Saint Joseph the Worker Church by Sparano + Mooney Architecture

religious design combined with mining culture

Project Specs

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该项目是对10英亩的土地进行整体的社区扩张规划。场地独特的历史为新的规划提供了灵感,设计师通过使用当地材料和手工技艺完成了的建筑相关建造,将整体设计与当地采矿文化和古老建筑形式相结合起来。整个23,000平方英尺的场地规划包括了一个可容纳800人的新教堂、一个带办公室和会议室的行政大楼、室内外的社区中心,以及一个带有中央水景的大型围合庭院作为景观过渡空间。设计师通过参考使徒的形象为教堂设计了彩色的玻璃孔洞、提供自然采光的大型天窗、带固定长椅的倾斜地面、祭坛石头上的洗礼诗文、安放宗教雕像的壁龛,以及相关小教堂部分。教堂还包括一个哭泣室、招待室以及大型聚会空间,这里与户外的休憩庭院相连,并通往独立的日间小教堂。整个项目由CM / GC公司建设实施,满足了业主450万美元的预算要求。

The process for this project began with a community outreach, programming, and a master plan for the 10-acre site. The history of the parish provided inspiration for the new design which incorporated tangible references to the community’s mining and construction past through the use of local materials and hand crafted construction detailing. The 23,000 SF plan included a new church with seating for 800, an administrative building with offices and meeting rooms, indoor and outdoor community gathering and fellowship spaces, a large walled courtyard with a central water feature, and landscaped transitional spaces. The sanctuary includes colored glass apertures that reference the apostles, large north facing skylight providing natural day-lighting to the altar area, sloping floors with fixed pews, altar and baptismal font of solid stone, niches for religious statuary, reconciliation chapel, and chapel of reservation. Other elements of the project include, a cry room, hospitality room, a large gathering space connecting to an outdoor courtyard with built-in seating, and access to the separate day chapel. This award winning project was delivered through a CM/GC process to meet the clients budget of $4.5M.

▼教堂外观一览,the external view of the church

 

可持续特征|What are the sustainability features?

设计师充分利用原有教堂遗址,并选择可持续的材料和产品进行教堂内外部的新建。同时建筑施工过程也采用完全绿色环保的方式,展示了人类社会与自然伦理之间和谐的关系,其中设计师选择含有较多煤灰的混凝土作为重复使用模板。这一系列的环保选择也为社区运营和维护降低了成本,建成后的教堂获得了LEED银级认证。

Reclaimed materials from the existing church and other sustainable products and systems are integral to the design, both on the interior and exterior. Green aspects of the building and construction process provided the opportunity to demonstrate tangible and natural relationships between social ethics and environmental ethics. The concrete, for example, contains a high fly ash content and the formwork was re-used. The community benefits from reduced long-term costs associated with operating and main-taining an energy-efficient building. The church is designed to meet a LEED Silver certification.

▼室外景观将两个教堂相连,outdoor landscape connects two churches

▼简洁的大教堂入口,simple entrance of the church

▼以环保混凝土为主要材料的小教堂,small church with environmentally friendly concrete as the main material

 

何以独一无二|How is the project unique?

此教堂以劳动者的守护神命名,并拥有丰富的历史文化基础,实现了建筑和手工技艺的结合创作。该项目位于Bingham Canyon铜矿附近的工人社区,该地区拥有世界上最深的露天矿井,也是该地区支柱产业。居民们大多来自另一宗教国家中的少数民族,他们移民来到犹他州,并在矿山或铁路上工作。1965年,该教区的商人在场地上修建了一座现已拆除的教堂,而该新教堂的设计正是利用了旧建筑的基本元素,并参考教区的文化和历史加入新的钢、铜以及手工木制作组件进行重新的建造。

Named for the patron saint of laborers, this parish church has a rich history and cultural lin-eage rooted in the practices of construction trades and craftspeople. The project is located in a working class neighborhood near the Bingham Canyon Copper Mine, the deepest open pit mine in the world, and major employer in the area. Immigrants came to this part of Utah to work in the mines or on the railroad and stayed, living as minorities in a state dominated by another religion. A modest church, now demol-ished, was built in 1965 on the site by the tradespeople of the parish. The design of the new church re-uses fundamental elements of the old structure, and incorporates new steel, copper and hand-crafted wood components to reference the parish’s mining and construction history.

▼建筑和手工技艺相结合创作的建堂内部,the interior of the building created by the combination of architecture and craftsmanship

 

材料的搭配|What is the material palette?

