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德国西南部一条自行车道上有一个休憩和冥想的空间，是John Pawson用61根树干堆叠而成。
John Pawson has stacked up 61 tree trunks to create a space of rest and contemplation on a cycle route in southwest Germany.
木制教堂是Siegfried and Elfriede Denzel基金会（Siegfried and Elfriede Denzel Foundation）委托建造的七个全新休息站之一，它们位于一条穿过巴伐利亚森林的自行车道上。
Wooden Chapel is one of seven new rest stops commissioned by the Siegfried and Elfriede Denzel Foundation along a cycling path through the Bavarian Forest.
“客户想提供一个庇护或冥想的空间，”Pawson上周在开普敦举行的Design Indaba活动中公开了这个项目。“他委托了7位建筑师：6位来自德国，还有我。”
"The client wanted to provide sanctuary or contemplation space," said Pawson, unveiling the project at the Design Indaba conference in Cape Town last week. "He commissioned seven architects: six from Germany, and me."
照片由Eckhart Matthäus拍摄
木材是Pawson设计中的主要用材，其理念是为了保持材料自然的状态。
With a brief to primarily use wood for construction, Pawson's design is based around the idea of keeping the material close to its natural state.
花旗松的树干被砍伐成粗壮笔直的横梁，堆叠起来的样子就像“一堆待干的原木”。
Trunks of Douglas fir were cut down into chunky rectilinear beams and stacked up, so as to look like "a pile of logs stacked up to dry".
“这些花旗松树干只是互相堆叠。” Pawson解释道，“我们只对这些木头做了最低限度的处理，所以一切都很稳固。”
"It's just trunks of Douglas fir stacked on top of each other," Pawson explained. "There's a minimum of cuts, so everything is solid."
照片由Eckhart Matthäus拍摄
冥想的空间是这位伦敦建筑设计师作品中的一个常规特征——这是他必须使用的标题，就像他从未完成过对建筑的研究。他著名的项目中有捷克Nový Dvůr修道院（Nový Dvůr monastery）和巴伐利亚圣莫里茨教堂（St Moritz Church）。
Contemplation spaces are a regular feature in the work of the London-based architectural designer – a title he has to use, as he never completed his architectural studies. Among his best-known projects are the Nový Dvůr monastery in the Czech Republic and the St Moritz Church, also in Bavaria.
与这两个项目相比，木制教堂的设计要简单得多。它只有一个房间，路过的骑行者可以在这里休息或寻求庇护，但它的设计仍被赋予了精神层面反思的机会。
The Wooden Chapel is considerably simpler than these two projects, containing just a single room where passing cyclists can find rest and shelter. But it is still designed to create opportunities for spiritual reflection.
照片由Felix Friedmann拍摄
它的入口是从建筑一侧切割而成的一个长方形的开口。一旦进入室内，从对面的一扇开窗往外看是周围的乡村景致以及附近村庄Unterliezheim的教堂尖顶。
Its entrance is a rectangular opening carved out of one side of the structure. Once inside, a window opening on the opposite side offers a framed aperture of the surrounding rural landscape, as well as the church spire in the nearby village of Unterliezheim.
另一个只有当你进入后才会发现的是空间的尺度——从外面看，几乎不可能察觉有多少木材被从中砍掉。
Another thing that is only revealed once you enter is the scale of the space – from outside, it is nearly impossible to tell how much of the wood has been cut away from the centre of the stack.
照片由Felix Friedmann拍摄
地板由混凝土基座组成，这有助于保持结构的耐候性，同时也以雕塑的方式将地面抬高。
The floor is formed of a concrete plinth, which helps to keep the structure weatherproof, while also elevating it in the manner of a sculpture.
光线从高处细长的开口引入室内，这些开口像天窗一样沿着建筑的两边横向延伸。最远处的墙面还有一个以彩色玻璃填充的十字架形开口。
Light is drawn into the interior from slender, high-level openings that run along the two longs sides of the structure like clerestory windows. There is also a simple cross carved out of one of the end walls and infilled with coloured glass.
照片由Felix Friedmann拍摄
“立面上的开口表达了木材的厚度，而狭窄的入口是故意重现穿过茂密树林时身体所遇到的感觉，”Pawson的工作室说。
"Openings cut into the envelope express the thickness of the wood, while the narrow entry deliberately recreates the sense of physical proximity encountered as one moves through the dense woods," said Pawson's studio.
“在教堂内部，木材切割带来的荣光直接透过温暖的色调、外表和锯面的纹理传达而出。”
"Inside the chapel, the glory of the cut timber is immediate, in its warm hues, tactile surfaces and the patterns of the sawn grain."
照片由Felix Friedmann拍摄
该项目的木材由丹麦公司Dinesen提供，自伦敦西部的极简主义住宅和工作室项目以来，Pawson已经与这家公司合作超过20年。
The wood for the project was supplied by Danish company Dinesen, which Pawson has been collaborating with for over 20 years, since working together on his minimalist home and studio in west London.
在2019年2月28日至3月1日举行的Indaba Design 2019的活动上，Pawson以20分钟展示了木制教堂及其他项目。Dezeen是此次活动的媒体合作伙伴。
Pawson presented Wooden Chapel, among other projects, in a 20-minute presentation at Design Indaba 2019, which took place from 28 February to 1 March. Dezeen was media partner for the event.
本文转自Dezeen设计杂志
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