ABSTRACT

The Austrian émigré architect Karl Langer (1903–1969) was a major figure in the Queensland architecture scene after WWII. Among his work were two churches and one chapel for the Lutheran Church – St John’s in Bundaberg (1960), St John’s in Ipswich (1961) and St Peter’s College Chapel in Indooroopilly (1968). This paper sketches how a particular transfer of ideas and forms, across time and continents, informed these designs. Throughout his career, Langer endeavoured to combine the classicist principles he inherited from working with Peter Behrens, with his lifelong fascination for the civic culture of the ancient Greeks and contemporary international modernism. The harsh climate, poor economic situation and construction industry constraints in post-war Australia necessarily tempered Langer’s formal or intellectual intentions, though. This forced him to balance his personal ambitions and the agency of the Lutheran Church – seeking to foster its self-image as a progressive, outward-looking faith – against the scarcity of means and materials. Yet, as his church designs show, Langer managed to overcome these constraints thanks to a particular sensitivity to the spirit of place. This capacity gave his ecclesiastic designs a conceptual richness which made them stand out against the straightforwardness of most church architecture in post-war Queensland.

摘要

奥地利移民建筑师卡尔·兰格（Karl Langer，1903-1969 年）是二战后昆士兰建筑界的重要人物。他的作品包括两座教堂和一座路德教会小教堂——班达伯格的圣约翰教堂（1960 年）、伊普斯威奇的圣约翰教堂（1961 年）和因杜鲁皮利的圣彼得学院教堂（1968 年）。本文概述了思想和形式的特定转移如何跨越时间和大陆，为这些设计提供信息。在他的整个职业生涯中，兰格努力将他从与彼得贝伦斯合作中继承的古典主义原则与他对古希腊公民文化和当代国际现代主义的终生迷恋结合起来。不过，战后澳大利亚恶劣的气候、糟糕的经济形势和建筑业的限制必然会缓和兰格的形式或思想意图。这迫使他在个人野心和路德教会的能动性——寻求将其自我形象塑造为一种进步的、外向的信仰——与手段和材料的稀缺之间取得平衡。然而，正如他的教堂设计所显示的那样，由于对地方精神特别敏感，兰格设法克服了这些限制。这种能力使他的教会设计概念丰富，使它们在战后昆士兰州大多数教堂建筑的直接性中脱颖而出。