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Monasteries - The layered capture of rhythm in space and time through rituals by 'moulage'

机译:修道院-通过“壁画”通过仪式分层捕获时空的节奏

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Monasteries have represented a unique quest to balance daily life and sacredness for more than 1,500 years. The subject of this paper is their community life through rituals, and rhythm in time and space. We start with Philip Groening's movie, 'Die Grosse Stille' (2005), a poetical and intimate portrait of the everyday lives of Carthusian monks in Grande Chartreuse, high up in the French Alps. The movie shows great respect for rituals in prayer, but equally in the monks' dealings with space and ritual objects. Monks live 'together alone' following traditions that are over one thousand years' old, concerning identity and spiritual regeneration in a collective site. We then look at a twentieth century Benedictine monk, the architect and theorist Dom Hans van der Laan. He fostered a link between space and clothing as a progressive separation between individual and infinite nature. He defines our personal atmosphere as part of a larger whole, a relationship which is strengthened by rituals. We examine his designs of liturgical clothing as metaphoric of this relationship. To conclude we introduce the concept of 'moulage' as a potential architectural tool in the discourse of the adaptive reuse of monasteries.
机译:修道院代表了一个独特的追求,以平衡1500多年的日常生活和神圣性。本文的主题是他们通过仪式的社区生活以及时空的节奏。我们从菲利普·格罗宁(Philip Groening)的电影《死于格罗斯·斯蒂勒(Die Grosse Stille)》(2005年)开始,这是诗意而亲密的肖像,描绘了法国阿尔卑斯山高处的格兰特沙特鲁斯的笛卡尔修士的日常生活。这部电影在祷告中非常尊重仪式,但在僧侣对空间和仪式物体的处理中也同样如此。僧侣按照一千多年的传统“共同生活”,这些传统涉及集体场所的身份认同和精神再生。然后,我们看二十世纪的本笃会修士,建筑师兼理论家Dom Hans van der Laan。他促进了空间与服装之间的联系,将个人与无限自然之间的渐进式分离。他将我们的个人氛围定义为更大整体的一部分,这种关系通过仪式得到加强。我们将他的礼仪服装设计视为这种关系的隐喻。总而言之,我们在讨论修道院的自适应重用时介绍了“潜在的”概念作为潜在的建筑工具。

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