Raj Sabhagruh话语大厅/系列建筑师

Raj Sabhagruh话语大厅/系列建筑师
Raj Sabhagruh Discourse Hall / Serie Architects

总体设计与空间组织：该项目的最大亮点在于其对传统宗教建筑的现代诠释，并成功地将不同功能空间垂直堆叠。从底层的5000座礼堂到顶层的冥想大厅，设计清晰地表达了从公众集会、知识学习到个人内省的递进过程。这种垂直空间的组织方式，不仅节约了用地，也营造出一种向上的精神体验。此外，项目巧妙地利用新月形地貌，将建筑置于地势高点，使其成为整个道场的视觉中心和精神象征，进一步增强了其场所感和仪式感。

结构与材料的创新运用：建筑师在结构和材料的选择上展现了卓越的专业素养。旋转堆叠的13个房间形成独特的相互咬合的剪力墙结构，既是结构支撑，又是立面元素，极大地减少了材料的使用，体现了“精益建筑”的理念。外立面采用手工雕刻的Makrana白色大理石砖，不仅赋予了建筑精致的质感，更通过回收利用废弃材料体现了可持续的建筑理念。大理石砖的粗糙切割面在光线下产生丰富的变化，与深圆形窗户共同营造出光影交织的视觉效果，为建筑增添了活力。

对文化和精神内涵的深刻理解：项目的设计灵感源于耆那教的Samavasaran寺庙，将知识的积累和精神的升华融入建筑设计之中。礼堂内同心圆的木制隔音板，冥想大厅内发光的大理石光针，以及外部广场的布局，都体现了对传统宗教元素的深刻理解和创新运用。设计团队与宗教领袖的紧密合作，确保了建筑能够满足使用者的需求，并作为道场的精神象征。建筑不仅是物理空间，更是承载着信仰、知识和内省的场所，完美地呼应了项目所服务的精神使命。

Serie Architects已经完成了备受期待的Rajsabahgruh，这是印度古吉拉特邦达兰普尔Shrimad Rajchandra道场100公顷总体规划开发中的核心建筑Raj Sabhagruh是一个雄心勃勃的综合体，拥有一个5000个座位的礼堂、教室、演讲室、一个1000平方米的博物馆、一家礼品店和一个300个座位的冥想大厅，堆放在一个新月形60米小丘顶端的40米高的建筑内。
Serie Architects has completed the much-anticipated Rajsabahgruh, the centrepiece building in the 100-ha masterplan development for the Shrimad Rajchandra Ashram, Dharampur, Gujarat, India.The Raj Sabhagruh is an ambitious complex, housing a 5,000-seater auditorium, classrooms, discourse rooms, a 1,000-square-meter museum, a gift shop and a 300-seater meditation hall, stacked within a 40-meter-tall building at the apex of a crescent-shaped 60-meter hillock.

Raj Sabhgruh的设计于2012年通过国际邀请赛授予Serie Architects，其灵感来自Jain Samavasaran，这是一座传说中的寺庙，由一个逐渐上升的平台组成，容纳了人类、动物和半神，与坐在这个结构顶端的“Tirthankara”进行神圣交流。这座神话般的建筑代表了知识的聚合——通过话语和学习——作为构建块，使奉献者更接近启蒙。这一概念在所有耆那教寺庙中都得到了具体化，在那里，自相似元素的聚集创造了高耸的shikaras——弯曲的金字塔状形状，覆盖着寺庙中心的圣所，似乎伸向了天空。Serie的设计由13个堆叠的房间组成，向上堆叠时旋转45度。这种旋转堆叠产生了一种由薄而平缓弯曲的混凝土剪力墙组成的联锁剪力墙结构，穿孔以引入自然光。这种精益建筑将结构作为立面和空间定义相结合，旨在减少整个建筑使用的材料。从程序上讲，一个人从底层话语大厅的空间向上上升，到第二层博物馆内的体验式学习，第三层教室内的深入学习，最后到顶层冥想大厅内的内省。从演讲到沉默的旅程。
Awarded to Serie Architects in 2012 through an international invitational competition, the design of Raj Sabhgruh draws its ideas from the Jain Samavasaran, a fabled temple, composed of a tapering ascension of platforms, housing humans, animals, and demi-gods in divine communion with a 'Tirthankara', an enlightened being, seated at the apex of this formation. This mythical building represents the aggregation of knowledge—through discourse and learning—as building blocks, to bring devotees ever closer to enlightenment. This concept is reified in all Jain temples, where the aggregation of self-similar elements creates lofty shikaras—curved, pyramid-like forms that cap the sanctum sanctorium at the heart of the temple and appear to reach for the sky. Serie's design consists of 13 stacked rooms, rotated 45 degrees as they stack upwards. This rotational stacking gives rise to an interlocking sheer wall structure made up of thin, gently curved concrete sheer walls, perforated to let in natural light. This lean architecture, combining structure as façade and space definers, aims to reduce the material used for the entire building. Programmatically, one ascends upwards from spaces of the discourse hall at the ground level, to experiential learning within the museum at the second level, deep study within classrooms at the third and finally to introspection within the meditation hall at the apex tier. A journey from speech to silence.

