SEAN GODSELL

In my previous podcast, I had a very interesting guest, Sean Godsell, an architect who, since he never agreed to conform to the dominant and strongly homogenizing tendencies of a globalized architecture, is mostly described as a free-spirited rebel. This resolute position, that sees him not accepting compromises, does not arise from a presumptuous self-referentiality but from the profound conviction of a respect due to the context in which the project will be shaped. His statements, not sharing stereotyped expressions, make use of lexical elements that never betray the original inspirational source, adapting to a syntax prescribed by the topographical, climatic and cultural situation.

非凡的美丽，狂野和孤立的场景的风景，被暴风雨烧毁或击败，表明打算以大胆的原始性来回忆的干预措施是房屋避难的基本功能，避难和拯救了自然的敌对和野蛮力量难以控制的地方不熟悉”。让我们想起那个难忘的图像的词，查特温（Chatwin）用来描述澳大利亚原住民的行为，他们曾经有机会观察，引起了他的钦佩。“他们轻轻地穿过地球。而且他们从地球上夺走的越少，回报就越少”, their feet were barely touching the ground, leaving light traces that '文明'人没有理会模仿，不幸的是，他的胜利和傲慢的步骤留下了越来越明显的迹象。

这就是如何从对当地建筑传统的尊重中产生的，这些传统是那些严重而严格的剖面，受到对简洁表达的几乎痴迷的张力，极简主义的巨石在不规则的地形之间伸展，并在预备素描中进行了想象和代表，并具有少数雄辩的力量特质。详细说明的住所包含了两种难以和解的趋势：作为基本形式的升华，寻求一种真实的体验关系，一种具有自然轮廓的持续辩证法，以及充满热情的奉献精神，几乎是道德的，义务，可持续未来的必要性，不可忽视。Le #raybet官网Corbusier强调的是，一种能够升华和提升的建筑，超越了材料和纯粹结构的物理边界，到达了”触摸心脏”，这是戈塞尔的手势努力奋斗的主要理想努力，尊重用精致的技术设备进行被动的环境管理，隐藏在明显的绝对自然表现后面。

A particularly raw and crude configuration, a hard exoskeleton, to use a biological analogy that Godsell has deliberate appropriated, protects the warm belly, which is the endoskeleton of his dwellings. Those parallelepipeds that extend between sandy dunes, rusted carcasses, at times buried and camouflaged as if they were an integral part of the land, deceive us with their elemental primitiveness and, when we approach them, enchant us with the accuracy of their details, meticulously studied and hand stitched. The metallic skins that appeared absolutely uniform, rudimentary and compact reveal porous textures, these indispensable envelops, physically separated from the internal space, fulfill a double function, giving a shelter and a lot of permeability, offering unexpected effects of shadow and filtered light. That brutality, that had aggressively hit us, dissolves into a warm, earthy tactile and visual sensuality.

风和太阳，这种性质逐渐从她的定义氧化钢中逐渐取回了这些钢序列的氧化钢，对气候敏感，根据时间的流逝，有机地改变了外部铜绿。对形式和材料的细心和深入的探索与地球子宫几乎是共生关系，使自发性和技巧合并出意外和有序，达到了令人垂涎的目标。每个存在都讲述了一个逐渐揭示的故事，并且采用一种熟练的诱人技术强调了期望，涉及一场令人惊讶的游戏。小标志，寓言的痕迹构成了诱人的序言，引入了遭遇，让自己被阅读和慢慢披露而又不令人失望的最高期望。这些作品隐藏了变色龙般的复杂性，使其欺骗性的简单性。不断邀请发现新体验的极简主义，使人们的想象远远超过了眼睛的想象，这代表了这种伟大的吸引力的秘密。这是从显然不可调节的二分法中，是对立品质的共存：原始人格的出现，不动和动态，静态和灵活性，遗传和自主性。

戈塞尔（Godsell）宣传的另一种单一的经历，传播了一条消息，表明其最简单的信息”touches the heart“在那些知道如何倾听的人中'梵蒂冈教堂'，在2018年在威尼斯举行的第16届国际建筑双年展上提议的情况下提议。对于来自世界各地的十位选定建筑师的邀请，已明确地解决了他们各自的干预措施的邀请。#raybet官网雷竞技下载链接圣乔尔吉奥·马吉奥尔岛的树木繁茂的花园，明确地暗示了'伍德兰教堂'，由Gunnar Asplund设计。他们的责任是用柔和但充满活力的道路通过极端情感的自然环境蜿蜒而行。沉默和沉思将引导冥想对不含传统公约的宗教概念，能够满足当代时代的需求和愿望。

