神圣建筑的创新:埃米尔·贝鲁什的安置教堂

Lívia Búliková
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摘要

20世纪见证了建筑创新的巨大突破;然而,这在神圣的建筑中就不那么明显了。基督教福音派教会天生具有创新性,这也反映在其教堂的建筑上。福音派教派的创新体现在全新的空间概念、形态、新建筑、新材料和建筑技术的使用,包括现代技术设备的神圣空间。这篇文章的重点是由一位建筑师埃米尔·贝卢什(1899-1979)设计的两座建筑,他是斯洛伐克建筑的元老,他的作品对基督教福音教堂的神圣建筑领域产生了重大影响。创新的贡献首先可以在设计中看到,后来在斯洛伐克内斯瓦季和塞涅克建造了两座福音教堂,建于20世纪50年代。这些教堂是一项计划的一部分,该计划原本打算为战后政府移民政策中被重新安置的人建造10座新教堂。几十年来,这两座教堂一直是斯洛伐克建造的最后一座教堂。本文讨论了教堂平面图的创作原因、当时的社会政治形势、建筑环境以及建筑师Emil bellusov的精神理念和创造性贡献。这项研究是基于对这些寺庙的详细研究,它们的布局,以及新技术的使用,建筑原则,形态元素和其他建筑手段,我们寻求并定义了一种创新的创作方法。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Innovations in sacral architecture: The resettlement churches of Emil Belluš
Abstract The 20th century saw a great breakthrough in architectural innovation; however, this was less evident in sacred buildings. The Evangelical Church of A. C. was inherently innovative, which was also reflected in the architecture of its churches. The innovativeness of the evangelical denomination can be seen in completely new spatial concepts, morphology, the use of new constructions, materials and building technologies, including modern technical equipment of sacral spaces. This article focuses on two buildings by one architect—Emil Belluš (1899-1979), a doyen of Slovak architecture, whose work significantly influenced the field of sacral architecture of the Evangelical Church of A. C. Innovative contributions can first be seen in the design and later in the construction of two evangelical churches in Nesvady and Senec, in Slovakia, built in the 1950s. The churches were part of a project originally intending to build ten new churches for people who had been resettled as part of the government's post-war migration policy. For several decades, these two churches have remained the last addition to sacral buildings constructed in Slovakia. The article deals with the reasons for the creation of church plans, the socio-political situation of that time, circumstances of their construction, and spiritual ideas and creative contribution of the architect Emil Belluš. The research is based on a detailed study of these temples, their layout, and the use of new technologies, construction principles, morphological elements, and other architectural means in which we seek and define an innovative approach to creation.
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