Site Plan

一个可容纳5000人的圆形礼堂将平面图固定在地面上，通过一个大型的环绕门厅进入，门厅有8个入口，呈放射状分布在主方向和中间方向。四个弯曲和相交的混凝土拱横跨直径54米、高20米的混凝土鼓，形成了一个无柱的内部。在拱门交叉处形成的方形形成了位于礼堂上方的冥想大厅的结构座。
A circular 5,000-seater auditorium anchors the plan at the ground level, accessed by a large circumambulating foyer with an array of 8 entrances radially placed at the cardinal and intermediate directions. Four curving and intersecting concrete arches span across the 54-meter diameter and 20-meter-tall concrete drum to create a column-free interior. The resultant square formed at the intersection of the arches forms the structural seat of the meditation hall placed above the auditorium.

Plan - Entrance Floor

一系列同心的木制隔音板从鼓形天花板的中心向外辐射，让人想起古代耆那教寺庙的主要聚集大厅Maha mandapa天花板内雕刻精美的天空圆顶的放射状图案。圆形礼堂位于其东象限，设有大师舞台，吸引观众与他亲密对话和指导。悬挂式阳台为舞台提供了清晰的视线，而平坦的礼堂地板则为各种节目和活动提供了灵活的空间。
An array of concentric, timber, acoustic baffles radiate outward from the centre of the drum ceiling, recalling the radial patterns of the intricately carved sky-domes found within the ceilings of the Maha-mandapa, the primary gathering halls of ancient Jain temples. The circular auditorium with the stage for the Guru, placed within its eastern quadrant draws the audience close to him in intimate dialogue and instruction. A suspended balcony provides clear sight lines to the stage while a flat auditorium floor allows for a flexible space where various programs and events can unfold.

Section 02

位于礼堂上方的300个座位的冥想大厅高出20米，像一盏发光的灯笼一样照亮了建筑，1000多个发光的光针刻在大理石表面上，从达兰普尔的街道上可以看到。作为一个完全黑暗的内部，空间框架的双重结构独立地支撑着外部空间和内部空间。一系列发光的白色声学面板在大厅内部逐渐旋转，将眼睛和心灵向上吸引到深度沉思中。
The 300-seater meditation hall, placed above the auditorium rises 20 meters to cap the building composition as a glowing lantern, with over 1000 glowing pins of light etched into its marbled surface, visible afar from the streets of Dharampur. Necessitated as a completely dark interior, a double structure of space frames holds up the exterior volume and interior space independently. An array of glowing, white acoustic panels rotates gradually within the interior of the hall, drawing the eye and mind upwards to deep contemplation.

