葡萄牙波尔图的年轻建筑师Antonio Mesquita(1989)是gooood的忠实读者，他给我们分享了他最新的作品“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
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
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
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
▼ Section Chapel
▼ Section Fountain
gooood and Antonio Mesquita
对谈：gooood VS Antonio Mesquita
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?
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.
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”?
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 this holes were transformed in “spaces”.
This sequence of operation gives us a great amount of poche. What’s your idea about these poche?
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 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.
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?
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.