诺斯特拉·德拉·科斯塔文化体验培训中心/卡尔帕

诺斯特拉·德拉·科斯塔文化体验培训中心/卡尔帕
Nostra Signora della Costa Cultural and Experiential Training Center / caarpa

历史与现代的对话：该项目最引人入胜的亮点在于它成功地将历史建筑的沧桑与现代设计语言完美融合。设计团队没有选择简单地复制或掩盖历史，而是通过对原有教堂结构的审慎保留和改造，创造了一种新旧对话的氛围。在修复过程中，设计者刻意保留了建筑在不同历史时期的痕迹，包括二十世纪的修补和斑驳的灰泥，这不仅是对历史的尊重，也赋予了建筑更丰富的叙事性。这种处理手法打破了传统修复的束缚，使得建筑在保留历史感的同时，焕发出新的生命力。

“cantoria”的巧妙置入：项目的核心设计理念在于引入了现代钢制“cantoria”结构。这个位于教堂内部的独立结构并非对原有空间的全盘颠覆，而是以一种谦逊的姿态介入。它既提供了新的功能空间——夹层楼，又巧妙地利用了楼梯和开放空间，为参观者创造了多角度的视角，使得人们能够从不同层面欣赏建筑的细节，例如十八世纪的灰泥。这种现代结构的设计也呼应了教堂原有的建筑元素，通过弯曲的“capital”与古典建筑的优雅相呼应。这种设计策略实现了功能性与美学价值的统一，同时突出了项目“文化和体验式培训中心”的定位。

空间与视线的创新：该项目在空间处理上展现了建筑师的卓越才能。通过“cantoria”的引入，建筑师巧妙地增加了新的视野和空间层次。夹层楼的开放空间设计为参观者提供了俯瞰大厅的视角，而大型三叶窗则将莱万托村的景色引入室内，实现了室内外空间的互动。这种空间布局的变化打破了传统教堂的单一视角，增强了建筑的趣味性和吸引力。同时，建筑师还注重材料的选择和运用，例如石板地板和外露钢结构，这些材料的选择不仅体现了建筑的现代感，也与教堂的古老历史形成了鲜明的对比，进一步强化了项目的视觉冲击力。

建筑师提供的文字描述历史-莱万托Nostra Signora della Costa教堂的历史尚不确定；一篇19世纪的碑文记载了1334年的一次祝圣仪式，但这座建筑可能更古老。在接下来的两个世纪里，这座教堂一直归莱万托博尔戈社区所有，直到1528年1月8日，它被卖给了达帕萨诺的热那亚贵族家族。
Text description provided by the architects. History - The history of the church of Nostra Signora della Costa in Levanto is uncertain; a nineteenth-century epigraph reports a consecration in 1334, but probably the building is more ancient. For the next two centuries the church was owned by the Community of the Borgo di Levanto until 8 January 1528 when it was sold to the noble Genoese family of Da Passano.

Axonometry

扩建长老会的工程可以追溯到十八世纪，还有壁画和灰泥装饰。1872年，主教检查报告指出：“石板地板上有大理石方块，所有墙壁都有壁画：墙壁的一半涂有圣母升天和耶稣诞生。在长老会的墙壁上，天使报喜和参观圣伊丽莎白，一切都很好”。第二次世界大战后，这座建筑被卖给了教廷，然后卖给了一个宗教团体，这座建筑物开始衰落。这座古老的教堂遭到了破坏。原来的地板降低了约50厘米，大厅用一块平板水平分开。祭坛、栏杆和贵重材料被出售，教堂被剥夺了珍宝。多年来，情况一直如此；有一段时间，它甚至被用作学校。在21世纪初，这块平板被拆除，用层压木建造了一个新的平屋顶。
The works to expand the presbytery date back to the eighteenth century, as well as the frescoes and stucco decorations. In 1872 the episcopal inspection states: «slate floor with marble squares and all the walls are frescoed: halfway up the wall are painted the Assumption of Mary and the Nativity. In the walls of the presbytery, the Annunciation and the visit to St. Elizabeth, and it's all excellent". After the Second World War, the building was sold to the Curia and then to a religious congregation and the building started its decline. The ancient church was compromised. The original floor has been lowered by about 50 cm and the hall split horizontally with a flat slab. The altars, balustrades, and valuable materials were sold, the church was deprived of its treasures. For years the situation remained like this; for a period it was even used as a school. In the 2000s, the slab was demolished and a new flat roof in laminated wood was built.

