如何建造天堂/Lesná之上的天堂/彩虹教堂/未来主义教堂/内在宇宙/上帝的触摸意图 建筑师Marek Jan Štěpán在过去30年里断断续续地占据了这个教堂的想法。然而，建造教堂的意图首先出现在1968年的轻松气氛中，50年后终于实现了。它的位置是由美妙的住宅区的建筑师František Zounek和Viktor Rudiš选择的。教堂的资金全部来自教会的奉献和捐款。它是第一座献给玛丽-雷斯特图塔主教的教堂，她的出生地距离教堂约600米。
How to Build Heaven / Heaven above Lesná / The Rainbow Church / The Futuristic Church / Inner Universe/ God’s Touch Intention Architect Marek Jan Štěpán has occupied himself with the idea of this church intermittently for the past 30 years. However, the intention to build a church first came up in the relaxed atmosphere of 1968 and was finally fulfilled after 50 years. Its location was chosen by the architects of the wonderful housing estate, František Zounek and Viktor Rudiš. The church is fully funded by the church offerings and donations. It is the first church to be dedicated to Bl. Marie Restituta who was born approximately 600 meters from its location.
城市建设。教堂位于Čertova rokle峡谷口的住宅区的中心。该地区被高大的混凝土公寓楼所覆盖。新的教堂在规模上无法与它们竞争，这就是为什么它被设计成非常简单的表达方式，基本的几何形状，因此容易辨认。一个长方形的台地被布置在地块上，定义了神圣的区域。上面有三个基本体块–教堂、塔和精神中心（由Zdeněk Bureš设计）。原来的中心是长方形的，塔是三角形的，教堂是圆形的，这意味着三个基本的几何形状都得到了体现。神圣区是以完全不同的规模建造的，这使它与周围的公寓楼区分开来，并在一个全新的层面上创造了一个主导地位。
Urbanism. The church is located in the heart of the housing estate at the mouth of the Čertova rokle ravine. The area is covered with tall concrete apartment buildings. The new church cannot compete with them in terms of size, which is why it has been designed to be very simple in expression, elementary in geometry, and therefore easily legible. A rectangular plateau is laid out on the plot that defines the sacred district. There are three basic masses on it – the church, the tower, and the spiritual centre (designed by Zdeněk Bureš). The original centre is rectangular, the tower is triangular and the church is circular, which means the three basic geometric shapes are all represented. The sacred district is built on a completely different scale which differentiates it from the surrounding blocks of flats and creates a dominant on a wholly new level.
圆形。教堂有一个圆形的平面图。圆圈是一个由来已久的天堂和永恒的象征（与方形相反，它指的是地球和短暂的）。天堂被反射到彩色的环形窗中，环形窗就在屋顶下面，环绕着教堂。可以说，圆形漂浮在Lesná之上，或者说，在一个具象的、超越的层面上，天堂漂浮在Lesná之上。我们为教堂选择圆形的原因有几个。圆是充实的形状，它是住宅区的句号，也是它的精神焦点，应该作为一个地方，人们可以从日常的喧嚣中解脱出来，休息一会儿，或者重新思考。这个圆圈也非常接近当代人对教堂中礼仪的看法，它代表了最后的晚餐时使徒和耶稣围着桌子的群体。会幕位于教堂左侧的一个高大的天顶，上面有灯光照明。教堂的墙壁在这一点上被一个三角形的开口撕裂了，这是对耶路撒冷圣殿帷幕撕裂的一种参考。
The Circle. The church has a circular floor plan. The circle is an age-long symbol of heaven and eternity (in contrast to the square, which refers to earth and transience). The heaven is reflected back in the colourful annular window that embraces the church just below the roof. It might be said that the circle is floating above Lesná or, on a figurative, transcendental level, that the heaven is floating above Lesná. There are several reasons why we chose a circular shape for the church. The circle is the shape of fullness, it is the full stop in the area of the housing estate and its spiritual focal point that should serve as a place where people can break out of the daily hustle, rest for a while, or recollect themselves. The circle is also very close to the contemporary perception of the liturgy in the church that represents the community of the Apostles and Jesus around the table during the Last Supper. The tabernacle is located in a tall apse illuminated from above that is situated on the left side of the church. The church wall is torn by a triangular opening at this point, which serves as a reference to the tear in the Jerusalem temple curtain.
