在缝隙中种植光 Planting Light in the Interstices
初到新昌，山色如黛，溪流环抱。自然与信仰在此交汇，形成一种独特的静谧张力。我们最初收到的委托是设计整座教堂，然而项目从规划到落成历经波折。当教堂的混凝土躯壳最终由他人之手筑立起来时，我们以为故事的篇章已然翻过。直到教会的负责人再次联络，以教堂的室内设计委托我们。这一次，不再是为建筑赋形，而是走入一个已经成型的容器，为信仰寻找一处光的落脚点。
Arriving in Xinchang for the first time, we were greeted by mountains veiled in ink and streams winding through the land. Nature and faith converge here, giving rise to a unique tension of stillness. Our initial commission was to design the entire church, yet the project encountered many twists and turns from planning to completion. When the concrete shell of the church was finally erected by others, we thought the story had closed—until the church leadership reached out again, entrusting us with the interior design. This time, it was no longer about giving form to a building but about stepping into an existing vessel to find a foothold for light and faith.
场域的限定
The Constraints of the Field
我们并非在白纸上作画。窗户选型与开启方式、空调系统的形式与位置、以及地面铺贴材料已经在我们介入之前被确定。这些先决条件构成了有限的设计场域，我们接受这份限定——真正的创造从不是诞生于虚无，而是萌发于对既有条件的辨认与尊重。在无法更改的边界中，我们寻找落笔的缝隙。
We were not painting on a blank canvas. The window typology and opening mechanisms, the configuration and placement of the HVAC system, and even the flooring material had been determined before our involvement. These preconditions defined a finite design field. We accepted these limitations—true creation is never born from a void, but germinates from recognizing and respecting given conditions. Within immutable boundaries, we sought the interstices where we could begin.
缝隙与自然光 cracks and natural light
讲台概览 podium overview
天光与十字架 skylight and cross
白色界面与光的甘霖
The White Interface and the Rain of Light
在反复推敲预期的空间气质与限定条件后，我们决定置入一个纯粹的、自成一体的白色建筑体量，对空间与人的体验轻柔地“收纳”。这个白色体量从侧墙根部生长，攀援原有墙体，轻柔包裹窗台下的空调设备，收纳原本裸露的设备管线；向上生长形成流畅的曲面与腔体，“收纳”人的声音和视线；进而得以“收纳”人们的思绪，使信徒专注地聆听来自天堂的低语。
After careful consideration of the desired spatial atmosphere and constraints, we decided to insert a pure, self-contained white architectural volume—gently “cradling” the space and human experience. This white volume grows from the base of the side walls, climbs along the existing walls, softly envelops the air conditioning units beneath the windowsills and concealing exposed ductwork. Rising upward, it forms fluid curves and cavities that “contain” sound and sight, ultimately “holding” people’s thoughts, allowing congregants to focus on listening for whispers from heaven.
光影下的空间 space under light and shadow
讲台视角概览 podium perspective overview
序列感的拱形窗洞 rhythmic arched windows
仪式感的入口 ceremonial entrance
主堂概览 main hall overview
主堂内部空间概览 main hall interior overview
主堂入口 main hall entrance
主通道视角 main aisle perspective
主通道视角概览 main aisle perspective overview
声学的隐修
The Hermitage of Acoustics
在高耸空旷的室内，声音的清晰与饱满往往彼此角力。讲道需真切入耳，唱诗班的和声又须丰盈绵长。考虑到常规的吸音板材无法实现白色无缝曲面的声学结构，我们采用吸音涂料搭配腔体与吸音棉构成复合结构，依据声学计算排布吸音面积。使声音在抵达墙面时被温柔地收束。讲台上方的吊顶与讲台对面夹层的护墙上的外凸的弧形界面则承担着将声音向会众的方向反射与扩散的角色。这些几何形态以理性的克制换来了听觉上的清澈与温润。
In lofty, cavernous interiors, clarity and richness often compete. The sermon must reach ears with intimate precision, while the choir’s harmonies require expansive resonance. Conventional acoustic panels would have disrupted the seamless white curves. Instead, we employed a composite structure: sound-absorbing paint layered over cavities filled with insulation, its coverage calculated precisely through acoustic modeling. Sound is gently gathered upon contact with the walls. Above the pulpit, the curved ceiling and the convex arc of the balcony’s parapet wall opposite act as reflectors and diffusers, directing sound toward the congregation. These geometries, with their disciplined restraint, exchange rationality for auditory clarity and warmth.