设计师从当地族谱中汲取灵感,选择了一种可供工人加工的原材料,由此表现了当地的工艺和施工方法。建筑的主体采用板状的混凝土纹理墙,这种材料正是采用传统的堆叠方式建造,这些工艺创造的材料还包括碾压雪松木制成的雨幕; 垂直纹理的杉木板用于祭坛和日教堂的内部装饰; 平缝铜板作为日礼拜堂的天幕和天坛上的天窗结构;层压玻璃组件;酸蚀玻璃和透明绝缘玻璃。整个设计都让人回想起早期的教区的采矿历史,并将普通材料创造为非凡的设施。

Drawing from this lineage, a palette of materials was selected that express the transformation of the raw material by the worker, revealing the craft and method of construction. These materials include textural walls of board-formed concrete, constructed in the traditional method of stacking rough sawn lumber; a rain screen of clear milled cedar; vertical grain fir boards and timbers used to create the altar reredos and interior of the Day Chapel; flat seam copper panels form the cladding for the Day Chapel and skylight structure over the altar; and glazing components requiring a highly crafted assembly of laminated glazing with color inter-layers, acid etched glazing, and clear glass insulated units with mullion-less corners. The design harkens back to the mining history of the early parish, and details ordinary materials to become extraordinary.

▼平缝铜板作为日礼拜堂的天窗结构,flat seam copper panels form the cladding for the day Chapel skylight structure

▼垂直纹理的杉木板,用于祭坛和日教堂的内部装饰,vertical grain fir boards and timbers used to create the altar reredos and interior of the Day Chapel

 

业主的特点|Who are the clients and what’s interesting about them?

该项目的业主并未对我们提出先入为主的想法,只需要建筑能够尊崇并加强当地教派的教义,而形式可以采用(并且应该)与我们生活的时代风格。业主的信念是以永恒表达实际中的变化。这位好业主也最终促成了这一吸引人的教堂建筑。我们很幸运能遇到教区教父Patrick Carley。他是一位博学的人,不仅欣赏我们的设计方法,而且喜欢在此过程中参与讨论,更加深入地探索教会的教义。他是真正意义上的完美合作者。

The client came to the project with no preconceived ideas of what they wanted. Our approach to the design of this or any sacred space is one where as long as the architecture reinforces the teachings of that denomination the forms and gestures of the architecture can (and should) be relevant to the epoch in which we live. The client’s beliefs are the constant; the architecture that expresses them is the variable.Of course none of this would have gained any traction without a good client and we were lucky enough to have a great one in Father Patrick Carley, the Parish Pastor. He is a true intellectual that not only appreciated the approach we took but loved to discuss it, explore and test it against church teachings along the way. He was a collaborator in the very truest sense of the word.

▼光晕下的忏悔室,confession room under the halo

 

圆形的象征意义|Is the circular design symbolic?

生活中,当组织一群人会聚在一起时,他们会自然地排列成一个大致圆形的形状。设计师也由此意识到某种圆形形式正是聚会的理想形态。在该项目中,设计师尝试了很多形式,最终选择了椭圆的形式作为最佳方案,实现了800人在离祭坛一定距离内都可以观察到牧师的面部表情。其实这种神圣的宗教建筑有着丰富的历史先例:从罗马的万神殿到坦比哀多礼拜堂(Tempietto)。在该项目中,设计师遵循当地工人的传统文化,将圆形的、加厚墙壁、雕像和存物空间这一系列元素加入到小教堂设计中。光线从底部的带状彩色烤漆玻璃照进建筑,在整个室内营造出一种淡淡的彩色光辉。这种彩色玻璃的设计手法正是将现代的技术应用到传统宗教建筑中。

▼彩色玻璃艺术品展示,stained glass artwork

When a group of people assemble on an open plane they naturally organize themselves into generally circular shapes. Through the design process for the sanctuary it became clear to us that some form of a circle provided an ideal shape for gathering. After working with the program and exploring a number of options to seat 800 people within a distance to the altar where they could still make out facial expressions of the pastor, the oval evolved as the best solution.The form also has a rich historical precedent in sacred architecture, from the Pantheon to the Tempietto in Rome. In following the precedents of this lineage at Saint Joseph the Worker, the rounded, thickened walls are programmed to contain small chapels, statuary and storage. Light is brought in through a sandblasted glazed band forming the base of the building, capped by a thick, light-colored volume punctuated by colored glass openings. This colored glass is a modern expression of the stained glass window.

▼黄昏中的大教堂,the chruch in the dusk

▼黄昏中的小教堂,the chapel in the dusk

▼场地设计,the site plan

▼大教堂平面图,the church plan

▼小教堂平面&立面图,the chapel plan and section

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