“Georgskirche Hebertshausen “地区的重新设计概念由众多的建筑模块组成,这些模块相互交织在一起,形成了一个复杂的地形、建筑和内容相关的意义层网络。

The concept for the redesign of the “Georgskirche Hebertshausen” area consists of a multitude of building blocks that are integrally intertwined and form a complex network of topographical, architectural and content-related layers of meaning.

历时十年的整体改造,其出发点不仅是教堂破败的外观,而且主要是结构上极度濒危的斜坡边缘和不稳定的墓地墙。很早以前,人们就意识到,要想实现可持续的结构升级,需要耗资巨大的干预措施。然而,由于之前对教堂的忽视也是必不可少的,因为缺乏牧民用途和相关性,因此需要的是一个全面的理念和愿景,不是孤立地看待教堂和墓地,而是从整个社区的角度来看待。教会和政界的紧密合作,使我们能够创造出一个整体的合奏,融入当地的结构,从而超越了必须完成的任务,即教堂和墓地墙体的翻新,以及殡仪馆的建设。

The starting point for the overall renovation, which took ten years, was not only the forlorn external appearance of the church but also and primarily the extremely structurally endangered slope edge and the unstable cemetery wall. It became apparent early on that a sustainable structural upgrade would require costly and substantial interventions. However, since the previous neglect of the church was also essential due to a lack of pastoral use and relevance, what was needed was a comprehensive idea and vision that would view the church and cemetery not in isolation but in the context of the whole community. The close cooperation between the church and the political community enabled the creation of an overall ensemble that is integrated into the local structure of , thereby going beyond the mandatory tasks to be carried out, i.e. the renovation of the church and the cemetery wall as well as the construction of a funeral hall.

最初的情况。希伯茨豪森市位于大慕尼黑地区,距离达豪4公里。圣乔治教堂矗立在墓地中央的山脊边缘之上。它最早被提及于1293年,作为罗马式晚期的大厅以及巴洛克时期的教堂,曾多次重建。然而,在项目实施前,几乎没有任何历史性的内部结构被保留下来,因此,它比较朴素。自从20世纪60年代在场地边缘下方建造了一座更大的新教区教堂后,圣乔治教堂就一直纯粹作为墓地教堂使用,大面积的结构性损坏意味着它需要全面翻新。

Initial situation. The municipality of Hebertshausen is located in the Greater Munich area, 4 km from Dachau. The Church of St. Georg stands above a ridge edge in the middle of the cemetery. First mentioned in 1293, it was rebuilt several times as a late Romanesque hall as well as in the Baroque period. However, hardly any of the historical interior had been preserved, so that it was relatively plain, prior to the project. Since the construction of a new, larger parish church below the edge of the site in the 1960s, St. Georg has served purely as a cemetery church, and extensive structural damage meant that it required complete renovation.

由于墓地面积太小,希伯茨豪森市政府在城外孤零零地对其进行了扩建,然而直到现在,这里还没有殡仪馆。对一个中立的殡仪空间的渴望最终导致了对教堂和墓地周围的整个环境的重新组织。Heim Kuntsitekcher Architekten建议在旧墓地建造殡仪馆,从而加强了历史位置的重要性。
殡仪馆和太平间。停尸房建于20世纪30年代,位于老墓地的边缘,太小了,不允许有尊严的摆放或举行葬礼。因此,太平间进行了整修,并向屋顶开放,以创造更多的空间。它的周围还用黑灰色的玻璃木头做了衬托,设计成每扇窗户前的一种墙高的折叠百叶窗。这些可移动的元素可以用来改变房间里的光线和情绪,以便于个人的告别,同时,折叠百叶窗的门图案也隐隐约约地暗示着过渡到另一个世界。

As the cemetery was too small in size, the municipality of Hebertshausen created an extension to it outside the town in a solitary location, which until now, however, had no funeral hall. The desire for a neutral space for funeral services ultimately led to a reorganisation of the entire setting around both churches and cemeteries. Heim Kuntscher Architekten proposed building the funeral hall at the old cemetery and thus strengthening the historical location’s importance.
Funeral hall and mortuary. The mortuary, built in the 1930s on the edge of the old cemetery, was too small and did not allow for a dignified laying out or funeral services. It was therefore gutted and opened upwards towards the roof to create more space. It was also given a surrounding lining of black-grey glazed wood, designed as a kind of wall-high folding shutter in front of each window. The moveable elements may be used to alter the light and mood in the room for personal farewells, while at the same time the door motif of the folding shutters discreetly refers to the transition to another world.

新的殡仪馆为宗教中立的殡葬仪式提供了空间。为了不与教堂和太平间的历史建筑相冲突,大厅的高度较低,设计成墓地墙的延伸。大厅与停尸房相连,并向墓地的正门延伸,形成一个新的有顶入口。墙体空间中细长的圆锥形大厅通向一个中庭,光线从上面进入,照亮了一个水盆。对于较小的葬礼,棺材摆放在前面,送葬者面向中庭;对于较大的葬礼,可以采用不同的安排,更多的送葬者可以通过大厅前面的一个拱形开口参与到里面举行的活动中。

The new funeral hall offers space for religiously neutral funeral services. In order not to compete with the historic buildings of the church and the mortuary, the hall is lower in height and designed as a mere extension of the cemetery wall. The hall connects to the mortuary where it extends towards the main gate of the cemetery, forming a new covered entrance. The elongated, conical hall in the space-containing wall leads to an atrium into which light enters from above, illuminating a water basin. For smaller funerals, the coffin is laid out in front of it and the mourners face the atrium; for larger funerals, a different arrangement is possible, in which additional mourners can participate in the event taking place inside through an arched opening in front of the hall.

