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作品分析(中文) 在義大利天主教會中有沒有什麼新內容委任一個根本地現代設計的新教堂：在國家上如此這樣努力，在當代世界中雖然在建築學上謹慎，根據戰後的天主教教義的決心。理查Meier設計教堂被評論家評論設計，十月在羅馬的郊區中被打開FAIA，已經抱怨它缺乏教堂很多傳統屬性的講壇，例如聖壇圍欄或者任何空間的中殿和庇護所之間的區別。你可以參考傳統十字形或者長方形廊柱大廳模範。還在這放棄很多的幾百多年的建築學的原型中，Meier正在追隨聞名戰後的義大利人設計師的腳步。 在這個案例中，新意和計畫的來源獲勝，是教堂有意委任一位現代大師來做現代設計。當設計師的清單發出，邀請競爭Tor Tre Teste是聲名競選，抱負是清楚：除了Meier,像Tadao Ando這樣的最高現代設計師，Gunter Behnisch , Santiago Calatrava , Peter Eisenman , and Frank Gehry被考慮。當Meier的設計是被選擇時，抱負是再次顯而易見，並且設計師是被指導準確如同展示那樣，在競爭建議中完成它。Meier說：「一個設計師不能請求得到更多支持超過技術」。在五年的建造中，Misericordioso教堂中新Dio神父，在2003年10月開始。為等待，羅馬的教區本身已經得到一令人震驚的工作，隨著簡單的形式成功地協調許多全異的屬性和要求。 隨著它的三個相似的彎曲牆從346塊黃白色的建造物，混凝土預鑄件克服中殿，從57到88英尺，教堂是在郊區中，戲劇性和定義存在大，難以歸類的公寓大樓。它的比例考慮的很精細既不傲慢地也不宏偉的與週遭環境配合。 同樣，它是一棟當人接近時，會產生敬畏之心的建築物，還有在內部，從巨大斜的天窗旁邊大量湧來天光，使人畏縮它的巨大。在最近的一個星期天早晨，80多位崇拜者好像是一個真實的教區教堂，舒適佔領。由於那些天窗，白天天光始終如一的灑進來，幾乎就像在戶外做禮拜。 牆是設計中決定性的要素，用許多種不同方式作用著。他們從外面到裡面劃分出樸素的空間，並且他們簡單地把教堂和附屬小禮拜堂分離。三面牆的高聳的線強烈顯示垂直地一座哥德式的教區總教堂；使動搖,在二面內部牆上的開口也引起哥德式中殿中牆的傳統等級制度。天主教教會注意到在三道用圍牆圍塑出三位一體的符號，雖然Meier否認那個是他特有的意圖。 牆在建築學上的描述被認為是「帆」，像Jorn Utzon的雪梨歌劇院。Meier說「他們是與雪梨歌劇院不同，這些外殼是懸臂樑的和不是部份連續結構。它是完全不同觀念的結構系統和包圍空間的方式」。 這三片全部隨著同樣的半徑，是完美弓形，因此做禮拜的信眾發現自己在幾何的核心，但這些是不可能的：巨大,事實上,穿過同樣尺寸的三球體。同時，現世的社區活動中心有關北面的具體結構是堅定的直線。當Meier描寫計畫時，「圓圈過去經常代表完美，圓屋頂的天空。廣場代表地球,四要素和理性智力。」在教堂裡面，感覺到的是在身邊接受崇高的一面僅僅是學術上的意念。在地震時的震撼一旦結束，猶如大地震時片刻的凍冰,他們體悟到怎樣讓這些難以置信的牆站起來？在一個強而有力的翅膀底下，那是極其明瞭的感覺。 一些較小的問題，從什麼是在重要尊重中去掉突然地成功計畫。在教堂以南，石灰華覆蓋廣場，感覺起來是無特色的和死了，在防止社區有容易聯繫教堂週邊6英尺高的圍欄旁邊限制為教堂場地，尤其自那以來建築物僅僅是為每天幾個小時開著。建築師的充滿的意圖，在這有水的空間中淺水池，已經反射特別的影像在牆上，到目前為止被教堂當局忽視。 但是最明顯的缺點在教堂在聲音的品質方面不足。Meier極度小心的說是採取提供給教堂完美聽覺的特性，排除需要話筒和揚聲器。但不管怎樣教區還是會在前方安裝擴音裝置，也許安裝健康裝備是一對隨著現代性結果的姿態，在這樣的親密的朋友那排列牧師和讀者的聲音，就好像他們正是廉價的收音機發出響聲。「自我們指定的很多東西是以來,我們已經有一些問題被改變，和用天賦代替」，Meier註釋。「而其中一個天是聲音系統」。 Meier被相信是第一在歷史中猶太人的設計師，向被委任設計在教皇職位中一個天主教教堂和這個在一位已經努力為基督教和猶太人的信心的和解工作的教皇中。「我認為它被選擇一偉大光榮」，Meier說。「它是重要責任是按照教堂和它的Jewish人們歷史是一種和解的記號」。 現在工作有關Meier在羅馬的第二個計畫的工作正在進行，台伯河的東方的堤博物館（和平的聖壇），一個含有天壇座Pacis，在9B.C中奉獻。為了標誌皇帝奧古斯都的軍事勝利在中高盧和西班牙參加戰役。在70年是第一個被豎立的新建築物，在城市的中心並且Meier是另一個第一。 作品分析(英文) Richard Meire achieves a Baroque sense of space and light with concrete construction in the Jubilee Church in Rome, Italy By Peter Popham There is nothing new in the Roman Catholic Church in Italy commissioning a radically Modern design for a new church ： The country is littered with such efforts, which , though architecturally modest , are evidence of postwar Catholicism’s determination to stake a place in the contemporary world. Critics of the church designed by Richard Meier , FAIA , which opened last October in a suburb of Rome , have complained that it lacks many traditional attributes of a church-a pulpit , for example ,or an altar rail, or any spatial distinction between nave and sanctuary. You might even say it makes little reference to traditional cruciform or basilica models. Yet in this abandonment of many hundreds of years of architectural prototypes, Meier is treading in the footsteps of lesser-known postwar Italian architects. The novelty in this case-and the source of the project’s triumph-is that the church intentionally commissioned a Modern design from a Modern master. When the list of architects invited to compete to create a Tor Tre Teste was announced , the ambition was clear ：Besides Meier , such top Modern architects as Tadao Ando , Gunter Behnisch , Santiago Calatrava , Peter Eisenman , and Frank Gehry were being considered. That ambition was in evidence again when Meier’s design was selected and the architect was instructed to carry it through exactly as presented in the competition proposal. As Meier remarked , “An architect cannot ask for more support than that .” Five years in construction , the new Dio Padre in Misericordioso （also calles Dives in Misericordia）Church was inaugurated in October 2003. For the wait , the Diocese of Rome has got itself a stunning work , with a form of heroic simplicity that succeeds in harmonizing a number of disparate attributes and requirements. With its three parallel curving walls constructed from 346 off-white blocks of posttensioned , precast concrete , which rise from 57 to 88 feet above the nave , the church is a dramatic and defining presence amid the suburb’s large , nondescript apartment buildings. Yet its scale is so finely considered that it appears neither arrogantly grandiose nor sadly subservient to