弱与广场的连接，恢复教堂内部的宁静氛围。
该项目旨在超越目前在蒙特雷进行的宗教仪式和礼仪活动的适应，创造出一个空间，代表一种具有悠久历史的建筑语言的发展，建筑既体现了延续性又体现了更新，找到与伟大的教堂建筑遗产的联系，同时又毫不怀疑地保持现代性。该寺庙不仅被视为冥想的场所，也被视为一个社会和教育中心。
虽然教堂的特征无疑是现代的，但其体量概念源自传统教堂平面设计；该设计呈现出可识别的建筑特征，取自早期基督教寺庙原型，如钟楼、彩色玻璃窗、正面祭坛、洗礼池、合唱团、三个小教堂和侧院。因此，这一建筑提案被认为既可识别又是新的。
作为独立建筑，位于新城镇开发的中心，外部体量的配置呈现出一种现代但又传达出坚固和自信的设计。圆润的形状被认为让人联想到由胡尼佩罗修士在美国西南部建造的第一批传教所，这些建筑由木材和土坯构成。
高达43米 “141英尺” 的钟楼可以从很远的地方看到，成为通往圣地亚哥高速公路上驾驶者的地标和参考，普韦布洛·塞雷纳就位于这条高速公路上。
教堂的平面设计为巴西利卡式，中央长廊呈矩形，宽约15米，长18米，高15米 “宽：49英尺，长：59英尺，高：49英尺”，其长轴朝南北方向，面向祭坛。内部有多个自然光源。在洗礼池后面，一面长玻璃墙沿着长廊延伸，提供了一个封闭庭院的视野。玻璃受到轻质水平遮阳板的保护，遮阳板向庭院空间延伸，周围城市区域的视觉连接则被庭院周边的巨大石屏障阻挡。在庭院内，一个水池将水流倾泻到地下层的下层庭院。
洗礼池上方是一个玫瑰窗的变体，朝西的九方格开口，配有彩色玻璃。东南方向有三个小教堂，每个教堂都享有来自高天窗的日光，每个教堂朝向不同的方位，因此每个教堂的光线颜色和强度在一天中不断变化。最后，祭坛上方是第四个高天窗，光线透过一个倾斜的面板洒下，面板分为四个部分，显露出一个大型的拉丁十字架，十字架在上方的光线照耀下闪闪发光。
与所有教堂一样，中央长廊的声学效果至关重要。著名的声学工程师Arau Asociados对教堂内部的条件进行了全面研究，并帮助我们制定了对内部表面配置的详细方案，包括在选定墙面上应用扩散木条，特别是在祭坛后面、三个小教堂和合唱团的后面，以及入口门上方。
在每一个机会中都寻求可持续解决方案。在确保项目采用的热绝缘性能远远超过当地建筑通常使用的材料后，我们设计了一种自然通风系统，利用钟楼的高度创造强大的烟囱效应，通过入口立面的大型格栅引入空气。日光照明也经过仔细研究，确保所有使用和工作空间在不需要电照明的情况下有足够的自然光，同时我们也非常注意避免在炎热的月份中出现过多的阳光照射，以保持热量增益尽可能低。最后，建筑的大部分程序位于地下，那里温度始终舒适，日光通过宽敞的下沉庭院提供。
室内设计与建筑完全融合，家具由Moneo Brock设计，从木制长椅到祭坛、合唱团和多个屏风，入口的滑动门、主圣所的门以及将洗礼池与中央长廊分开的屏风。我们还设计了一些更具艺术性的元素，如“玫瑰窗”的彩色玻璃窗 “对哥特式特征的重新诠释，这里朝西以最大程度地发挥在晚间弥撒中的效果”、通往骨灰安放处的入口处的彩色玻璃窗，以及两个圣所，阳光从金色或银色的三角形太阳光辉中洒下，角度设计以捕捉来自各个方向的光线。
在Moneo Brock的策展指导下，为教堂委托了各种艺术作品：由加利西亚艺术家弗朗西斯科·莱罗雕刻的木制十字架上的基督大型雕塑、纽约的佩德罗·库尼为第三个小教堂创作的约翰·保罗二世的蜡画壁画，以及马德里的卡门·皮纳特创作的“仁慈的基督”高画作，现在悬挂在第二个小教堂。这些当代艺术家的作品，尊重教堂的资助者和神职人员所要求的传统内容，完善了空间。
由于两个大型下沉庭院的开口，地下层的各个空间充满了自然光。北侧庭院周围是教区的行政办公室。西侧的庭院有一个瀑布，一侧是教室和社区的多功能空间，另一侧是骨灰安放处和一个小教堂，用于葬礼仪式，这些空间因位于瀑布后面而显得更加私密。设计地下室时面临的挑战之一是需要与下层的商业中庭连接；为了在中庭和教堂之间创造一个过渡空间，我们设计了一个由开放式棱镜天窗照亮的前厅，正下方是一个反射池。
哈拉里LA的景观设计成功地将建筑概念与更大城市项目的概念结合起来，使用霍尔姆橡树和对种植材料的精妙控制与选择，以调和构成更大开发项目的不同建筑结构之间的关系。
While wholly modern the design of the temple simultaneously represents the development of an architectural language with a long history, speaking of continuity but also renewal. The volumetric concept of the church derives from traditional church plans. The façade is a large flat wall, an emphatic and square plane, declarative of the otherness of the space within: the sacred space of the church interior. Above the altar is a high skylight whose light washes down behind an inclined panel cut into four sections to reveal a large Latin cross.