从主堂看向夹层 viewing the mezzanine from the main hall
阶梯式座位 tiered seating
看台下的入口空间 entrance area beneath the stands
倾斜的顶 sloping roof
三层的观众视角 three-tiered audience perspective
天窗对称的空间关系 symmetrical skylight arrangement
光的经文
The Scripture of Light
在讲台上方，沿着弧形背景墙的脊线，一道六百毫米宽的天窗被切开。自然光由此渗入，在一天的流转中以不同的角度斜落于讲台之上。光不再仅仅是照明的工具，而成为时间与神圣的媒介，在每一次聚会中为讲台镀上一层无法复刻的、活着的辉晕。这束从天而降的光线，将语言之外的意义洒向信徒的眼底，成为空间中最为克制却又最为磅礴的叙事。
Above the pulpit, following the ridge line of the curved back wall, a skylight six hundred millimeters wide is carved open. Natural light filters through, angling across the pulpit differently as the day unfolds. Light here ceases to be merely a tool for illumination and becomes a medium of time and the sacred, gilding the pulpit in every gathering with an unrepeatable, living radiance. This beam of light descending from above casts meanings beyond language into the eyes of the faithful, becoming the most restrained yet most powerful narrative within the space.
在室内顶部，我们安装了垂直方向的条形LED灯，使空间被垂落的线性光点亮，沐浴一场来自天空的甘霖。正如《以西结书》中：“我必使他们与我山的四围成为福源，我也必叫时雨落下，必有福如甘霖而降。”我们希望教堂中的每次祈祷如同新生的圣洗，被天堂的雨露与光明回应。
Across the ceiling, we installed vertical linear LED fixtures. The space is illuminated by these descending lines of light—a shower falling from the sky. As written in the Book of Ezekiel: “I will make them and the places surrounding my hill a blessing. I will send down showers in season; there will be showers of blessing. ” We hope each prayer within this church feels like a newborn baptism, answered by heavenly dew and light.
拱形走道 arched walkway
光影与走道 light and shadow in the walkway
关于真实的缝隙
On the Interstice of Truth
设计之初，我们曾期待保留原始混凝土顶的粗粝肌理。坦诚的施工印记本应与轻盈的白色体量形成“重与轻“、“真实与抽象”的对话。然而在施工尾声，顶部被统一刷上了灰色涂料。这层覆盖抹平了材料的“过程”与“痕迹”，宣告了项目的“完成”。它迫使我们将目光从材料的表象移开，更深地投向光影与声学构筑的场域。在这道被动形成的缝隙里，它提醒我们，建筑并非凝固的艺术，而是不断被现实修正的过程。
Initially, we hoped to preserve the raw texture of the original concrete ceiling. The honest traces of construction were meant to converse with the lightweight white volume—a dialogue of “heavy and light”,” authenticity and abstraction”. Yet in the final stage of construction, the ceiling was uniformly coated with a layer of grey paint. This covering erased the material’s “process” and “traces,” declaring the project’s “completion”. It forced our gaze away from surface materials, deeper into the fields built by light and acoustics. Within this passively formed interstice, we were reminded: architecture is not frozen art, but a process continually revised by reality.
项目图纸
二层平面图 second floor plan
三层平面图 third floor plan
项目信息
项目名称：新昌城中教堂
项目类型：教堂
主堂室内设计：多么工作室
设计时间：2021.9
完成时间：2025.1
设计团队：盛乐，王维，陆志毅
项目地址：绍兴，中国
建筑面积：1524㎡
摄影版权：多么工作室
材料：陶晶砂涂料，花岗岩，红橡木
Project Name: Xinchang City Church
Project Type: Church
Sanctuary Interior Design: Atelier d’More
Design Period: September 2021
Completion: January 2025
Design Team: Le Sheng, Wei Wang, Zhiyi Lu
Location: Shaoxing, China
Gross Built Area: 1,524 m²
Photography Credit: Atelier d’More
Materials: Ceramic sand coating, granite, red oak
