כנסיית צ'יימבר בסין || פרויקטים

Project name: The Chamber Church
Location: Qingdao, China
Floor Area: 770.91㎡
Completion: 2021.9.24
Architectural and Interior Design: BUZZ/Büro Ziyu Zhuang
Principal Designer: Ziyu Zhuang, Fanshi Yu, Fabian Wieser, Na Li
Design Team: Mengzhao Xing, Jialin Song, Yingliu [Intern], Yi Liu, Dongdong  Chen, Weihong Dong, Yubing Chen, Zhendong Chen, Di Tian, Ruoyi Song, Nan Zhou [Intern], Lingwei Meng [Intern]
Construction Drawings: Qingdao Tengyuan Design Institute Co., Ltd.
Construction: Qingdao Jiuan Construction Groups 
Landscape Design: ASPECT Studios
Landscape Construction: Guangzhou Yayue Landscape Construction Co., Ltd
Photography: Schran-Shengliang Su, Sunac Aduo Town

כנסיית צ'יימבר שואפת ליצור היכל מרחבי שגם מכבד את העבר וגם מסתכל לעבר העתיד. הוא יעניק חוויה דתית ומגע חילוני. החלק התחתון של האודיטוריום מחולק לשני חלקים: החלל השקוע למחצה והפטיו המחובר יוצרים קישור לנוף שמסביב. הוא משובץ בהר ומחובר לכיכר. זהו הבסיס הנסתר שעליו יכול החלק העליון של האודיטוריום להתקיים בין ההר למים, המשקף את עוצמת השמים והארץ ומפיץ את בשורת הבריאה.



The Chamber Church. Photo Credit: Schran-Shengliang Su, Sunac Aduo Town


The Chamber Church. Photo Credit: Schran-Shengliang Su, Sunac Aduo Town


The Chamber Church. Photo Credit: Schran-Shengliang Su, Sunac Aduo Town

Looking backwards we find the archetypes of architectural associations in history. The design echoes the memories associated with them, but interprets them in a timeless modernity creating a sense of the future. The architecture integrates this duality in plan and
section. To create a modern icon, we needed to create a pure shape, that’s still evokes the archetype of a church. Therefore, during the design process, we integrated different vernacular façade images of traditional churchs. The derived base volume is then expressed through a series of slices.
The created contour meets the expectation of client and visitors of the space`s first visual impression. The sequential slices are introduced in a pure and modern way, whilst the gaps of the façade create various visual effects depending on the angle of the observer. The derived prototype still features the classic components associated with a church, such as the bell tower with spire and rose window, the cascading interior arches, and the Basilica layout, but most of the decorative elements are abstracted - not out of an aversion or rebellion against ornament, but in order to reveal both the interaction of archetype and experiment, and the core issue
associated with it: divinity and ritual.


The Chamber Church. Photo Credit: Schran-Shengliang Su, Sunac Aduo Town


The Chamber Church. Photo Credit: Schran-Shengliang Su, Sunac Aduo Town


The Chamber Church. Photo Credit: Schran-Shengliang Su, Sunac Aduo Town


The Chamber Church. Photo Credit: Schran-Shengliang Su, Sunac Aduo Town


.The Chamber Church. Photo Credit: Schran-Shengliang Su, Sunac Aduo Town


The Chamber Church. Photo Credit: Schran-Shengliang Su, Sunac Aduo Town

Not only in sections and elevations, but also in plans, the building seeks to emulate its predecessors: the axial prolongation, the symmetrical layout, the stepped elevation, the progressive sectional rhythm, the implied basilica, these are all tributes to and an evolution from tradition.
Emphasizing the traditional roots of the building and following that layout, the principal direction of the building is strictly east-west oriented. The topography changes its height at the front edge of the building, naturally dividing the surroundings into a plaza in front and a sloping landscape with a manmade lake behind the building.

The landscape part of the exterior features an artificial lake to create privacy, while the open space of the plaza emphasizes the relation to the public. The change of height between building and plaza is bridged by large water feature steps. They form a visual base to further strengthen the sense of ritual and sanctity of the main hall. The lower part of the building serves as an auxiliary space for the main sanctuary, including the reception desk and preparation room. The path towards the main entrance of the church leads past the southern side to the western portal. An alternative access exists on the north western part of the plaza, where a direct connection to the VIP facilities in the base exists.

The back view seeks to break the rigid impression of the building edge, and forms a fluid connection to the lake. The strategically placed island creates a counterpoint to the central axis of the hall, diffusion the symmetric tension. The program favors a more inward-looking approach. Taking advantage of the series of landscapes slopes that block the view behind the calm lake we use that as a passive space to look at from inside the hall. In front of the church entrance, we create a ''stage'' to

Before the advancement of construction technologies, caves were the first sheltered spaces for primitive humans, offering refuge from cold, wind, rain, sun and dangerous animals. Their encircling form is deeply embedded as a sign of security in humanities DNA. This sense of security was worshipped with the development of human civilization, which led to the early enshrinement of its origin, the cave, as a sacred place of ritual, such as the Caves of Lascaux [Grotte de Lascaux] or the Cave of Hilla [Jabal al- Nour].emphasize its central position.


The Chamber Church. Photo Credit: Schran-Shengliang Su, Sunac Aduo Town


The Chamber Church. Photo Credit: Schran-Shengliang Su, Sunac Aduo Town


The Chamber Church. Photo Credit: Schran-Shengliang Su, Sunac Aduo Town


The Chamber Church. Photo Credit: Schran-Shengliang Su, Sunac Aduo Town

 
The Chamber Church.Section. Credit: BUZZ/Büro Ziyu Zhuang


The Chamber Church.Section. Credit: BUZZ/Büro Ziyu Zhuang

The cavernous space of the assembly hall thus attempts to give people a sense of peace and shelter in the form of an enclosure, just as the cave once did. It again provides a frame for the ritual and sacredness desired by the people holding the ceremony, thereby triggering a connection between the real and spiritual dimensions. 
The interior space of the assembly hall is a soft, flowing cavity that creates an interesting detachment from the sharp geometric exterior contours. Its construction creates at the same time a cavernous space and a bright ambience. 
During the design process more references for the cavernous space became apparent. It can also be seen as a series of creations in nature: in addition to the caves that have sheltered humans for hundreds of thousands of years, the blue holes in the oceans, the exploding supernovas, the mother's womb, all these series of existences have taken root in the depths of human consciousness, allowing us to further transcend form and speak to heaven and earth.

The design subtracts a series of gentle curves that scale with the spatial sequence to form an introverted cavity. Its primary layout continues the traditional Basilica form, while at the same time having a strong sense of fluidity. This softness contrasts with the hardness of the exterior to create a visual interaction between the interior and exterior.
The prototype of the cavity already exists in a number of projects. Setting this design apart from its predecessors is the balance between reality and fiction. In comparison to the Bruder Klaus Kapelle, where the void exists before, and therefor determines the building, the volume and void are in this case are in an equal relationship.


Function Diagram.Credit: BUZZ/Büro Ziyu Zhuang


Function Diagram.Credit: BUZZ/Büro Ziyu Zhuang

From Youtube. Credit: BUZZ/Büro Ziyu Zhuang