The church “El Señor de la Misericordia” is located in the center of a new town-like urban development in Monterrey, Mexico, surrounded by an impressive mountain landscape. The most important factor in the siting and orientation of the church is its relationship to the largest open space of the development, a verdant plaza. Its main entry opens right onto the plaza, and with an unobstructed width of 11.5 meters (38 feet), this opening allows for the visual connection between the church’s interior space and the plaza. This entry is at once delineated and protected by a large trapezoidal canopy cantilevered off the main façade.
Above the entry canopy, the façade is a large flat wall without fenestration or ornament, an emphatic and nearly square plane, declarative of the otherness of the space behind and within: the sacred space of the church interior. Its blatant frontality toward the square is entirely intentional.
It is thought that the plaza can function as an annex to the church, with religious celebrations and rites spilling out of doors when attending crowds exceed the church’s capacity of 350 worshippers. On the other hand, when the bustle of the square comes into conflict with the solemnity of the church’s activities, large sliding screens attenuate the connection to the square and restore the peaceful atmosphere to the temple interior.
The project aims to go beyond the accommodation of religious rituals and liturgical events as currently practiced in Monterrey, to where the spaces of the temple represent the development of an architectural language with a very long history, where the architecture speaks of both continuity and renewal, finding references to a great heritage of ecclesiastical architecture while simultaneously remaining unquestioningly contemporary. The temple is seen not just as a place of meditation but as a social and educational center as well.
While the character of the church is undoubtedly contemporary, its volumetric concept was derived from traditional church plans; the design presents recognizable architectural features taken from early Christian temple prototypes such as the bell tower, the stained-glass windows, the frontal altar, the baptistery, the choir, the three chapels and the lateral courtyard. The architectural proposal is therefore thought to be both recognizable and new.
Being free-standing and in the center of the new town development, the configuration of the exterior volume presents a design that, while modern, communicates solidity and aplomb. The rotund forms are thought to be reminiscent of the first missions built by Friar Junipero throughout the American Southwest, constructed of wood and adobe.
The 43 meter- (141 foot-) -tall bell tower can be seen from a great distance, and serves as a landmark and reference for drivers on the highway to Santiago, on which Pueblo Serena is located.
The plan is that of a basilica, with a rectangular central nave some 15 meters wide, 18 meters long and 15 meters high (W:49 feet, L:59 feet, H:49 feet), its long axis running north-south and oriented towards the altar. There are multiple sources of natural light in the interior. Behind the baptistery a long glass wall runs the length of the nave giving views of an enclosed patio. The glass is protected from direct sun by a lightweight horizontal sunscreen projecting into the patio space, and the visual connection to the surrounding urban areas blocked by a massive stone screen at the patio perimeter. Within the patio, a water fountain spills a cascade of streams into a lower patio at the basement level.
Above the baptistery is a version of a rose window, a nine-square grid opening to the west with colored glass. To the southeast, three small chapels each enjoy daylight from high skylights, each one oriented towards a different cardinal direction so that the color and level of light in each chapel changes throughout the day. Finally, above the altar is a fourth high skylight, whose light washes down behind an inclined panel cut into four sections to reveal a large Latin cross, the cross glowing with the light from above.
As with all churches, the acoustics of the central nave were of paramount importance. The renowned acoustic engineers of Arau Asociados made a thorough study of the conditions inside the church and helped us develop a detailed approach to the configuration of its interior surfaces, including the application of diffusing wood battens on selected walls, notable behind the altar, at the back of the three chapels and the choir, and over the entry door.
Sustainable solutions were sought at every opportunity. After ensuring the project’s incorporation of thermal insulation of far and away greater performance characteristics than is typically used in local construction, we devised a system of natural ventilation that takes advantage of the bell tower’s great height to create a strong chimney effect drawing air through large-scale grills incorporated in the entry façade. Daylighting was also carefully studied to be sufficient without the need for electrical lighting in all spaces for use and work, while at the same time we took great pains to avoid insolation during the hotter months, to keep the thermal gains as low as possible. Finally, much of the building program is located underground, where temperatures are constantly comfortable, with daylight being provided by generous sunken patios.
The interior design is fully integrated with the architecture, and the furnishings are by Moneo Brock, from the wood benches to the altar, the choir and the multiple screens, the sliding doors at the entry, the doors to the main sanctuary and the screen that separates the baptistery from the central nave. We also designed elements of a more artistic nature, such as the stained glass windows of the “rose window” (a reinterpretation of the gothic feature, here oriented to the west for maximum effect during the evening Mass), the stained glass at the entry to the ossuaries, and the two sanctuaries, sunbursts made of gold or silver triangles canted to catch light from all angles.
Various artworks were commissioned for the church under Moneo Brock’s curatorial guidance: a large sculpture of Christ on the cross carved in wood by the Galician artist Francisco Leiro, a mural in encaustic of John Paul II in the third chapel painted by Pedro Cuní of New York, and a tall painting of the Christ the Merciful by Carmen Pinart of Madrid, now hanging in the second chapel. These pieces by contemporary artists, respectful of the traditional content called for by church’s benefactors and clergy, complete the space.
Thanks to the opening up of two large sunken patios, the various spaces on the basement level are flooded with natural light. Around the north patio are the parish’s administrative offices. The patio to the west with the cascading waterfall has to one side classrooms and multifunctional spaces for the community and to the other the ossuaries and a small chapel for funeral rites, spaces that are made more private in their location behind the waterfall. One of the challenges facing us in the design of the basement was the need to connect to the commercial atrium at the lower level; to create a space of transition between atrium and church, we designed a vestibule lit by an open-air, prismatic skylight and, immediately below it, a reflecting pool.
The landscape design of Harari LA successfully integrates the architectural concept with that of the larger urban project, using Holm oaks and a spectacular control and selection of the planted material to mediate between the different built structures that compose the larger development.