its surroundings. Likewise , it is an awe-inspiring building to approach , yet the interior , flooded by the top light from the enormous sloping skylight , is not dauntingly huge. At a mass on a recent Sunday morning , 80-odd worshippers made it feel like a true parish church , comfortably occupied. And thanks to those skylights ,bathing the congregation uniformly in daylight ,and given the ambivalent character of those high , almost topping walls （exterior and interior at the same time）, the effect is almost like worshipping out of doors. The walls , the decisive element in the design , work in several different ways. Spatially they divide inside from outside with the simplest strokes , and with equal simplicity they separate the church from the side chapel. The soaring lines of the three walls powerfully suggest the vertically of a Gothic cathedral; the staggered , square openings in the two internal walls also evoke the traditional hierarchy of the walls of a Gothic nave. The Catholic Church sees in the three walls a symbol of the Holy Trinity , though Meier denies that was his specific intention. There walls have been described in the architectural press as “sails,” like those of Jorn Utzon’s Sydney Opera House. Meier says, “They’re very different from the Sydney Opera House in that these shells are cantilevered from the ground and are not part of a continuous structure. It’s a totally different idea in terms of the structural system and the way in witch they enclose space.” All three are perfect segments of circles with the same radius , so that worshippers find themselves at the core of a geometrical impossibility：three huge , virtual , intersecting spheres of the same size. Meanwhile , the secular community center on the north side is a rigidly rectilinear concrete frame structure. As Meier has described the project ,”the circle is used to represent perfection , the dome of the heavens. The square represents the earth , the four elements and the rational intellect.” And inside the church , the sense of being embraced by the divine is no mere academic conceit. Once one has got over the feeling of being at the frozen moment of a cataclysmic earthquake-how did they get these incredible walls to stand up？-there is a palpable sense of being under the protection , under the great wings , of a very mighty force. A few minor issues detract from what is in important respects a thunderously successful project . The large , travertine-clad piazza to the south of the church feels featureless and dead , bounded by a 6-foot-high fence that prevents the community having easy connection to the church precinct , especially since the building is only open for a few hours every day. The architect’s intention to fill a broad , shallow pool in this space with water , witch world have yielded extraordinary reflections of the walls , has so far been ignored by the church authorities. But the most glaring failing in the way the church functions is in the quality of sound. Great care , Meier says, was taken to give the church perfect acoustic properties , obviating the need for microphones and loudspeakers. But the parish went ahead and installed sound equipment anyway-perhaps as a gesture to modernity-with the result that in such an intimate space the voices of priests and readers sound as if they are coming out of a cheap radio. “We’ve had some problems since many things that we specified were changed , and substituted with gifts,” Meier commented. “And one of the gifts was the sound system.” Meier is believed to be the first Jewish architect in history commissioned to design a Catholic church-and this in the pontificate of a pope who has worked hard for reconciliation between Christian and Jewish faiths. “I consider it a great honor to have been chosen , ” Meier said. ”It was an important responsibility in the terms of the Church and its history with the Jewish people , as a kind of sign of reconciliation. ” Now work is under way on Meier’s second project in Rome, a museum close to the east bank of the Tiber containing the Ara Pacis （Altar of peace） , consecrated in 9B.C. to mark Emperor Augustus’s military victories in the Gallic and Spanish campaigns. It is the first new building to be erected in the city’s heart in 70 years-and another first for Meier.