架构师提供的文本描述。经过漫长的财产搜寻之后，圣尼古拉斯东正教会在阿肯色州斯普林代尔发现了一处占地三英亩的地皮，东临一座大型公共公园，西靠一条主要公路。在对现有房屋和钢框架商店的优点进行了长时间的辩论后，决定将商店建筑重新定位为一个新的崇拜空间。现有的商店大楼有三扇高高的电梯车库门，一个小阁楼作储藏室，还有一个办公室。阁楼和办公室都被完全拆除了，西面的门面也被完全拆除了，这样就可以在整个西面海拔范围内增加一个更大的夹层和一个10英尺宽的加长部分。钢框架只是在一个位置，以允许引入一个塔元素，突出进入保护区。这座建筑被一层新的镶有框肋的金属面板和彩色玻璃开口所包围：原来的门廊形状是模糊和精致的。虽然它是一个小结构，但它的粗体、表面和符号使它在附近的州际公路上日夜都能辨认出来。

Text description provided by the architects. After a lengthy search for property, the congregation of Saint Nicholas Eastern Orthodox Church found a three acre site in Springdale, Arkansas, bordered to the east by a large public park and exposed to a major highway to the west. After a lengthy debate about the merits of the existing house and steel-framed shop building, the decision was made to repurpose the shop building into a new worship space. The existing shop building had three high lift garage doors, a small mezzanine for storage, and an office. The mezzanine and the office were completely removed, as was the western facade to allow for a larger mezzanine and a ten foot wide addition across the entire length of the west elevation. The steel frame was in only one location to allow for the introduction of a tower element that highlights the entry to the sanctuary. The building is enveloped by a new skin of box-ribbed metal panels and colored glass openings: the original gabled form is obscured and refined. Although a small structure, its bold form, surface and symbols make it recognizable both day and night from the nearby interstate.

 Courtesy of Marlon Blackwell Architect

马龙·布莱克韦尔建筑师

传统的东正教教堂是向东的，而长方形的商店建筑则是面向南北的。虽然有礼拜仪式的规定，“重新定位”的崇拜空间是无法面对东方，该节目只是简单地折叠，以允许正确的方向。相反，按照传统的轴向推进，麻醉药被折叠到避难所空间的轴线90度，这样当教区居民到达圣所时，他们就会被送到东-西轴。这一微妙的妥协使得为了适应这个项目，可以增加一个非常小的部分。这个项目由当地的白橡木制成，由一件悬挂了很长时间的磨坊构成，它包含着点燃祈祷蜡烛的仪式，并在敬拜圣徒的过程中表示敬意。当一个人穿过点燃蜡烛的麻醉药时，天花板逐渐下降到一层橡树之上，压住了游客，然后经过照亮天空的塔下，标志着进入东面圣所的入口。这座塔是由天窗点亮的，房子的西面是红色的玻璃，每天早上都被东方的阳光照射，晚上被人为地照亮，从邻近的高速公路上可以看到。

While traditional Eastern Orthodox Churches are axial and face east, the rectangular shop building was oriented north-south. Although there are liturgical provisions for "reorienting" a worship space that is unable to face east, the program was simply folded to allow for the proper orientation. Rather that adhering to the traditional axial progression, the narthex is folded 90 degrees to the axis of the sanctuary space so that parishioners are delivered to the east-west axis once they arrive in the sanctuary. This subtle compromise allows for a very minimal addition in order to accommodate the program, dignified by a long suspended piece of millwork made of local white oak that embraces the ritual of lighting prayer candles and paying respect to saints en route to worship. As one passes through the candle-lit narthex, the ceiling gradually descends above a floor of oak, compressing the visitor before passing under the sky- lit tower that marks the entry into the sanctuary oriented to the east. The tower is lit by a skylight and houses a cross facing west filled with red glass, backlit by the eastern sun each morning and artificially illuminated at night to be visible from the adjacent highway.