塔楼。塔楼离教堂更远。它的三角形平面图确保了它从教堂内部看起来与从外面看起来不同。从外面看，它是一个固定点，一个静态的库布斯，指的是旧教堂的作品，并将整个院落固定在一个小海角上。面向教堂的一面是开放的，有一个方形的灯笼，还有一个黄色的部分，上面有一个冰壶，红色的部分是对布尔诺市中心的瞭望。该塔既是一个垂直的也是一个水平的。与历史上那些像火箭一样只指向天堂的塔不同，这里的方向是转移的，指向教堂，它代表了上帝和他的子民之间的垂直关系。它有31米高，虽然不比周围的公寓楼高，但也是当地的主导。一个钢制的螺旋形楼梯穿过混凝土塔，从上面看，它让人想起了教堂圆顶的颜色方案和形状。塔楼上刻有十字架形状的标志FOS ZOE（意思是光明和生命）。同样的标志在Mikulčice的考古挖掘中被发现，可以追溯到Velká Morava时期。材料
The Tower. The tower stands further from the church. Its triangular floor plan ensures that it looks different from the inside of the church than it looks from the outside. From the outside it serves as a fixed point, a static kubus that refers to the works of the old churches and that anchors the whole compound on a small promontory. The side facing the church is open with a square lantern and there is a yellow part with a glockenspiel and a red part with a lookout on the Brno city centre. The tower is both a vertical and horizontal. Unlike the historic towers that point only to heaven like a rocket, here the direction is diverted and points to the church, which represents the vertical of the relationship of God and His people. Being 31 meters high, it is a local dominant even though it is not higher than the surrounding blocks of flats. A steel spiral staircase goes through the concrete tower, which, when looking above, reminds one of the colour scheme and the shape of the church dome. The sign FOS ZOE (meaning light and life) in the shape of the cross is inscribed on the tower. The same sign was found in archaeological digs in Mikulčice dating back to Velká Morava period. Materiality
该建筑的材料与周围的住宅区大多使用的材料一样，是混凝土。它是作为一个扩张单元建立在试点上的。预应力钢筋混凝土被用于最紧张的部分–花环和教堂，教堂被僧侣们的建筑所覆盖。混凝土材料与独特的彩色元素相得益彰。教堂的设计是环保的，这也是教友们的要求。暖气是由地源热泵提供的。混凝土 混凝土最美丽的品质是它的真实性；它反映了在模板、混凝土的浇筑和压实、添加剂和混合物的处理方面所付出的努力和精力。所有这些都会对表面产生影响，在它的生命力中，作为对生命的反映。我们可以在历史上由不同颜色的石块组成的石砌建筑中找到一个平行的例子，并在接缝处涂上水泥。有了混凝土，就有了百叶窗缝隙的印记，有了百叶窗印记的独特表面，每次浇筑的混凝土都略有不同，这意味着浇筑的混凝土在视觉上跟进了石砌体。混凝土的紧缩性也是指当代人对神圣空间的认知，它不应该在视觉上或语义上过多。
The material of the building follows up on the material mostly used in the surrounding housing estate, which is concrete. It is built on pilots as one dilatation unit. Prestressed reinforced concrete is used for the most strained parts – wreaths and chancels, chancels are covered by moniers constructions. The concrete materials are complemented by distinctive colourful elements. The church is designed as environmentally friendly, as the parishioners requested. Heating is provided by a ground source heat pump. The Concrete The most beautiful quality of concrete is that it is truthful; it reflects the effort and energy put into the formwork, into the pouring and compacting of the concrete, into the processing of the additives and the mixture. All that will have an impact on the surface, in its vivacity, as a reflection of life. A parallel can be found in the historic stone masonry made of individual blocks of different hues and cementing the joints. With concrete, there are the imprints of the shuttering interstices, distinct surfaces imprinted by the shuttering, and slightly different concrete in every pouring, which means that poured concrete visually follows up on the stone masonry. The austerity of concrete also refers to the contemporary perception of the sacral space, which should not be visually or semantically overloaded.
关于精确的细节和表面的整理，有一个有趣的事实。来自阿尔及利亚的Muhammad Lasfer负责表面，我认为作为一个最初来自中东的穆斯林，他对抽象有一种密切的亲和力，而这种亲和力是在处理混凝土表面时需要的。(引用Marek Štěpán – An Incident with the Fire Fighters）”在2019年圣诞节的早晨，消防员不得不响应关于Lesná教堂的电话。他们是在一些邻居报告说教堂的塔楼着火后才来的。事实是，与天蓝色相比，我使用了象征尘世生活、火和痛苦的颜色（黄色和红色），但我没有意识到颜色有如此大的力量。没有火，它只是在早晨的阳光下看起来像那样”。
There is an interesting fact regarding the precise details and the finishing of the surfaces. Muhammad Lasfer from Algeria was in charge of the surfaces and I think that as a Moslem originally from the Middle East he has a close affinity to abstraction that is desired when working with concrete surfaces. (Citation Marek Štěpán – An Incident with the Fire Fighters) “On Christmas Day 2019 in the morning firefighters had to respond to a call regarding the church in Lesná. They came after some of the neighbours reported that the church tower is on fire. The truth is that in contrast to the sky blue I used the symbolic colours of earthly life, fire, and suffering (yellow and red) but I did not realize that colours had such great power. There was no fire, it just looked like that in the morning sun.”
Architects: Atelier Štepán
Area: 2350 m²
Year: 2020
Photographs:BoysPlayNice
Manufacturers: Vanceva, Saint-Gobain, Glasssolutions, JAP, JÁNOŠÍK OKNA-DVEŘE, Lumideé, TBG Betonmix, Viabizzuno
Design Team: Marek Jan Štěpán, Vanda Štěpánová, František Brychta, Jan Vodička, Martin Kopecký
Clients: Roman Catholic Parish of Brno-Lesná
Facade Drawings: Petr Kvíčala
City: Brno-sever
Country: Czech Republic