外部混凝土剪力墙覆盖着50毫米厚、手工雕刻、粗切的Makrana白色大理石砖。这些砖块是从废弃的大理石板中回收的，它们被刻意地设计得很小，以适应陡峭墙壁的曲率，为立面增添了细腻的质感。利用废弃的大理石增强了Serie设计的精益建筑方法，降低了建筑成本。在两年多的时间里，该建筑的36个面上手工铺设了超过80万块砖，反映了与Raj Sabhagruh前几年完工的耆那教寺庙的整体梁式结构相同的材料。粗糙的切割暴露了大理石的晶体结构，它以多种发光色调和色调在建筑表面折射和散射光线，并在一天中随着太阳的运动而变化。深圆形窗户将日光带入室内，增加了一层视觉深度，并为整体造型增添了活力。
The exterior concrete sheer walls are clad in 50mm thick, hand-chiseled, rough-cut Makrana white marble bricks. These bricks, salvaged from discarded marble slabs, are deliberately small to accommodate the curvature of the sheer walls, adding a fine texture to the facade. Utilizing discarded marble enhances the lean architectural approach of Serie's design and reduces construction costs. Over 800,000 bricks were hand-laid over the 36 faces of the building's volumes over two years, reflecting the same materiality as the monolithic trabeated structure of the Jain temple completed a few years prior to the Raj Sabhagruh. The rough cuts expose the crystalline structure of the marble, which refracts and disperses light in numerous luminous tones and hues across the building's surfaces, changing with the sun's movement throughout the day. Deep-set circular windows bring daylight deep into the interior, adding a layer of visual depth and animating the monolithic form.

Plan - Museum Floor

Serie Architects的负责人Christopher Lee和Kapil Gupta解释说：“我们与道场和Pujya Gurudevshri Rakeshji密切合作，倾听他们的需求和愿望，用建筑理念回应，并在为期两年的设计期内对其进行了讨论性的完善。我们测试了几次迭代，探索神圣形式的类型。人们非常渴望找到一种现代、难忘和永恒的建筑，可以作为年轻、成长中的道场的象征”。
Christopher Lee and Kapil Gupta, Principals at Serie Architects, explain, "We worked very closely with Ashram and the Pujya Gurudevshri Rakeshji, listening to their needs and aspirations, responding with architectural ideas, and discursively refining them over a two-year long design period. We tested several iterations exploring typologies of sacred form. There was a deep desire to find an architecture that was contemporary, memorable and timeless, that could serve as a signifier for a young, growing Ashram".

出现的建筑可以容纳广泛的用途，并随着它所服务的精神使命而不断发展。它作为道场生活展开的背景，将其作为获取知识和内在精神体验的地方。
The architecture that emerges can accommodate a wide range of uses and continues to evolve with the spiritual mission it serves. It acts as a backdrop where Ashram life can unfold, anchoring it as a place for the acquisition of knowledge and inner spiritual experience.

Facade Detail

该建筑坐落在一个广阔的基座上，一个从中心向外辐射的大型广场，将其连接到北部的一个大型餐厅，西部的一个可容纳5000人的露天圆形剧场和南部的耆那教寺庙。广场以凉爽、同心的白色大理石环布局，反射出夏日阳光的热量，点缀着成排遮荫的榕树。广场使道场的社交生活得以展开，成千上万的信徒和游客通过他们日常的对话、学习和冥想节奏从一栋建筑搬到另一栋建筑，其间穿插着用餐和休息。建筑西侧的花园位于圆形剧场的两侧，由当地景观设计师菲库斯设计公司设计，其中有一片神圣的树林，由108种古老的神圣树木组成，沿着山坡倾泻而下。穿过小树林的阴凉小径允许居民在家和广场之间移动。
The building sits on an expansive plinth, a large plaza radiating outwards from its center, connecting it to a large dining hall to the north, a 5000-seater open-air amphitheater to the west and the Jain temple to the south. The plaza is laid out in cool, concentric white marble rings that reflect away the heat of the summer sun and is dotted with rows of shade-giving ficus trees. The plaza enables the social life of the Ashram to unfold over it, as thousands of devotees and visitors move from building to building through their daily rhythms of discourse, study and meditation, punctuated by meals and sessions of rest. The gardens that are laid out to the West of the building, on either side of the amphitheater, were designed by local landscape architects, Ficus Design and contain a sacred grove of 108 ancient species of sacred trees that cascade down the slopes of the hill. Shaded pathways through the grove allow residents to move between their homes and plazas.