巴西·圣家堂教区

“我发现在Planalto那无边无际的地平线非常的大。它的尺寸太大了——就像一片海洋面飘着大片的云。通过将城市置于其中，我们将创造一种景观。”卢西奥·科斯塔(Lucio Costa)在见到巴西新首都巴西利亚的选址后，讲述了他最初的看法和感受，唤起了其城市化概念的一个组成标志，以及其景观的表现:地平线的存在。除了组织感和方向感之外，地平线表达了对整个城市的看法，首先是观察者与环境之间的联系，这是景观表现所必需的条件。

“I found the Planalto, that horizon without limit, excessively vast. It was out of scale – like an ocean with immense clouds moving over it. By putting a city in the middle of it, we would be creating a landscape”[]. Lucio Costa’s words about his initial perceptions and sensations after encountering the chosen site for the construction of the New Capital of Brazil, Brasilia, evokes one of the constituent signs of its urbanistic conception, as well as the representation of its landscapes: the presence of the horizon. Beyond the sense of organization and orientation, the horizon expresses the vision of the whole and, primordially, the connection between the observer and the environment, a condition that is necessary to the manifestation of the landscape.

从设计形态到其在土地上的落实，四个尺度——纪念性、社会性、住宅性和田园性——指出了对景观的沉思敏感性、对城市氛围的考虑，以及对待它们的独特方式。但恰恰是田园的规模定义了巴西利亚城市公园的特征，通过证明与野生自然的接近以及生活空间、自由空间、塞拉多植被的巨大延伸、公园、沿道路延伸的绿化带之间的美学连续性，以及永远畅通无阻的地平线。

From the design gesture to its printing on the territory, the four scales – monumental, social, residential, and bucolic – point out the contemplative sensitivity given to the landscape, the consideration to the urban ambiences, as well as the distinguished manners of treating them. But it is precisely the bucolic scale that is going to define Brasilia’s character of city-park, by evidencing the proximity with wild nature and an aesthetic continuum between living spaces, free spaces, great extensions of cerrado vegetation, parks, green belts extending along roads, and the always unimpeded horizon.

根据卫星城市模型，在城市扩张的过程中，公园道路赋予了城市的连续性和可见性，公园道路的灵感来自奥姆斯特德和沃克斯，并被设为区域规划的工具。在EPIA的边缘-Estrada Parque Indústria e Abastecimento（工业和供应公园路），为支持 Lucio Costa 的试点项目（Plano Piloto）而实施的以无线电为中心的道路系统的主要组成部分之一，是圣家族教堂在该场地所处的位置。

In the process of urban expansion, which started even before its inauguration according to the satellite-cities model, the sense of continuity and visibility of the urban collective will be given by the park roads, inspired by Olmsted’s and Vaux’s parkways, and designed as instruments of regional planning. On the margins of EPIA - Estrada Parque Indústria e Abastecimento (Park Road of Industry and Supply), one of the main components of the radio centric road system implemented to support Lucio Costa’s Pilot Project (Plano Piloto), is where the plot destined to the Church of the Holy Family is located.

EPIA于2004年开始由联邦政府掌管，以塑造城市入口的繁茂桉树大道为特色，最近改造为高速公路，延长了车道，并将其交通与当地交通隔离开来。几乎所有的树木都被砍伐以适应边缘小巷，导致其周围环境失去了其特有的田园特色，土地的分割、昂贵的住房和大型商业企业的广泛增长进一步加强了这种特征，造成城市格局的断裂和在不断变化的情况下符合通用景观。因此，在高速公路的前提下，城市道路的功能、对风景的关注和路线的敏感体验都要让位于速度、效率和流动性。

Characterized by an exuberant avenue of eucalyptus that shaped the entrance of the city, EPIA, which began to be controlled by the federal government in 2004, was recently transformed in an expressway, having had its lanes extended and its traffic segregated from local traffic. Almost all the trees having been cut to accommodate the marginal lanes resulted in its surrounding losing its characteristic bucolic character, which was reinforced by the partitioning of the land, the extensive growth of expensive housing and great commercial enterprises, creating ruptures in the urban configuration and conforming a generic landscape under constant change. Thus, the urban function of the road, the attention to the scenic qualities and the sensitive experience of the route give place to speed, to efficiency and to fluidity under a highway logic.

