“沒有了，沒有了。凡值得憑弔的美好記憶都沒有了。我問自己，既知消失何必來尋呢？這就是矛盾，矛盾於心成鄉愁，去了舊事，添了新愁。鄉愁是留不住的回聲，是捕捉不到的美麗。”——梁衡
“No, not any more. Every beautiful memory that worth cherish is no longer exist. I asked myself, why should I look for it if I know it is gone? This is the contradiction, the contradiction of the love of my hometown from deep down in my heart. What happen in the past is in the past, and what is left is a new sorrow? Nostalgia is an echo that cannot be kept, and also a beauty that cannot be captured.” ——Liang Heng
▼從灘塗眺望教堂，looking at the church from the beach ©子墨
福清鬥垣，外婆家，福州南邊的小漁村。兩個小時的車程，父輩的鄉愁化作了鄉戀。對於家鄉的眷戀，不僅源於親人的牽掛，還源於記憶中長輩一碗湯羹的味道。小漁村的面貌日新月異，彷彿一切舊的事物都不值得留戀。鄉音不改，小漁村卻越發得陌生。希望有這麼一個物件能夠承載村民們共同的記憶，記錄每一位村民的歡喜和悲傷，以及對家鄉的深情。村裡的至高點矗立著一間寺院，相鄰的天主教教堂消隱在山坳裡，新建的基督教教堂向海而生，一個小漁村濃縮了中國宗教信仰的現狀。一切教導人們真善美的教義都是至真至善。 “海乃百川，有容乃大”，這是向海而生建築應有的氣度。宗教建築去符號化，以平和的姿態融入村民的生活。在這裡不論教派，只談信仰的真善美。
Douyuan, Fuqing, grandmother’s house, a small fishing village located at the south side of Fuzhou. Two hours’ drive, the homesickness of fathers’ became nostalgia. The love for the hometown is not only due to the love of the loved ones, but also the beautiful memory of the taste of a bowl of soup from the elders. The fishing village has developed rapidly, as if all the things from the past are not worth remember. The township remains the same, but the village has become more and more strange. I hope that such an object can bare the common memories of the villagers, to record the joy and sadness of each villager, and the deep feeling of the hometown.
▼從海堤眺望教堂，view of the church from the seawall ©子墨
▼從村道看向教堂，from village road to church ©子墨
村中骨灰堂柱子裝飾成科斯林柱式的模樣，中國審美價值觀大約從農村坍塌在地。這已然不是崇洋，而是對自我根源的否定。往下傳承的不僅僅是物質內容，更需要傳承的是具備根源性的價值觀。建築企圖通過構建場所精神來表達自我根源的肯定。不從眾、不隨流，讓根源性價值觀這顆種子在村民心中紮根，它不是不具備生命力，而是在各種炫目刺激下顯得“無力”。建築所構建的場所精神能夠喚起村民、訪客的共鳴與思考。建築內核是從設計者、建造者到使用者的世界觀、價值觀、人生觀的延伸，個人的自信乃至民族的自信都是來自對根源的肯定。
The pillars of the ash hall in the village are decorated in the form of koslin pillars, and Chinese aesthetic values collapse from the countryside to the ground. This is not the worship of foreign countries, but the denial of self origin. What needs to be inherited is not only the material content, but also the original values. Architecture attempts to express the affirmation of self origin by building place spirit. Do not follow the crowd, do not follow the flow, let the root values take root in the hearts of the villagers, it is not without vitality, but in a variety of dazzling stimulation appears “powerless”. The spirit of place constructed by architecture can arouse the resonance and thinking of villagers and visitors. The core of architecture is the extension of the world outlook, values and outlook on life from designers, builders to users. The self-confidence of individuals and even the national self-confidence are all from the affirmation of the root cause.
▼從村莊俯瞰教堂，overlooking the church from the village ©子墨
舊時的地域性大約受限於氣候和物流影響下的構造和材料。在今日發達的資訊和物流的助力下，構造和材料趨於大同。用構造和材料來表達地域性可能流於表面，地域性的表達從直接的觀感表達轉為內斂的自然對話和精神標榜。自然對話一方面緣於海天一線氣魄意象的轉化，消除牆面與屋頂的界線；另一方面緣於對自然敬畏形成的“防禦性”民居，建築較實的體量遵從了當地民居的建造邏輯。精神標榜一方面緣於對大海的感恩之情，空間營造出如同母親懷抱般光的海洋；另一方面緣於村民拼搏精神的觸動，建築呈現真實、積極的狀態。無所謂樣式，無所謂技法。這是觸動之情、感恩之情、敬畏之情、眷戀之情的實物化。
▼東側教堂立面，消除牆面與屋頂的界線，east church facade, eliminating the boundary between the wall and the roof ©子墨
▼北側教堂立面，north church facade ©子墨
The territoriality of the past was limited by the structure and materials under the influence of climate and logistics. Under the help of today’s developed information and logistics, construction and materials tend to be similar. The use of structure and materials to express territoriality may be superficial, and the expression of regional shifts from direct perception to introverted natural dialogue and spiritual flaunting. On the one hand, the natural dialogue is due to the transformation of the image of the sea and the sky, eliminating the boundary between the wall and the roof; on the other hand, due to the “defensive” dwellings formed by the natural awe, the building’s physical volume follows the construction logic of the local dwellings. On one side, the spiritual slogan is due to the gratitude of the sea, the space creates a feeling like the embrace of a mother; on the other side, due to the touch of the villagers’ spirit, the building presents a real and positive state. There is no such thing as a style. This is the physicalization of touch, gratitude, awe, and attachment.
▼二層的門廳，foyer on second floor ©子墨
▼三層的準備間，preparation room on the third floor ©子墨
▼三層的大禮拜堂屋頂，the roof of the three story chapel ©子墨
▼一層平面圖，1F plan ©CWXD建築事務所
▼二層平面圖，2F plan ©CWXD建築事務所
▼三層平面圖，3F plan ©CWXD建築事務所
▼北立面圖，north elevation ©CWXD建築事務所
▼1-1剖面圖，1-1 section ©CWXD建築事務所
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