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▲更多名品，高度关注“搜建筑物”青浦控江路耶稣基督堂Wutopia Lab|非作建筑物

“心灵中或者说关键的并非你遭受了什么，而要你读懂了什么样事，又是怎样珍视的”——斯卡纳角·罗德里格斯·百年孤独"What really matters in life is not what happens to you, but what you remember and how you remember it." ——Gabriel Garcia Marquez。

2023年6月，Wutopia Lab结构设计的青浦控江路耶稣基督堂耗时8年而最后竣工我花了一点儿天数自述，即使我早已很多发生改变，而彼时结构设计的因由早已很多模糊不清但在这个紧要关头，我正著迷于用乳白色来现代化抒发我认知的扬州的右军的美和另一面企图彷徨的精神力量。

In June 2023, the Fengxian Qixian Jesus Church designed by Wutopia Lab was finally completed after eight years. It took me a little while to recall because I had changed a bit, and the reasons for the design at that time had become a little fuzzy. But I remember at the time, I was fascinated by the use of translucency as a contemporary expression of what I understood to be the restrained beauty of Jiangnan and the struggling forces behind it.

有点右军的不一样任务书要求主配楼分开我决定主楼以16.7米高的大礼堂为核心，在它的西侧和北侧布置办公和辅助功能，最后把小礼堂安置在办公区最高层，主楼其实就是一个垂直社区而配楼则是食堂我最关键的策略把整个场地看成一个被称为场所的建筑物。

我在建筑物控制线一圈竖立起作为视觉边界的乳白色围合“面纱”，主配楼是这个“面纱”所限定的场域内的建筑物它们连同视觉边界“面纱”形成一个完整的建筑物抒发，一个完整的场所Uniqueness with a bit of moderation. The brief called for the main and ancillary buildings to be separated. I decided to use the 16.7m high main hall as the core of the main building, inserting offices and other facilities on its west and north sides while placing the small auditorium on the highest level of the office area to create a vertical community. And the ancillary building is the canteen. Treating the entire site as a building called a place is my most significant strategy. I have erected a translucent enclosing "veil" as a visual boundary around the architectural control line, while the main and ancillary buildings are buildings within this field defined by this "veil". Together, with the visual boundary of the "veil", they form a complete architectural expression, a complete place.

然后我想保持身在建筑物其内的对称感，但在总图上，先在让主楼中心线平行但不在基地中心线上，其次让大礼堂中心线平行不在主楼中心线上这样布局在避免死板的对称基础上有了一些活泼的生动，但仍然在需要对称感的区域保持了对称的神圣。

这样调整还有一个好处就是，大礼堂首层可以直接朝南，在天气好的时候，大礼堂可以完全南向打开，把室外场地作为礼堂用地的延伸这也是我企图礼堂室外化的结果Then I wanted to maintain a sense of symmetry within the building. However in the site plan, firstly, I adjusted the center lines of the main building so that they are parallel but not on the center line of the base; and secondly, I made the center lines of the auditorium parallel to each other but not according to the center line of the main building. This new layout not only avoids the rigidity of conventional symmetry but also opens up possibilities for some lively vitality while maintaining the sanctity of symmetry in areas in need. Another advantage of this adjustment is that the first floor of the auditorium can face directly south. When the weather is nice, the main hall can be opened up completely southward so that the outdoor field can be used as an extension of the auditorium site. This is also a result of my attempt to bring the outside into the auditorium.

扬州晦明不定的光乳白色的“面纱”是我企图用建筑物抒发扬州晦明不定的光的一个手段它可以在视觉界面上抒发可以随着日光变化的影子，可以是投影在上面的自然或者人造物，也可以是透射在上面的自然或者人造物它也可以在视觉界面所围合场域里形成被过滤过的日光，不那么炙热，但很多举棋不定，一如扬州的天气，你就在这个天气里。

更关键的是它会将界面内的场域标志成一个完整的场所，进来就是一个新领地The obscure light of Jiangnan. The translucent "veil" is one of the means by which I try to express the obscure light of Jiangnan through architecture. It can express shadows on the visual interface which change with daylight and the shadows can either be projections or transmissions of natural or man-made elements. It can also create filtered sunlight in this field enclosed by the visual interface, not so hot, but somewhat uncertain just like the weather in Jiangnan, in which you are. More importantly, it signifies the field within the interface as a complete place, going inside is entering a new territory.

我在大礼堂里用密集的格栅形成一个配合南北向天窗的视觉内屏障，如果并非造价，我会把格栅扭一下，形成不确定的反光如今也可以，铝格栅垂直连续的反光和天光一起组成一个如同雨幕的光幕，人群就在这不强烈但包裹的光幕之内，心有所属。

I used a dense grille in the auditorium to form an internal visual barrier in conjunction with the north-south skylights. If it were not for consideration of the cost, I would have twisted the grille a bit to create an indeterminate reflection. The current design works too as the vertical continuous reflections of the aluminum grille and the skylight together form a curtain of light that feels like a rain screen; the crowd is within this not-so-intense but encompassing curtain of light where their heart belongs.

