義大利巴勒摩　救贖之母教堂

Studio Kuadra

此教堂坐落於義大利巴勒摩，由覆蓋陶瓷材料之巨石構築而成，一側鐘樓猶如海岸邊一座聳立天際的古老塔樓；量體俐落的轉折結構在陽光下刻畫出光影，使建築輪廓與色彩更加鮮明。本案旨於和周圍環境進行融合與對話，並將居民需求轉化為建築形式。

The “Redemptoris Mater” parish complex constitutes a new “landmark” that fits into and communicates with the surrounding area. The intervention responds to the requests of the population, translating the needs into architectural forms. The church space is made up of a monolith covered in ceramic material flanked by an isolated bell tower, which will seem to emerge from the ground, almost uniting with the sky, evoking in a contemporary key the ancient towers present on the coast. The architectural composition also makes use of the measured use of light, which enhances the shapes and colors of the building.

沿庭院步道而行，穿越廣闊綠地進入主教堂，集會廳以不對稱的環型結構包圍著入口，廳內設有講台與講台，以拉近與信徒間的距離。祭壇高度略高於講台，由一面雕塑牆體襯於其後，上方石牆砌有數個孔洞，經陽光照射於壁面形成閃爍光點，排列成為十字符號，透露莊嚴神聖的氣息，亦凸顯祭壇之崇高地位。洗禮池位於該廳相對隱蔽的空間，向外可窺見室外庭院，向內則與告解室、唱詩班和聖餐室相隔大廳對望。教堂斜區域包含平日禮拜堂、托兒所、牧師住所、教區禮堂、慕道教室及一處供兒童玩耍的綠地；集會廳與禮拜堂則由雙入開口連接，以此建立公私場域的連結。

The main entrance is from the churchyard overlooking the Piano Peri district, here the current Via Crucis has been repositioned facing the church and placed along a pedestrian path immersed in a vast green area. The interior of the church develops like a large embrace facing the entrance; The internal hall has an asymmetrical shape and a deliberately central plan. The entire roof surrounds the classroom and creates, together with the walls suspended from the ground, a real visual connection between the earth and the light that arrives indirectly from above. The faithful are at the center of the rite, the ambo is placed inside the assembly in order to bring the celebration closer to the public. The altar is slightly raised compared to the hall and is underlined by the sculptural intervention created by Gabriele Garbolino Rù and by the crucifix suspended on the luminous cross. The baptismal font is located in a secluded position and directly overlooks the private external courtyard. On the opposite side there is the penitentiary, the choir and the Eucharistic custody; this becomes the real center of the intervention and thanks to the double opening it connects the main hall and the weekday chapel. At the back, there is the private part which houses the weekday chapel, the nursery, the rectory, the parish hall and the catechism classrooms overlooking a green area intended for children's play.

錯落有致的大廳天花，使光線得以轉折並傾灑於洗禮池等區，有效提亮室內環境；西側玻璃落地窗亦引入充足光線，成功消弭室內外界線，窗外橄欖園中的石頭猶如如同散落室內，繼而擴大整體空間感受。此外，該園傾斜的圍牆將人們的目光引向鄰近天空與山群，遼闊的藍天與山景成為此建築背後一幅宏偉壯麗的背景。

Some rooms, which are only apparently underground, have perforations that bring zenithal light inside, while the nave of the church, thanks to a staggered roof, is illuminated by a cascade of zenithal light enriched in some areas (crucifix and baptismal font) by openings punctiforms that emerge from the stone masonry, like large punctuation. Internally the assembly space opens outwards only on the west side where a large window overlooks the "olive garden". In this highly evocative and scenographic element, interior and exterior "merge" to the point that the stones of the external garden seem to enter inside the ecclesiastical space and the glass window that divides them seems to be truly set in the rock. A wall encloses the garden and directs the faithful's gaze towards the sky and Mount Longa, becoming the natural backdrop to the assembly and the baptismal font. Also very suggestive is the water source that flows from the garden to feed the baptismal font.