冥想空间 · 城市中的宁静之石

非常感谢

Antonio Mesquita

Appreciation towards Antonio Mesquita for providing the following description:Like a Stone

原初有力，坚实平静。我们觉得挺有意思，因此推出深度报道，希望将项目更立体的表达展现。

Like a Stone的场地在Strelecky Ostrov的树林中。Strelecky Ostrov是一座孤岛，其位于穿越捷克共和国城市布拉格喧哗市中心的河流之上。喧嚣近在咫尺，而这里却拥有大隐隐于市般的独特宁静，真是一片珍贵的宝地。

Project Name: Like a Stone

Location: Prague, Czech Republic

Year: 2013

In the heart of Prague always so full of noise and tourists who wander from street to street and square to square, we find Strelecky Ostrov. An island. Not only in the physical sense, but also in the metaphorical one, because this place comes as a piece of quietness surrounded by confusion. In this way, assumes itself as the ideal place for host a space that aims to provide peace and quiet while dazzles by providing one of the best views over the city.

Like a Stone，作为一个教堂，体现了如石头般的原始，纯粹，不规则，还有实体下能为人带来平和的减法空间。

Thus, trying not to disturb the natural harmony, the small building that embodies the chapel emerges as a stone, pure in its materiality, irregular in its form and transmitting the sensation that its spaces came from a process of subtraction in it. These spaces aim to interact with the users and provide them the ideal conditions to find their peace.

▼ Axonometric View 轴侧

人们先从低矮的人尺度入口进入空间，在这个尺度下，空间的感受与自我的感受融合，光从身后照入，人们跟着影子进入空间，并在随后见到大天窗的时刻抛下刚才的体验，转而全神贯注的在天光弥漫的空间中冥思。

The entry to this space is made through a very low area, conceived to the man scale, where you can feel that dominate the space, as well as observe your own shadows, but then you move forward and leave your shadows and ghosts behind and at this moment the space opens toward a skylight pointing to the sky, and here you can finally rest without any distraction, just contemplating a natural light beam.

▼ Exterior 外观

▼Chapel Entrance 教堂入口

▼Chapel教堂

沉思的空间一侧有个矮小的三角形通道，通往一间小屋，这间小屋的一角顶部开着圆形小孔进入天光，一面墙上则拉出一道线状细窗引入室外的凡尘俗景，进入这里的所有的一切，都被坚实与沉稳的力与感以缓慢而安宁的方式所化解。尘埃落定，万物归静。

Adjacent to this space there is a small room for contemplation accessed by a triangular passage that leads us to the city’s iconic rooftops. This room has panoramic view that is displayed through a long and slim window which only transmits this to whoever is sitting, providing the space to be lived in a slow and quiet way and not with the hustle and bustle of those potentially found standing.

▼Contemplation Room 沉思室

▼Exterior外观

▼ Diagram

▼ Plan

▼ Section Chapel

▼ Section Fountain

▼Elevation N-E

▼Elevation S-W

Conversation between

出品人 Producer：向玲 XiangLing

王耀华Yaohua Wang

1

在我看来，对于“形状”的描述是这个顺序的基础。建筑的中间是一个正方形，外部则是一个梯形。这两个图形的位置基本决定了接下来的三步分析图。这个方形与梯形的组合背后的原因是什么呢？

The figure of the “shape”, for me, is the foundation of this sequence. There is a square in the center and a ladder-shape at outside. The position of these two figures almost determines the next three steps of this diagram. So what’s the reason behind this composition of square and ladder-shape?

Antonio Mesquita：

尽管这个项目坐落在一个小岛上，但你仍可看见并感知到城市的就在很近的地方，所以，我认为将这个项目与其周遭环境联系起来并在两者中建立一种关系是很重要的。为此，我在设计中让“形状”的外部方向平行于周围环境的重要节点，也就是南北侧的桥梁，西侧的康帕公园（Kampa Park）和东侧的斯美塔那街（Smetanovo Street）。至于中间的方形，则是从梯形中掏空的形状，它的四边分别沿着正东南西北的方向。这样，当在建筑周围漫步时，你会感觉与城市有所呼应并建立了关联，而当你置身于混凝土墙围绕的中庭时，却会只感受到与太阳及日光间的联系。

Despite the project being located on a small island, you can still see and feel that the city is really close. So for me, it was important to relate the project with its surroundings and establish a relationship between them. In order to achieve it, the outside directions of the “shape” are designed parallelly to the most significant parts of the surroundings, in that case, the bridges at north and south, the Kampa Park at west, and the Smetanovo Street at east. In which refers to the square in the center, it is a subtraction to the shape given by the ladder-shape, and its sides are aligned with the cardinal points. In this way, when you walk around the project, you feel connected and establish relations with the city. And when you are inside the central patio, surrounded by the concrete walls, you only feel connected with the sun and its light.