Ground Floor Plan

创意-2018年，PF Economy公司收购了它，为会议、研讨会和活动创建了一个文化和体验式培训中心。客户的想法是通过更私人的空间来增加可用表面积。建筑设计由位于热那亚的建筑和景观工作室caarpa完成。结构设计由EXA工程公司完成。该项目的理念是创造一个当代的钢制“cantoria”（一种典型的意大利教堂唱诗班）。
Idea - In 2018, it was purchased by the company PF Economy to create a cultural and experiential training center for conventions, conferences, seminars, and events. The client's idea is to increase the usable surface area with a more private space. The architectural design was carried out by caarpa, an architecture and landscape studio based in Genoa. The structural design was by EXA engineering. The idea of the project consists in the creation of a contemporary steel "cantoria" ( a kind of choir, typical of the Italian church).

Section 1

设计-“cantoria”是一个放置在大厅内的小型建筑。其简洁而线性的设计重塑了教堂入口的空间。唯一的装饰让步是两个弯曲的“首都”，打断了线性结构，让人想起古典建筑的优雅。它是一个中介元素，它暗示了新的空间性，并试图与古代建筑建立联系。新的外露钢结构是一种空间机器，它增加了新的一瞥和视野，改变了人们对空间的感知。通往夹层楼的楼梯环绕着建筑，提供了十八世纪灰泥的特写视图。
Design - The "cantoria" is a small architecture placed inside the hall. Its terse and linear design remodels the space of the entrance of the church. The only decorative concession is represented by two curved "capitals" that interrupt the linear structure and recall the elegance of the classical architecture. It is a mediating element, it suggests new spatiality and attempts connections with the ancient building. The new exposed steel structure is a spatial machine that adds new glimpses and views, modifying the perception of space. The staircase leading to the mezzanine floor wraps around the structure, offering a close-up view of the eighteenth-century stuccoes.

在柜台正面前方，两个小房间内，有技术系统的空间。长老会壁画的修复与大厅的墙壁形成了对比。在建筑的这一部分，我们想让二十世纪事件的故事暴露出来，只是巩固了柔和的色调、覆盖的痕迹和缺失的灰泥，作为近代历史的非正式表达。虽然不像古代事件那么“高贵”，但它现在不仅具有审美价值，还具有记忆价值。侧祭坛现在被剥去了覆盖物，上面覆盖着一层石灰泥，让我们可以看到它们多年来软化的原始形状。灰泥上清除了几个世纪的铜绿，露出了原始颜色的痕迹。地板是用石板铺成的，每三块铺一条边。在夹层楼，一个开放空间俯瞰着下面的大厅。从巨大的三叶窗，你可以看到莱万托村一直延伸到大海。
In front of the counter façade, inside two small rooms, there is space for the technical systems. The restoration of the frescoes of the presbytery acts as a counterpoint to the walls of the hall. In this part of the building we wanted to leave the story of twentieth-century events exposed, just consolidating the pastel shades, the covered traces and the missing plasters as an informal expression of recent history. Although less "noble" than the ancient events, it now acquires an aesthetic value as well as a value of memory. The side altars, now stripped of their coverings, were covered with a layer of lime putty that allows us to glimpse their original shape, by now softened over the years. The stucco, cleaned of the patina of the centuries, brought to light traces of the original colors. The floor was made with slate tiles laid in a row and bordered every three. On the mezzanine floor, an open space overlooks the hall below. From the large trefoil window you can look at the village of Levanto up to the sea.