作品分享｜米兰理工大学优秀作品：「Kaira Kora」宗教建筑的新定义
西非传统说唱艺人通过语言的力量守护了部族的传统文化，这些乐师的故事常用一种名为“Kora”（科拉琴）的乐器为其伴奏。而一个神圣的地方应该起到相似的作用并成为“礼拜的工具”。本项目的产生基于一种信仰，该信仰认为一个圣地可以举办不同的宗教活动（穆斯林，天主教和泛灵论者），就像一种叫做“Kaira Kora”的竖琴可以通过同一和弦发出不同的音符。
在我们平时的设计中，宗教类的建筑设计相对较少，但是别出心裁的出发点和项目本身的社会含义在这个项目中撑起了主要的论述点。大家一起来看吧～
The relationship between the enclosure and the elements contained by it, and the tension they apply on one another are the composition’s principles: from Mundane (exterior) to Holy (interior - open), from Holy to Symbol (building).Sheds and metal sheets’ roofs are proposed again in section to achieve the ventilation, the Iight’s control and articulate the relationship between Earth and Sky. Only one element is detached from the complex to summon the believers, developing in height and being recognizable from the main street: Minaret, bell tower, totem.
建筑中所蕴含的内在元素与外界之间的关系，以及他们之间的相互对立是项目设计的基本原则：从世俗（外部）到神圣（内部-开放），从神圣到符号（建筑）。为实现通风，棚屋和金属板屋顶在剖面设计中再次被提出，并通过照明控制表达了大地与天空的关系。从建筑群中分离出一个元素来召集信徒，这些元素在高度上伸展并在主要街道上易于辨认：尖塔，钟楼，图腾。
This place should represent a resource: an underground wastewater collection system would allow to store the monsoon season’s water with the purpose of using it both inside (holy water for ablution, baptismal font, offering to the gods) and outside the complex (water for the community).When needed this place should be versatile: thanks to the flexibility provided by the movable elements, the complex can morph into an emergency hospital (increasing the area by 50 square meters). Constructive simplicity and economic capital are imperative conditions to ensure that the project can be built in loco without specialized workers or advanced technologies.
这个地方也可用作维护社会资源的途径之一：地下废水收集系统在收集了可储蓄雨季的雨水后将其使用于建筑内部（用于洗礼，洗礼池，供奉神明的圣水）和建筑外部（社区用水）。必要时，这个场所应该是多功能的：基于可移动部件的灵活性，综合体可转变成急诊医院（建筑面积增加50平方米）。构造上的简便性和经济资本可以确保该项目可以在没有专业工人和先进技术的前提下完成。
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Q：Your project is conceived from the belief that a single holy place can host different religions, where did this concept originate from?
Q：你的项目是基于一个圣地可以包容不同宗教的信念，这个概念从何而来？
A：The idea of designing a place of worship for three religions does not come from us but was the theme of an international architecture competition (Kaira Looro - Architecture for Peace) that we participated in the spring of 2017. Later, very satisfied from our project (even if we did not win anything), we decided to continue working on it by turning it into a Masters Degree Thesis at Politecnico di Milano.
A：为三个不同宗教设计同一个礼拜场所的最初想法并不是源于我们自身，而是来自于我们在2017年春天参加的一次国际建筑竞赛（Kaira Looro-和平建筑）的主题。后来，我们非常满意我们的项目（即使我们没有获得任何奖项），我们决定继续研究这个主题，把它用作在米兰理工大学的硕士学位毕设主题。
Q：How did you approach such a delicate subject of religious architecture?
Q：你是如何处理宗教建筑这样微妙的主题的？
A：The absolute center of our project is human beings. In the beginning we asked ourselves what was the common root to all religions and we identified it in a rule of peace / cohabitation. In architectural terms, this rule of cohabitation translates into a common central space which, however, safeguards the various individualities in the moment of prayer: the real places of worship, in fact, present themselves as independent volumes.
A：我们项目的绝对中心是人类。最开始的时候，我们从一个问题开始：所有宗教的共同根源是什么？我们把它限定在和平共处的准则内。从建筑学的角度来看，这个共处的准则被转化为一个共同的中心空间，然而，这一中央空间在做祷告时又保护了不同宗教的不同特性：真正的礼拜堂，实际上以独立的体量存在。
A：Every religion has its own needs in terms of space (the mosque has a more longitudinal development to reduce the overall distance from the Mihrab while this does not apply to the church where the procession to the altar is a very sensitive topic, the animist hut is proportionate in order to inscribe a sphere in that in all cultures it, in its perfection, represents the All or the Void, the God or Cosmic Spirit), of orientation (the Mihrab of the mosque must necessarily point to Mecca, the altar of the church must turn to the light of the rising sun of the east and, in our specific case, the orientation of the hut of the animists makes it a "rose of the winds" because every corner indicates a cardinal point) and use of light. This is why we do not believe in a single space that can accommodate all these cults at the same time.