戈塞尔与拟议的主题完全和谐地回应，采用了两个对他极为重要的参考文献，并以他的巨大连贯性的通常令人信服的力量满足了所有要求。启发他的消息来源是弗兰克·劳埃德·赖特（Frank Lloyd Wright）的宗教信仰，他承认他有信仰，并揭示了自然是他的上帝，并且“教会是一种能够远离罗马数千公里的韧性，充满活力的实体的感觉”，，，，a lesson that he received during his childhood from the Jesuits, in particular from the example of their missionaries, who brought not only the word of God, but also education, research and culture wherever they ventured.

占据最大建筑区域60平方米的法规是一项指令，或者是对已经决定不专注于建筑物本身的建筑师的绝对多余的限制使用，以及考虑可重新定位的结构的要求，可以轻松地在另一个可能的位置运输和重新处理，这与他培养适度的宗教建筑物的想法是一致的，它是一个能够实现其实现其的动态实体在需要它的任何地方功能。

教堂的形状一如既往地不会发出噪音，看起来像是一个高高的平行教，带有正方形计划，大约是一个40英尺的容器的大小。区分它的垂直性使它唤起了在泻湖天际线中脱颖而出的钟楼，那些大胆，非凡的工程作品使戈德尔喘不过气来。正是由于这种钦佩，是一位建筑师的致敬，深深地着迷于最精致的施工细节，这些钟楼的仿真仿真，用于这些铃铛塔，竖立在木制的木桩上。塔楼用四根杆接触，绝对最低限度，几乎尊重这个岛的土壤，宣告的文化遗产，允许敏捷的预制模块组装。完成了罕见的完善，对细节的严格性，这是澳大利亚建筑师的生产中经常出现的常数，他就这次场合所需的精心建筑技术而回忆起Mies van de Rohe的著名声明”God is in the details”。

The long steel-framed structure contributes to perpetrate the semantic lexicon of the ritual of the mass: the lower panels of the four sides, powdered by hydraulic pumps at the moment of the affluence of the faithful, rise simultaneously as portals in the act of invitation and welcome, revealing with a decidedly theatrical process, which recreates the tension of the liturgy, the altar kept inside, touched by a special zenith light. The devots approach and, looking up to the sky, find themselves enveloped by a warm light, unexpectedly reflected by the internal walls covered with golden sheets, a particular atmosphere that re-proposes the mystical suggestion that the interiors of Gothic cathedrals communicate to the unconscious. In this evident symbolic opening towards infinity we read an allusion to the oculus of the Pantheon which, born as a solar temple and converted into a Christian basilica, has seen this opening be interpreted according to the historical-cultural phases, as a means for witnessing an astrological phenomenon or the revelation of a divine and providential light.

没有空间可以坐在教堂内，从运河中的回收系泊杆被用作长椅，分布在四个外侧，故意诱使会众在安静而引人入胜的地方寻求沉思和冥想。小型构建标志只是一种物理行为，用作使人们整体拥抱自然舞台的装置：一旦忠实的聚集在祭坛上，景色就滑过了泻湖的水，象征着大的大窗户教会是自然。水和被树木包围的地点提供了一种非常和谐，不可抗拒的美丽组合，建筑师在没有故意干扰的情况下进行了精心策划。

Virginia Cucchi

学分：

Sean Godsell 雷竞技下载链接Architects：https：//www.seangodsell.com/

由Sean Godsell建筑师提供：雷竞技下载链接
Cover, 05: Glenburn House Photo by Earl Carter
01: House In The Hills Photo by Earl Carter
02：伯爵·卡特（Earl Carter）
03,04：Pennisula House摄影
06,07,08: Tanderra House Photo by Earl Carter
09：伯爵·卡特（Earl Carter）的岩石照片中的棚屋
10：海岸SGA的房屋
12-13：梵蒂冈教堂照片Alessandra Chemollo