在圣殿的东端，天花板被雕刻成30英尺宽的半透明玻璃，在柔和的光线下为晨间服务而沐浴。圣殿和祭坛之间的屏风墙，代表天地之间的分离，是一个非常详细的垂直面。它的特点是手绘和镀金的图标，代表着天和地的分离.根据教堂的礼拜仪式，两个隐藏的可操作面板允许牧师在进行仪式时通过。圣殿的特色还包括一个穹顶，它是由卫星天线制成的，倒置并涂满了灰泥，然后刻上了“潘托克托”的图像，这是基督在东方升起时太阳升起的形象。

At the east end of the sanctuary, the ceiling is carved away to allow for a 30 foot wide transom of translucent glass that bathes the sanctuary in soft light for morning services. The iconostasis, the screen wall between the sanctuary and the altar area representing the separation between heaven and earth, is the one vertical surface that is articulated in great detail. It features hand- painted and gilded icons representative of the separation of heaven and earth. Two hidden operable panels in the iconostasis allow for the priest to pass through while performing rituals according to the church's liturgy. The sanctuary also features a dome, fashioned from arepurposed satellite dish, inverted and plastered, then inscribed with the image of the 'pantocrator,' the image of Christ rising as the sun in the east.

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橡木地板和圣殿穹顶反映了一种策略，教堂的内部垂直表面沐浴在光线中，带有有限清晰度的色彩口音。相比之下，水平表面具有表现力，揭示了优先级和等级。在团契大厅中，暴露了原来的混凝土板和金属车间建筑的屋顶结构，揭示了建筑的起源。暴露的绝缘和钢结构只是漆成黑色，而原来的商店灯光被重新安置，以照亮团契大厅。毗邻团契大厅的是新的服务设施，包括洗手间和厨房，而上面的阁楼有一个大的多用途空间和约翰神父的办公室，可以俯瞰麻醉药。

The oak floor and the dome of the sanctuary reflect a strategy in which the interior vertical surfaces of the church are bathed in light with color accents with limited articulation. In contrast, the horizontal surfaces are expressive, revealing priorities and hierarchies. In the fellowship hall, the original concrete slab and the roof structure of the metal shop building are exposed, revealing the origins of the building. The exposed insulation and steel structure were simply painted black while the original shop lights were relocated to illuminate the fellowship hall. Adjacent to the fellowship hall are new services, including restrooms and a kitchen, while the mezzanine above houses a large multi-purpose space and Father John's office, which overlooks the narthex.

 Courtesy of Marlon Blackwell Architect

马龙·布莱克韦尔建筑师

虽然定期服务吸引了大约80名游客，但假日服务吸引的游客却是原来的两倍。不是为更多的人设计圣所，圣所的一堵墙有两个大的部分，向团契大厅敞开。这些可操作的墙壁完全堆放，允许团契大厅用于假日服务期间的座位溢出。这种灵活性反映了设计所需的适度预算和足智多谋。

Although regular services draw approximately 80 visitors, holiday services draw twice as many. Rather than design the sanctuary for the greater number, one wall of the sanctuary has two large sections that swing open to the fellowship hall. These operable walls stow completely allowing for the fellowship hall to be used for overflow seating during holiday services. This flexibility allows reflects the modest budget and resourcefulness required of the design.

 Courtesy of Marlon Blackwell Architect

马龙·布莱克韦尔建筑师

自从新的敬拜空间开放以来，教会的人数增加了30%，促进了一个更大的圣所的梦想，即在同一地点安置200名礼拜者。该场地规划是在考虑到未来阶段的情况下制定的，采用了一种敏感的停车策略，即将停车场停在教堂的一边和后面，这与街道和建筑物之间的大范围停车的典型做法相反。取而代之的是，一个巨大的“广场”被形成，最终将被新的保护区空间设计成南面的框架。就目前而言，这幅白色的标高图是教堂的广告牌，从高速公路上可以很容易地看到和识别它的轮廓。这是一个小教堂，有一个大存在，尽管周围有许多更大的教堂。

The congregation has grown by 30% since the new worship space has opened, fostering the dream of a larger sanctuary to be located on the same site to house 200 worshipers. The site plan was developed with the future phase in mind, employing a sensitive parking strategy, one that kept parking to the side and rear of the church, contrary to the typical practice of wide bands of parking between the street and the building. Instead, a large 'plaza' is formed which will eventually be framed to the south by the new sanctuary space. For now, the graphic white elevation serves as a billboard for the church, its profile easily seen and identified from the highway. It is a small church with a large presence despite being surrounded by numerous larger churches.

 Courtesy of Marlon Blackwell Architect

马龙·布莱克韦尔建筑师