阿斯特里古堡，阿斯特里，沃里克郡, 英國(guó)

建筑設(shè)計(jì)：威瑟福德—沃森—曼建筑事務(wù)所

阿斯特里古堡，阿斯特里，沃里克郡, 英國(guó)

建筑設(shè)計(jì)：威瑟福德—沃森—曼建筑事務(wù)所

1 外景/Exterior view

對(duì)于這座建筑來(lái)說(shuō)，或許坐著馬車(chē)或是至少開(kāi)一輛老式賓利前往更為合適。位于沃里克郡的阿斯特里城堡距離莎士比亞的出生地埃文河畔斯特拉特福和工業(yè)城市伯明翰大約都是半小時(shí)左右的車(chē)程，這是座建于文藝復(fù)興時(shí)期的早期哥特風(fēng)格的建筑。建筑周邊的護(hù)城河和部分莊園的建設(shè)可以追溯到13世紀(jì)，但建筑的主體建于1555年。

建筑坐落在有牛羊漫步其中的草地之上，仿佛是直接從油畫(huà)中來(lái)到現(xiàn)實(shí)一般。這座美麗的莊園曾是許多名人的家，它過(guò)去的主人們包括愛(ài)德華四世、亨利七世和約克的伊麗莎白女王。經(jīng)過(guò)數(shù)次轉(zhuǎn)手之后，莊園建筑在1960年代被改建成酒店，并設(shè)有一間餐廳和一間酒吧。1978年4月3日，建筑被一場(chǎng)大火完全燒毀，之后則被廢棄了幾十年。

“建筑當(dāng)時(shí)的狀態(tài)很糟糕——早已成為了與自然融為一體的廢墟”，阿拉斯泰爾·迪克—克萊蘭，英國(guó)慈善機(jī)構(gòu)地標(biāo)信托的項(xiàng)目協(xié)調(diào)人回憶道?！拔覀儚?995年就開(kāi)始準(zhǔn)備購(gòu)買(mǎi)和重建阿斯特里城堡，但當(dāng)時(shí)我們的資金還不充裕?！?005年，在信托成立40周年的同時(shí)，時(shí)機(jī)終于到來(lái)了。12個(gè)來(lái)自英國(guó)各地的建筑師被邀請(qǐng)來(lái)為這一歷史建筑設(shè)計(jì)重新使用的可能性。以倫敦為中心開(kāi)展業(yè)務(wù)的威瑟福德—沃森—曼建筑事務(wù)所(WWM)贏得了競(jìng)賽，他們?cè)O(shè)計(jì)的具有永恒特質(zhì)的優(yōu)雅的磚砌建筑矗立在長(zhǎng)期被荒廢的廢墟之上，如同填上了陶瓷的義齒。

因?yàn)樾陆ㄖ褂昧怂槭瘔K、木色門(mén)框和上面覆蓋苔蘚的砂漿，從公園里的某些角度看，很難發(fā)現(xiàn)廢墟中發(fā)生了任何變化。而從其他視點(diǎn)瞭望，新建的阿斯特里城堡混合使用當(dāng)?shù)氐募t色天然石材、舊磚和新的手工磚，呈現(xiàn)出柔和的拼貼畫(huà)般的形式。建筑的新舊部分結(jié)合得非常巧妙，但還是可以明顯區(qū)分開(kāi)來(lái)。大型的木框窗中的一部分裝設(shè)在與墻的內(nèi)側(cè)平齊的1.2m高處，另一部分則與外墻平齊，讓人能察覺(jué)到新舊建筑的墻體之間細(xì)微的空間尺度變化。

“我們花了相當(dāng)長(zhǎng)的時(shí)間尋找合適的建材，”WWM的項(xiàng)目負(fù)責(zé)人弗雷迪·菲利普遜說(shuō)，“此外，我們必須確保材料的顏色一致，同時(shí)磚要足夠長(zhǎng)和平整，以適應(yīng)石墻不規(guī)則的邊界，同時(shí)填充盡量少的砂漿?！泵科瑝Φ谋砻娑际褂昧瞬煌墓?jié)點(diǎn)式樣。其中的美在于體現(xiàn)了不規(guī)則性中的規(guī)則。

新的阿斯特里城堡于2013年秋天獲得了著名的英國(guó)皇家建筑師學(xué)會(huì)的斯特林獎(jiǎng)，現(xiàn)在已經(jīng)成為了建筑愛(ài)好者和所謂的公眾人物們的奢華住處。建筑的建設(shè)費(fèi)達(dá)到了250萬(wàn)英鎊，約合300萬(wàn)歐元。其中最大的資金支持來(lái)自文化遺產(chǎn)彩票基金和通過(guò)英國(guó)古跡署的私人捐贈(zèng)。雖然現(xiàn)在已經(jīng)了無(wú)痕跡，建造的過(guò)程曾經(jīng)非常艱辛，其中使用了大量的尖端技術(shù)，也得到了大量的沃里克郡的志愿者的參與。建筑中采用了地暖系統(tǒng)、精美的織物和體現(xiàn)出一絲皇家氣息的內(nèi)裝飾，從建筑中可以欣賞周邊的護(hù)城河、墓地和圣瑪麗圣母教堂的美景。（司馬蕾 譯）

It would have been more fitting to arrive by horse-drawn carriage - or at the very least to pull up in a vintage Bentley. Astley Castle in Warwickshire, a half-hour's drive both from Shakespeare's birthplace of Stratford-upon-Avon and from the industrial city of Birmingham, is a throwback to the early Gothic and Renaissance periods. The moat and parts of the manor house date back to the 13th century, while the majority of the structure was built around 1555.