教堂建筑。为了加强圣乔治教堂作为墓地教堂的重要性,在西侧沿其纵轴线设置了一个新的入口。这不仅使残疾人和老年人更容易进入,也使棺材可以有尊严地运入教堂。由于西侧的外立面正好位于斜坡边缘,因此必须建立一个外部平台,以便游客在离开教堂时可以走到这个平台上。入口处的开口和平台的底部结构结合了拱形,这种拱形在墓地的历史建筑中以各种形式出现,包括唱诗班房间的网状拱顶、教堂的罗马式窗户、停尸房的圆拱窗户,以及最后但并非最不重要的教堂外墙的锯齿形门楣。

Church building. In order to strengthen St. Georg’s importance as a cemetery church, it has been given a new entrance on the west side along its longitudinal axis. Not only does this allow for much easier access for the disabled and elderly, it also allows coffins to be transported inside with dignity. As the west facade stands exactly on the slope edge, an exterior plateau had to be created onto which visitors step out when exiting the church. The entrance opening and the substructure of the plateau incorporate the arch shape that can be found in various forms in the historical buildings on the cemetery grounds, including the reticulated vault in the choir room, the Romanesque windows of the church, the round-arched windows of the mortuary and, last but not least, the serrated frieze of the church facade.

在教堂内部,以前有楼梯将唱诗班和祭坛与中堂分开。现在,新的地板从西面的入口处向唱诗班方向逐渐上升,只留下两个台阶可供攀登。椅子代替了长椅,使房间可以灵活地进行不同形式的庆祝活动。

Inside, stairs previously separated the choir and altar from the nave. Now the new floor rises gradually from the west entrance towards the choir, leaving only two steps to be ascended. Chairs instead of benches make the room flexible for different forms of celebration.

通过色彩来充实–教堂的窗户。在教堂南面的内墙上有可能是13世纪的壁画遗迹。它们的大面积构图表明,最初所有的墙壁和天花板都被涂上了颜色。由于这种设计如今已无法恢复,因此产生了一个想法,即用一种不同的、非物质的方式使房间恢复其多色性。新的彩色玻璃窗现在让室内沐浴在五彩缤纷的光线中;特别是当阳光照耀时,随着时间的推移,色彩区域会在墙壁上移动,而墙壁则保持着中性色调。虽然唱诗室的开口处安装了蛋白石白色玻璃,但慕尼黑的艺术家Jerry Zeniuk教授为中堂的八扇窗户开发了微妙的色彩构成。

Fullness through colour – the church windows. On the southern inner wall of the church are the remains of frescoes that probably date from the 13th century. Their large-scale composition suggests that originally all the walls and the ceiling were painted in colour. Since this design can no longer be restored today, the idea arose to give the room back its polychromy in a different and immaterial way: New stained-glass windows now bathe the interior in colourful light; especially when the sun shines, areas of colour move across the walls, which are kept in neutral tones, as the day progresses. While the openings in the choir room are fitted with opal white glass, Munich-based artist Prof. Jerry Zeniuk developed a subtle colour composition for the eight windows of the nave.

每扇窗户都呈现出一种基本的颜色,南面以红、黄、橙等暖色调为主,北面以蓝、紫、绿等冷色调为主。古老的蒙丁排列方式将窗户分成了几块玻璃。在这里,基本的颜色略有变化,有不同的细微差别,并且在每种情况下都与其中一块玻璃的互补色调形成对比。由于每块玻璃只在中间着色,而不是在边缘着色,因此大量的光线进入室内,使其真正地发光。因此,彩绘教堂窗户的百年传统以现代的方式得到了延续。

Each window shows a basic colour, with warm tones such as red, yellow and orange dominating on the south side and cool tones such as blue, violet and green on the north side. The old muntin arrangement divides the windows into several panes of glass. Here the basic colours have been slightly varied with different nuances and in each case contrasted with the complementary shade in one of the panes. As each pane of glass is only coloured in the middle, but not at the edges, a large amount of light enters the interior so that it veritably shines. Thus, the centuries-old tradition of stained church windows is continued in a modern way.

建筑师:Heim Kuntscher Architekten und Stadtplaner
年份:2020年
照片:Florian Holzherr
制造商:Bayrische Hofglasmalerei, Bergmeister Kunstschmiede, Gustav van Treek, Werkstätten für Mosaik und Glasmalerei
建筑学:Dipl. Ing. Markus O. Kuntscher, Architekt Stadtplaner BDA, Dipl. Ing. Florian Heim, Architekt BDA,Dipl. Ing. Susanne Haas
结构工程:Zilch Müller Ingenieure
电气规划:Elektro Kraft
暖通规划:Eura Ingenieure Weißmann
景观设计:Großberger Beyhl und Partner
城市 : Hebertshausen
国家:德国
Architects: Heim Kuntscher Architekten und Stadtplaner
Year: 2020
Photographs: Florian Holzherr
Manufacturers: Bayrische Hofglasmalerei, Bergmeister Kunstschmiede, Gustav van Treek, Werkstätten für Mosaik und Glasmalerei
Architecture:Dipl. Ing. Markus O. Kuntscher, Architekt Stadtplaner BDA, Dipl. Ing. Florian Heim, Architekt BDA,Dipl. Ing. Susanne Haas
Structural Engineering:Zilch Müller Ingenieure
Electrical Planning:Elektro Kraft
Hvac Planning:Eura Ingenieure Weißmann
Landscape Architecture:Großberger Beyhl und Partner
City:Hebertshausen
Country:Germany