最后，我用不同灰度的灰色粉饰了主配楼的不同部分墨分五彩，安宁在扬州水汽弥漫中Finally, I used different shades of grey to paint different parts of the main building. The ink is divided into five colors, peacefully diffused in the light fog above Jiangnan water.。

八年中一点儿细微的发生改变我用扩张网代替了穿孔铝板或者阳光板作为“面纱”，即使便宜和能更好地减少风阻为了保证“面纱”强度安全，我也同意了“面纱”的支柱变截面放大落地，在间隔几根的支柱加上斜拉杆为了避免超限带来的额外审批和增加造价。

我同意了主礼堂的两侧增加柱子，避免了单跨大空间，这样我也接受了两道大梁贯穿弧形天花打断了横向天窗还是即使控制造价，我用花砖墙代替了玫瑰花墙但很多调整则被我拒绝，我不同意主体结构上伸出支撑来辅助面纱的架构体系，即使我不喜欢粘连。

A small change in eight years. I used expanded mesh instead of perforated aluminum or solar panels for the "veil" because it is cheaper and reduces wind resistance better. To ensure the strength and safety of the "veil", I also agreed to enlarge the cross-section of the supporting columns of the "veil" while adding diagonal struts to the columns at intervals. In order to avoid additional plan approvals and cost increases due to overruns, I also agreed to add columns on both sides of the main auditorium to avoid a large single-span space and the addition of two large beams across the curved ceiling which would interrupt the transverse skylight. Still, for cost control, I replaced the rose wall with a floral brick wall. Some adjustments, however, were rejected by me. I disagreed with an architectural system that would have supports sticking out from the main structure to help support the veil because I like clear boundary definitions.

最大的发生改变来自于我自己我同意了这许多细部的调整年青的时候我会称之为“妥协”在漫长的8年里，我明白了庄慎老师所说的中国传统建筑物的关键词“松”就是在细部无法达到精确的时候以容错的方式弹性调整来保证视觉的完整性。

基于完整性地调整了这些细部，最后没有破坏整个结构设计它的竣工对比8年前中标的效果图，几乎没有变化而经历这8年的我则能游刃有余地面对更多的挑战你站在主礼堂当中，室内地坪延伸到室外更远的大地，天光柔和地如细雨打在头上，你会感慨，世界啊，如海水般起伏。

The biggest change came from me. I agreed to many of these minor adjustments. When I was younger I would have called it a "compromise". During the eight long years, I understood the keyword "relax" in traditional Chinese architecture as Mr. Zhuang Shen mentioned. This means adjusting the details flexibly in a fault-tolerant way to ensure visual integrity when the details cannot be precise. The details were adjusted based on the integrity of the design without destroying the whole design in the end. Its completion is almost unchanged compared to the renderings that won the bid eight years ago. I have become more capable of facing challenges over the eight years. You stand in the middle of the main auditorium, the interior floor extends to the further earth outside, the light of the sky is as soft as a drizzle hitting your head, and you feel that the world, ebbs and flows like the sea.

“而这个信念就是，一个人能够通过哪怕最细微的举动，为恢复这个世界的秩序出一把力”——埃默·托尔斯"And that belief is that one person can contribute to restoring order to this world by even the smallest gesture.” -Amor Towles。

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北、南立面图

西、东立面图

剖面图项目信息项目名称: 青浦控江路耶稣基督堂结构设计公司：Wutopia Lab | 非作建筑物主持建筑物师: 俞挺项目经理&项目建筑物师：戴欣旸结构设计团队：项目第三阶段（2022-2023）：穆芝霖，宋齐宁（实习），张雨城（实习）

项目第二阶段（2015-2017）：余婧，宋梦娇（实习） 蔡承泽（实习）项目第一阶段（2015）：夏慕蓉，王雨斌（实习）结构顾问：缪滨海灯光顾问：张宸露施工图结构设计：北京之景市政建设规划结构设计有限公司项目负责：曹克武

建筑物结构设计：王叶 乐军伟结构结构设计：顾建平 王高挺 仰超机电设备结构设计：龚叶丹 陆继东 刘玉洪装修结构设计：陈铮元委托方：北京青浦新城建设发展有限公司甲方建筑物师：李娜，顾浩施工单位：北京建工二建集团有限公司项目位置: 奉浦大道以北，汇六路以南三角地沿河景观内

建筑物面积: 2598㎡结构设计周期：2015.7——2017.8建造周期：2021.11——2023.6结构形式：钢结构（帷幕）混凝土结构（建筑物主体）摄影：CreatAR Images出镜：Sendy▼ 更多名品·

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