A：不同宗教对空间需求也不尽相同，清真寺的纵向发展是为了减少与米哈拉布（西方宗教中的壁龛）的总距离，但这并不适用于对祭坛游行（接近弥撒结束时，教徒需排队走向祭坛亲吻牧师怀中圣子的脚）十分敏感的教堂，泛灵论者的礼拜小屋是为了在所有文化中将一个球体刻画成一个整体，它完美地代表了全部或虚空，上帝或宇宙之灵），关于朝向（清真寺的米哈拉布必须指向麦加，教堂的祭坛必须面向旭日东升的方位，在我们的具体案例中，泛灵论者的礼拜小屋朝向使之成为了风玫瑰图，因为每一个角落都代表一个基点）以及不同宗教对光线的运用也大相径庭。这就是为什么我们不相信一个单一空间可以同时容纳所有宗教。
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Q：The project is located in Tanaf, Senegal, what persuaded you to choose this location?
Q：这个项目选址于塞内加尔的塔纳夫，你们为什么选择这个地方？
A：As we said before, Tanaf was indicated by the competition as project area. The theoretical principles that have guided our choices, however, are applicable in every part of the world. We strongly believe in the value of the context in the architectural project: the context is what allows us to decline the theoretical lines in shapes and materials and, at the same time, to the tradition and the history of the place.
A：正如我们之前所说，塔纳夫是竞赛里的项目选址。然而，指导我们选择的理论原则适用于世界各地。我们坚信环境在建筑项目中的价值：环境使我们能够跳出形状和材料上的理论界限，同时又使我们不拘泥于地方传统和历史。
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Q：Another key component of the project is its adaptability what techniques were introduced to allow the project to become so resourceful? And why were these so important to the project?
Q：项目另一亮点是其适用性，是什么技术导致该项目具有如此强的应变能力？为什么这些对该项目如此重要？
A：Less consumption of water resources, constructive simplicity and use of local materials were the principles that guided constructive choices. The constructive system is the “earthbags” (bags filled with earth placed one on the other covered later in clay mixed with laterite to give the walls a characteristic reddish color, we also thought to add incense to the mixture so that inside the places of worship you may slightly perceive its smell). In the subsoil we have a system of tanks for collecting rainwater that becomes water for the community, holy water and water for ablutions. In our project we also paid close attention to the topic of flexibility: we invented a system of manually movable arms that can configure the central space according to needs. They can cover it completely, thus recovering another 50 square meters of covered area, useful in case of health emergencies, for example. In this way, a place of worship becomes a real resource.
A：减少水资源消耗，简化构造难度，使用当地材料是构造选择方面的指导原则。构造体系是“沙袋”（装满土的袋子一个又一个的叠置在一起，然后用混有红土的粘土覆盖其上，使墙壁具有特征性的红色，我们也考虑到在混合物中加香料，以便在礼拜堂内你可能可以闻到淡淡的香味）。在地下土壤中，我们有一个收集雨水的水箱系统，这些收集的雨水被用于社区用水，圣水和洗礼水。在项目中，我们对于灵活性也有考究：我们发明了一种可手动移动的臂架系统，可以根据需求配置中心空间。例如，在出现突发卫生事件时，它们可以被完全覆盖，以增加50平方米的覆盖面积用于卫生急救。通过这种方式，礼拜堂所成为了真正的社会资源。
Q：It is clear that the project takes a modern adjustment to the vernacular architecture of Senegal, what influence did this ornate design have on the design process?
Q：显然，该项目对塞内加尔的乡土建筑进行了现代性的调整，这种装饰性的设计对设计过程有何影响？
A：The hut is undoubtedly the most obvious reference. We imagined this place of worship as if it were a house, everyone's home. The heights and proportions of the spaces have a domestic scale because of the desire to produce a building as contextual as possible and the most "familiar" as possible: we did not want to risk "scare" people used to seeing houses with a maximum height of 3 / 4 meters with a place of worship with a height of 30 meters. Remember that Tanaf is a village of 4000 inhabitants. Moreover, the shape of the hut further articulates the relationship between earth and sky very dear to religions (you can see it in section).
