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?
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?
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?
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?
▼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