The Chapel of Saint-Michel de Brasparts by Ronan Bouroullec

非常感谢 Ronan Bouroullec 予gooood分享以下内容。更多关于 : Ronan & Erwan Bouroullec on gooood. 
Appreciation towards Ronan Bouroullec for providing the following description:

2022年7月，一场大火席卷了布列塔尼的Arrée山，其中，Saint-Michel de Brasparts的山地也未能幸免于难，但火灾却没有影响到位于山顶（381米）处的小教堂。这座小教堂建造于17世纪末，沿袭了当地古老的宗教传统。在经过全面修复后，设计师Ronan Bouroullec为其专门打造了一套新的内饰。

Mont Saint-Michel de Brasparts did not escape the wild fires that engulfed Brittany’s Arrée hills in July 2022, but the fires did not reach the chapel on its 381m summit. Built at the end of the 17th century, in line with an ancient religious tradition on the site, it has now undergone a complete restoration, with a set of new furnishings designed by Ronan Bouroullec.

▼小教堂远观，A distant view to the chapel © Studio Bouroullec

▼小教堂外观，Exterior view © Studio Bouroullec

教堂的规模较小，平面呈长方形，建筑带有尖顶，墙壁厚度超过1米。Arrée山区常见的石板屋顶覆盖在橡木材质的框架上，后者由Ateliers Le Ber的工匠进行了细致的修复。唱诗班空间的地面略微隆起，石墙采用了石灰粉饰面。西向正立面的大门很少被使用，南门却始终敞开，不需要用钥匙。它为所有的路人、徒步者和朝拜者提供了庇护所和休息空间。

The Chapel of Saint-Michel de Brasparts is a modest building, rectangular in plan, with a canted apse. The walls are over a metre thick. The Arrée hills slate roof rests on an oak frame, magnificently restored by the craftspeople from Ateliers Le Ber in Sizun. The beaten-earth floor is slightly raised in the choir area. The stone walls are lime-rendered. The door of the main west facade is only rarely used. The south door is always open, it has no key, providing refuge, a resting place open to all – passers-by, hikers, pilgrims.

▼入口，Entrance © Claire Lavabre – Studio Bouroullec

除了石砌的洗礼盆和一些简易的临时物品，例如还愿祭品、自制的木质十字架、鹅卵石和干花，教堂内几乎空无一物，亦没有照明和供电。自然光线从天顶的两扇窗户射入室内，窗户采用了1950-60年代受《L’Art Sacré》杂志影响而流行的抽象风格的玻璃板。教堂的质朴感与它所俯瞰的优美景观形成了鲜明的对比，通过为游览者遮风挡雨，它所散发出的精神能量显得愈加强烈。

Other than a stone font and a few improvised makeshift items – votive offerings, homemade wooden crosses, pebbles, dried flowers – the chapel stands empty. There is neither lighting nor electricity. Light comes in through the two windows of the apse – glass slabs in the abstract style popular in the 1950s and ‘60s, influenced by the magazine L’Art Sacré. The contrast between its simple starkness and the beauty of the landscape it overlooks – with all the force of the wind and rain from which it protects visitors – and the spiritual energy it exudes, produces a powerful effect.

▼教堂主空间，Main space of the chapel © Claire Lavabre – Studio Bouroullec

教堂与其所在的地点，以及建筑与自然之间的连续性是它最令人印象深刻的一个部分。在为教堂添加内饰时，Ronan Bouroullec选择了能够延续这种连续性的材料，使其看上去就像是从周围环境衍生出来的一般。

The feeling of a powerful continuity between the Chapel of Saint-Michel and its site, between architecture and nature, is one of the first impressions that strikes the visitor. The materials used for the elements added by Ronan Bouroullec extend this continuity, as if derived from the surroundings.

▼十字架和玻璃花窗，Cross and stained-glass window © Claire Lavabre – Studio Bouroullec

▼圣坛，The altar © Claire Lavabre – Studio Bouroullec

首先是名为“Nuit Celtique de Huelgoat”的花岗岩，这是一种深色的石材，上面镶嵌着白色碎片，就像教堂头顶上一尘不染的星空。

First a granite, Nuit Celtique de Huelgoat, a dark stone studded with shards of white, like the starry night sky over the chapel, virtually devoid of light pollution.

▼深色花岗岩打造的讲台和平台，The alter and its horizontal base are made of a Nuit Celtique de Huelgoat granite block © Claire Lavabre – Studio Bouroullec

▼讲台和墙上的反光圆盘，Detailed view: the altar and the reflective disc behind it © Claire Lavabre – Studio Bouroullec

花岗岩石块开采自距场地不到15公里的Brennilis，随后由来自Plonévez-du-Faou的石匠Christophe Chini将其切割成三个部分，用于打造教堂中的三个元素：水平的圣坛底座、置于其上的讲台，以及一个可供游客摆放蜡烛和其他物品的细长台面。

An impressive block of it was quarried in Brennilis, less than 15km away as the crow flies, and then cut into three pieces, worked by stone mason Christophe Chini from Plonévez-du-Faou: a horizontal base, the alter above it, and a console-table for candles and objects placed by visitors.

▼可供游客摆放蜡烛和其他物品的细长台面，The console-table for candles and objects placed by visitors © Claire Lavabre – Studio Bouroullec

▼内饰元素细节，Furnishing elements detailed view © Claire Lavabre – Studio Bouroullec

Ronan Bouroullec并不经常使用花岗岩，但却经常使用经过锻造和捶打的钢材。自2015年以来，他与意大利制造商Magis合作打造了Officina系列产品，其中包括多款钢制烛台。不过，在该教堂中，这些烛台元素是由罗斯科夫的艺术家兼金属工匠Mathieu Cabioch手工制作的。

While Ronan Bouroullec does not often use granite, forged and hammered steel is, however, a recurrent material in his work, resulting in a fruitful collaboration since 2015 with Italian manufacturer Magis on the Officina range, which includes a series of candelabras. But unlike these, the elements for the Chapel of Saint-Michel have been hand-crafted, by Mathieu Cabioch, artist–metalworker based in Roscoff.

▼烛台和十字架细节，Candelabra and cross detailed view © Claire Lavabre – Studio Bouroullec

最后是玻璃，它在Ronan Bouroullec的作品中也占据着重要地位。玻璃与场地间的关联并不体现在地理位置上（它是由威尼斯地区的玻璃生产商制作），而是为了与小教堂中现存的唯一装饰——彩色玻璃窗产生对话。这几面彩色玻璃窗出自布列塔尼玻璃大师Auguste Labouret之手，他曾经为非尼斯泰尔省的许多教堂设计过玻璃花窗。

The third element, glass, also occupies an important place in Ronan Bouroullec’s work. The link between the glasswork and Saint-Michel de Braspart is not geographic (it was made by glassmakers from the Venice region, with whom Ronan Bouroullec has been working since 2018), but is part of a dialogue with the only existing decorative element in the chapel – its stained-glass windows, attributed to the Breton master glassmaker Auguste Labouret, who also made those of many churches in Finistère, notably in Morlaix, Roscoff and Brest.

▼玻璃花窗带来自然光线
The stained-glass window brings natural light in © Claire Lavabre – Studio Bouroullec

photo credit:
Claire Lavabre – Studio Bouroullec
Studio Bouroullec

More：Ronan Bouroullec