A：小屋无疑是最主要的设计参考。我们把这个礼拜场所想象成一个常见的房屋，每个人的家。为使该建筑尽可能融入当地环境，并尽可能使当地居民对此感到“熟悉”，空间的高度和比例均参照当地建筑的比例：我们不想冒险让见惯3，4米高的礼拜堂的人们，被一个30米高的礼拜堂吓跑。请记住，塔纳夫是一个有4000名居民的村庄。此外，你可以从剖面中看到小屋的形状进一步讲述了宗教中非常重视的大地与天空的关系。
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Q：What do you feel you have learnt by undertaking this project?
Q：你觉得你通过开展该项目学到了什么？
A：We had never dealt with the topic of religion before and so we have certainly learned a lot about the spatial needs and rituals of individual cults. Furthermore, when you are confronted with very current topics such as that of coexistence between religions, you feel a great responsibility. Trying to concile people with different beliefs is a huge challenge in which architecture can and must play a fundamental role. We are proud to be architects because we understand that our work can really change things.
A：我们以前从未处理过宗教的主题，因此我们无疑通过该项目学习到了很多关于相关教派的空间需求和宗教仪式的知识。此外，当你面对非常新颖的话题，例如不同宗教共存，你会感到责任重大。试图让不同宗教信仰的人融合在一起是一个巨大的挑战，在这个挑战中，建筑可以且必须扮演基本性角色。我们为成为建筑师而感到自豪，因为我们的工作可以真正改变一些事情。
剖面与立面的组合方式呈现：时间变化时建筑功能的转变
Q：You present your drawings in a unique style of colour combined with black and white accents, what if anything has influenced your drawing style?
Q：你们使用一种独特的颜色风格结合黑白来表达你们的图纸，是什么影响了你们的绘图风格呢？
A：The choice of this style of representation comes from the desire to underline the importance of simplicity in the design of architecture: today we are all used to seeing stunning and absolute photorealism but in all this we forget that architecture comes from clean and refined lines that must have the power to tell a project well. In our case, therefore, we preferred to represent the project by not counting on the spectacularization of the image given by the render but to use the perfection, the cleanliness, the color and the suggestion that the basic instruments of architecture offer us.
A：选择这种图纸表达方式是为了强调建筑设计中简便性的重要性：今天我们都习惯于看到令人惊叹的和绝对的超现实主义，但我们却忘记了来自于整洁和精致线条的建筑同样具有完美讲述一个项目的能力。因此，针对我们这一项目，我们更倾向于通过使用建筑本身所展现的完美、整洁、颜色和细节，而不是依靠渲染所展现的壮观的图像表现来表达我们的项目。
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Q：Could you provide our readers with an insight into your drawing process, do you use a particular software to produce your drawings?
Q：你能否为我们的读者讲述一下有关你绘图过程的见解，你是否使用了某一特定软件来制图呢？
A：The tools we used in this process are autocad, illustrator, photoshop and rhino.
A：在此过程中我们使用了autocad, illustrator, photoshop和rhino。
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Q：If you could offer one piece of advice to our architecture student followers what would it be?
Q：你能否为我们的建筑学学生提供一条建议？
A：An advice about the representation. We are aware that, today, spectacular rendering allows you to win a competition or simply to impress the people watching your project. However, we are architects and we design spaces, we try to restore emotions and wellbeing to those who will use our projects, we are not 3D artists or graphic designers who create images that are fine for themselves. The focus of our work is and must always be the quality of space. Representation is an instrument of architecture, not the other way around.
A：一条有关建筑图纸表现的建议。如今我们都知道壮观的渲染有利于你们获取竞赛名次并吸引读者的眼球。但是我们是建筑师，我们是在设计空间，试图为建筑使用者恢复情感知觉并带来幸福感，我们不是3D艺术家或平面设计师，那些只是制作美丽图片的人。我们的工作重心必须是空间的品质。图纸表达只是建筑项目的一种表现工具，不要本末倒置。
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Q：Finally, where can people find out more about you and your projects?
Q：最后，我们在哪里可以找到有关你和你们项目的更多信息呢？
A：At the moment we do not have a website or an online portfolio, but I (Matteo Serra) believe in the power of Social Networks and therefore I use them a lot to publish my works (Instagram @matteoserrams)
A：目前我们还没有网站或线上作品集，但我(Matteo Serra)相信社交网络的力量，因此我经常在我的Instagram @matteoserrams上发布我的作品。
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