您提出一个“形状，教堂，洞穴，空间”的顺序，我觉得很有意思，所以这个问题是关于“形状”和“洞穴”的。首先，它们从字面上应如何解释？为何第一张分析图描述的是“形状”，而第三张是“洞穴”？

You named a sequence of “shape, chapels, holes, spaces”, which I think is very interesting. So this question is about “shape” and “holes”. First of all, literally, what do they mean? Why the first figure of the diagram is a “shape” and third one is a “holes”?

Antonio Mesquita：

从我在第一个问题中解释的设计过程可以看出，我是从形式入手设计这个建筑的，由于这个形式是基本形，我决定就称它为“形状”。接着我将建筑看作一个实体，一个将被开凿的巨大“石块”，而开凿出的洞穴就是空间。那时候我脑海中常浮现爱德华多•奇利达（Eduardo chillida）的作品，于是我试着想象这个从实体中挖空一部分从而产生形式的过程。因此，这个建筑从“形状”开始，第一下开凿形成了北侧和南侧的小“教堂”，之后继续这个开凿的过程直到创造出所需的全部空间，至此我们便有了全部的“洞穴”，这些洞穴最终被转化为“空间”。

As a result of the process that I explained on the question 1, I started this project by working on this form, and as it is the base shape, I decided to simply call it “shape”. Then the idea was to think in this project as a solid object, a big “stone” that started to being excavated, and the holes that were created are the spaces. In that time, the works of Eduardo Chillida were always coming to my mind and I tried to imagine this process of subtracting parts from a solid and by this create forms. So, the project started from the “shape”, then the first subtractions were the “chapels” at north and south, then the process of subtraction continued until create all the spaces that were needed, and at this point we had all the “holes” and finally these holes were transformed into “spaces”.

这个操作的顺序中包括很多用涂黑来体现空间虚实（poche）的部分。您对这些涂黑的部分是怎么想的？

This sequence of operation gives us a great amount of poche. What’s your idea about these poche?

Antonio Mesquita：

实际上这个操作中这么多涂黑的部分是实体中未被“挖空”的部分。有了这些涂黑的部分，建筑从一个实体逐渐被挖空的理念变得更加清晰。另外，古老的教堂中由构造和材料表现出的硬实感与力量感让我非常着迷，而我相信其中一部分原因应归结于它们有着大量的建筑涂黑。如果这个空间看上去非常坚实，那么它就会给予使用者安全感与被尊重感，从而让他们更容易进入寻求内心平静的状态。

In fact this operation give us a lot of poche that is the part of the solid volume that was not ‘subtracted’. By having all this poche the idea of it being a solid that suffered a process of subtraction becomes more clear. Also, for me something that is fascinating in the old churches and cathedrals is the sense of hardness and strength that their constructions and materials represent, and I believe that this fact comes partly from their big amount of poche. By appearing strong the space conveys safety and respect to its users which allows them to more easily be in conditions to find their inner peace.

您提到了古老教堂中的建筑涂黑。我认为这些古老教堂中涂黑的形式和尺寸在很大程度上取决于上层结构负荷，因此这些涂黑的部分基本上是一个客观决定的结果。而您的建筑只有一层，在我看来您的建筑涂黑更多是为了空间效果。所以同样是建筑涂黑，您是怎么看待这个区别的呢？

You mentioned poche of the old churches and cathedral. I think the form and dimension of those poche has a great deal to do with the struc-tural load from above. Therefore, those poche is almost a mandatory result. On the other hand, your building is single floor. For me, your poche has more to do with spacial affect. So how do you see this difference regard to the poche?

Antonio Mesquita：

完全没错，老教堂中建筑涂黑的尺寸是上层结构负荷的产物，在这个小教堂项目中从结构系统来说没有必要采用那种尺寸的建筑涂黑。但当你置身一个老教堂中，如果你触摸或敲击它的墙壁时，你不知为何就会感觉它是坚实牢固的，这种感受会传达给你安全感与被尊重感，而我设计这种尺寸的墙壁正是想要创造这种感觉或者说“氛围”，这的确与你提到的空间效果密切相关。然而我也解释过，这种尺寸的建筑涂黑还有一个原因，是为了更加明确地表达建筑从一个实体被逐渐挖空的理念。

It is completely true that the dimension of poche in the old churches is a result of the structural load from above and in the case of this chapel there is no need of that dimensions in which respects the structural system, but what I wanted to mean was that when you are inside of an old church if you touch or knock on the walls you somehow feel that it really is strong and solid which conveys safety and respect and it is this kind of feeling or ’atmosphere’ that I tried to create by designing the walls with this dimensions, it has everything to do with the spatial affect you referred. However as I explained the reason for the dimension of this poche is also to make more clear the idea of it being a solid that suffered a process of subtraction.

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