所采用的建筑概念从精神、自然和社区之间的关系中展现出来。灵性在天主教中通过其仪式、庆典和神圣标志进行传播。神圣的感觉通过与自然的敏感接触而站立和更新自己，这唤起了神圣的存在和与宇宙的融合。反过来，建筑一直是占据它的人展示神圣的特权空间，在那里光线微妙地穿透，或者石头的沉默在祈祷的低语中表现出来。圆形的中殿将这种欢迎的姿态作为一个概念，因为它接近会众的祭坛。

The architectural concept adopted unfolds itself from the relationship between spirituality, nature, and community. Spirituality communicates itself in the Catholic religion through its rites, celebrations, and sacred symbols. The sacred sense stands and renovates itself through the sensitive contact of nature, which evokes the divine presence and the integration with the cosmos. Architecture, on its turn, has been the privileged space of manifestation of the sacred by the person who occupies it, where the light penetrates delicately or where the silence of the stone manifests itself in the murmur of the prayers. The circular nave brings as a concept this gesture of welcoming, as it approximates the altar to the congregation.

自然光穿透屋顶的圆形圆环，改变了中殿的内部空间，该空间位于地块自然高度的半层以下。这使得景观通过与一楼对齐的小开口溢出，同时保留了内部空间的亲密感。这种特征只有在圆形混凝土体积的高度下才有可能，它由六根柱子悬挂，这些柱子属于植入地形的结构基础。通过显现出地平线，建筑成为了景观的构成元素，打开世界的诗意维度，将物质现实与其观众的目光联系起来。

Natural light penetrates through the roof circular ring, transforming the internal space of the nave, which is disposed half level below the natural height of the plot. This allows the overflow of the landscape through a small opening aligned to the ground floor, at the same time that it preserves the intimacy of the internal space. Such a feature is only possible due to the elevation of the circular concrete volume, suspended by six pillars that belong to the structural foundation implanted in the topography. By revealing the presence of the horizon, the architecture becomes a constitutive element of the landscape, an opening to the poetic dimension of the world, connecting the material reality to its spectator’s gaze.

设计的外形由主轴确定。东南-西北的轴线将圆形中殿、附属楼和现有建筑连接到教区活动的背面。沿着它的延伸，有一个线性广场，一个面向城市的空间，为那些沉浸在仪式行为中的人或者是路上的旅行者提供了路线，以寻找日常生活的暂停或逃避现实的避难所。在垂直方向，东南-西北的轴线保留了沉思的视角：地平线与钟楼的垂直体积的交叉发出信号，并引导游客或在远处全速穿过高速公路的人。

The generating outline of the design is determined by to main axes. The northwest-southeast axis connects the circular nave, the annex, and the existing building to the back, where the parish activities are located. Along its extension, there is a linear square, a space facing the city, which serves as support to the erratic route of those who are immersed in the ritualistic act or even the traveler on the road, in the search for the suspension of the everyday life or for a refuge from the torments of being. Perpendicularly, the northeast-southwest axis preserves the contemplative view: the crossing of the line of the horizon with the vertical volume of the campanile signals and guides the visitor or those who cross the highway in full speed at a distance.

可以说，建筑概念综合了巴西利亚的三个基本前提：建筑综合体的植入，巧妙地应用在地形上，并向地平线开放；城市与其建筑之间、公共空间与私人空间之间以及社区与神圣之间的不可分割性；第三，考虑将景观作为建筑配置的结构和基本元素，巴西利亚被列入联合国教科文组织世界遗产名录。

It is possible to state that the architectural concept synthesizes the three fundamental premises of Brasilia: the implantation of the architectural complex, delicately applied on the topography, and its opening to the horizon; the inseparability between the urban and its architecture, between public and private space and, as a consequence, between the community and the sacred; and thirdly, the consideration of the landscape as a structuring and fundamental element of the architectural configuration, recognized by  Brasilia’s inclusion on UNESCO’s List of World Heritage Sites.

▽位置平面，Site plan.

▽平面图，floor Plan.

▽基础图，basement.

▽剖面图，Section.

Project year: 2012-2015

Construction year: 2017-2022

Area: 3.915 m²

Authors: Arq. Eder Alencar, Arq. André Velloso e Arq. Luciana Saboia.

Collaborators: Arq. Paulo Victor Borges e Margarida Massimo.

Intern: Rodrigo Rezende, Pedro Santos e Julia Huff

Architecture: ARQBR Arquitetura e Urbanismo

Construction: Tecnca Construtora

Steel structure: Comini Tuler

Concrete structure: Breno Rodrigues

Installations: Alencar Costa

Light design: Beth Leite

Acustics: Síntese Acústica Arquitetônica

Landscape design: Quinta Arquitetura, Design e Paisagismo

Environmental comfort: Quali-A Conforto Ambiental e Eficiência Energética

Photos: Joana Franca

Videos: Joana França