清真寺建筑的新视角

昵称52609246 2018-02-06

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马尔马拉大学神学清真寺的设计采用现代语言对古典奥斯曼建筑传统的理解。该项目是从宇宙微观到宏观的分形旋转运动的基础上，揭示了清真寺建筑传统在抽象，风格和传统诠释方面的新视角，结合概念的“整体部分”和“部分整体”的分形形式的鹦鹉螺和千年传统的技术。该项目建有30,000平方米的建筑面积，由城市广场、一座可容纳4500名信徒的清真寺，以及广场下的文化中心组成。

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，会议厅，展览空间，书吧，电影院等，被认为是社交生活的一个有吸引力中心。所有这些功能，项目构成了“复杂”的概念，在城市广场与清真寺聚集在一起。人与空间关系的辩证法，在现代材料和建筑技术的基础上，结合了这个项目，把上帝的观念和诗学的独特性及古典建筑的现象学结合起来。设计清真寺的最重要的标准是建筑风格，因为奥斯曼建筑中的空间诗学还未被理解和无法超越。

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，这样的空间诗学只有在古典的清真寺里才能被感知到，而在清真寺的建筑中却没有被讨论过，因为这个传统已被打破了。由于缺乏这个概念，一些试验项目被设计为不良重复或只提供完全功能主义风格的祷告要求，而忽略了空间诗学。因此，这个清真寺的设计方式与其先例相一致，是对“古典清真寺 - 现代清真寺”矛盾的回应，以创造出一种全新风格的清真寺。这座清真寺十二角形平面图是建在钢筋混凝土基础之上的钢结构建筑。直径35米，高35米的中央穹顶由12根钢柱连接而成，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 and 35 m high, forms by joining 12 steel columns, ascending step-by-step.

承重柱与传统的土耳其三角形形式的钢梁连接到圆顶的内壁。脊柱上方有多层螺旋结构。在顶端，有灵感来自muqarnas的天窗，拱顶上的教堂标记在上面悬挂着。在内部空间，为了从内部了解结构的形象，螺旋玻璃结构运动和覆盖在顶部的muqarnas玻璃也可以从清真寺内部看到。在这里，外部有所不同，人

被外部所感知的结构包围。为了加强内部空间的投影中心，在顶部覆盖了螺旋玻璃和muqarnas玻璃，在圆顶中心的六个字母，喷泉和游泳池凸显了通往天堂的中心。

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.