清真寺建築的新視角

最新 01-31

馬爾馬拉大學神學清真寺的設計採用現代語言對古典奧斯曼建築傳統的理解。該項目是從宇宙微觀到宏觀的分形旋轉運動的基礎上，揭示了清真寺建築傳統在抽象，風格和傳統詮釋方面的新視角，結合概念的「整體部分」和「部分整體」的分形形式的鸚鵡螺和千年傳統的技術。該項目建有30,000平方米的建築面積，由城市廣場、一座可容納4500名信徒的清真寺，以及廣場下的文化中心組成。

Text description provided by the architects. Marmara University Faculty of Theology Mosque was designed as an interpretation of classical Ottoman architecture tradition by using today』s language. The project is based on the fractal rotational movement which is seen in the universe from micro-scale to macro-scale, reveals seeking of a new perspective in terms of abstraction, stylization and interpretation of tradition in mosque architecture,by combining concepts of "the part in the whole" and "the whole in the part" with fractal form

of nautilus and millenary traditional 「k?rlang??」 ceiling technique. The Project has a 30.000 sqm built area consisting of an urban square, a mosque, which can accommodate 4500 worshippers, and a cultural centre under the mosque and square.

文化中心包括教室，會議廳，展覽空間，書吧，電影院等，被認為是社交生活的一個有吸引力中心。所有這些功能，項目構成了「複雜」的概念，在城市廣場與清真寺聚集在一起。人與空間關係的辯證法，在現代材料和建築技術的基礎上，結合了這個項目，把上帝的觀念和詩學的獨特性及古典建築的現象學結合起來。設計清真寺的最重要的標準是建築風格，因為奧斯曼建築中的空間詩學還未被理解和無法超越。

The culture centre including classrooms, conference hall, exhibition spaces, book cafe and cinevision rooms, was considered as an attraction centre of social life. With all these functions, the project constitutes the concept of 「complex」, group of buildings gathered together in the urban scale with its urban square. Dialectics of human-space relations, considering tawhid, the oneness of God concept and poetics and its phenomenology in classical architecture, was combined in this project by today』s materials and construction techniques. The most important criteria for designing the mosque is stylization, by reason of that poetics of space in Ottoman architecture is still uncomprehended and is unable to go beyond.

今天，這樣的空間詩學只有在古典的清真寺里才能被感知到，而在清真寺的建築中卻沒有被討論過，因為這個傳統已被打破了。由於缺乏這個概念，一些試驗項目被設計為不良重複或只提供完全功能主義風格的禱告要求，而忽略了空間詩學。因此，這個清真寺的設計方式與其先例相一致，是對「古典清真寺 - 現代清真寺」矛盾的回應，以創造出一種全新風格的清真寺。這座清真寺十二角形平面圖是建在鋼筋混凝土基礎之上的鋼結構建築。直徑35米，高35米的中央穹頂由12根鋼柱連接而成，逐步上升。

Today, such poetics of space is perceivable in only classical mosques, and was not discussed in mosque architecture because of that tradition had broken away. Through lack of this concept, some projects as trials were designed as either bad repetitions or as providing only prayer requirements with a completely functionalist style, ignoring the poetics of space. Therefore, this mosque was designed in a convenient way in relation to its precedents and as a reaction to 「classical mosque-modern mosque」 contradiction, in order to create a new style with new materials. The mosque, dodecagon plan, was built as steel construction above a reinforced concrete base. The central dome, 35 m in diameter and35 m high, forms by joining 12 steel columns, ascending step-by-step.

承重柱與傳統的土耳其三角形形式的鋼樑連接到圓頂的內壁。脊柱上方有多層螺旋結構。在頂端，有靈感來自muqarnas的天窗，拱頂上的教堂標記在上面懸掛著。在內部空間，為了從內部了解結構的形象，螺旋玻璃結構運動和覆蓋在頂部的muqarnas玻璃也可以從清真寺內部看到。在這裡，外部有所不同，人

被外部所感知的結構包圍。為了加強內部空間的投影中心，在頂部覆蓋了螺旋玻璃和muqarnas玻璃，在圓頂中心的六個字母，噴泉和游泳池凸顯了通往天堂的中心。

Load-bearing columns link to an internal wall of the dome with steel beams in the form of traditional Turkish triangles. Over the ridge rib, there is multiple-stage spiral structure. At the top point, there is a skylight inspiring from muqarnas and the crescent of the main dome mounts over it. As for the interior space, to comprehend the image of the structure from the inside, movement of spiral glass structure and it"s joining with glass muqarnas cover at the top are also seen from the interior of the mosque. Here, unlike the outside, the person is surrounded by the structure which they perceive from outside. In order to strengthen the centre of projection in interior space, glass spirals and glass muqarnas cover on the top, 6 waw letter on the centre of the circle, and the fountain and pool emphasize the centre reaching to heavens.