Nestled in the midst of sheep and horse meadows that seem to have been lifted straight out of an oil painting, this beautiful estate was once home to a number of famous people. Its list of former owners includes Edward IV, Henry VII and Queen Elizabeth of York. After changing hands numerous times, the manor house was converted into a hotel with a restaurant and pub in the 1960s. On 3 April 1978, the building was destroyed completely by fire, after which it stood abandoned for decades.

"The state of the building was deplorableit was a ruin that had long been reclaimed by nature," remembers Alastair Dick-Cleland, project coordinator for the British charity The Landmark Trust. "As far back as 1995, we were intending to buy and restore Astley Castle, but back then we lacked the money." In 2005, coinciding with the 40th anniversary of the trust, the time had come. Twelve architects from all over the UK were invited to submit ideas for a possible use of this historic place. The London-based firm Witherford Watson Mann Architects (WWM) emerged the winner with their design of a timelessly elegant brick building among long-decayed ruins like a ceramic tooth filling.

Seen from certain points in the park, it's hardly noticeable that a single stone was changed in the ruin, featuring as it does spalled rock, flamecharred door frames and moss-covered mortar. From other vantage points, revitalised Astley Castle appears as a gentle collage of red natural stone, old brickwork and new, hand-crafted facing bricks from the region. The temporal fault lines are subtle, but clearly visible. The large, wood-framed windows, some of which are flush with the inside edge of the 1.2-metre-deep reveal, others with the external edge of the facade, make the mighty spatial dimensions of the old and new masonry walls palpable.

2 庭院/Courtyard

"The search for a suitable building material took us a fairly long time," explains Freddie Phillipson, WWM project head. "On the one hand we had to make sure that the colour spectrum was right, on the other the brick had to be as long and flat as possible so as to allow the irregular connections to the stone masonry to be accomplished with as little mortar as possible." A different joint pattern was designed for every wall surface. The art lies in the regularity of the irregularity.

Awarded the renowned RIBA Stirling Prize in autumn 2013, Astley Castle is now let out as a luxury residence to architecture buffs and would-be dukes. The construction costs came to 2.5 million pounds, or just 3 million euros. The largest share of this came from the Heritage Lottery Fund and from English Heritage, supplemented by individual donations. Today, no evidence remains of the arduous building process, which involved a good deal of technical wizardry and even the labour of local Warwickshire volunteers. Floor heating, fine fabrics and a hint of royal flair characterise the interiors, which offer views of the moat, the cemetery and the church of St Mary the Virgin.

項(xiàng)目信息/Credits and Data

客戶/Client: 地標(biāo)信托/The Landmark Trust

建設(shè)周期/Construction Period: 2010 - 2012

建筑用途/Building's Purpose: 度假出租用房/Holiday house for rental

用磚類型/Brick Type: 面磚，粘土磚，粘土瓦/Facing bricks, clay blocks, clay floor tiles

攝影/Photos: Wienerberger AG/Philip Vile (Fig.1-3,5,6), Philipp Ebeling (Fig.4)

3 外景/Exterior view

評(píng)論

陸翔：對(duì)城堡廢墟的改造像是空間和材料的拼貼：新砌筑的平整而細(xì)密的磚墻將崩塌的離散的石塊墻體縫合，新的帶有歸屬感的木質(zhì)門(mén)窗與廢墟中殘留的略顯悲愴的深陷洞口并置，原來(lái)的莊嚴(yán)的大廳變?yōu)榻哟腿说挠袎o(wú)頂?shù)氖彝馄脚_(tái)?？p合中的一個(gè)技術(shù)性問(wèn)題在于磚的選擇，“磚要足夠長(zhǎng)和平整，以適應(yīng)石墻不規(guī)則的邊界，同時(shí)填充盡量少的砂漿”。

楊志疆：建筑使用磚木材料來(lái)精心縫合被大火“撕裂的傷口”，建筑師一方面有意在回避過(guò)于強(qiáng)烈的對(duì)比，另一方面又不想使存在多年的廢墟形態(tài)被徹底消解掉。與考古學(xué)家的合作，使得新舊之間的斷層清晰可見(jiàn)。雖然就整體觀感而言，原有廢墟的力度還是被削弱了不少，但精心打造的室內(nèi)空間，卻幾乎隨處都可以看到它們的存在。這些廢墟的片段穿透幾百年的時(shí)空，成為永遠(yuǎn)的傷口，無(wú)法愈合。那種感受還是略帶傷感，使人不禁想去輕輕地?fù)崦?/p>

Comments

LU Xiang: The transformation of the castle ruins resembles a spatial and material collage: the newly built, smooth brick walls have "sewed" together the disparate, broken down stone elements; wooden doors and windows are juxtaposed directly with deep, melodramatic holes of the ruins; the guest terrace, walled yet without rooftop, occupies the former stately hall. One of the key technical points for "sewing" is the choice of the brick: "[...] the brick had to be as long and flat as possible so as to allow the irregular connections to the stone masonry to be accomplished with as little mortar as possible."

YANG Zhijiang: Brick was the material chosen to be used on this building in order to carefully stitch the "tearing wound" caused by a fire. The architects intentionally avoided strong contrast. They didn't want to undermine the form of the ruins completely. In collaboration with archaeologists, the difference between the new and the old is clearly visible. In terms of overall perception, the intensity of original ruins has been weakened. But they can still be seen almost everywhere in the carefully crafted interior spaces. The remaining fragments of the ruins penetrate through several hundred years of time and space. They are eternal wounds that can never heal. This slight sad feeling still makes people want to gently stroke the surface of the architecture.

Astley Castle, Astley, Warwickshire, United Kingdom, 2012

Architects: Witherford Watson Mann Architects

4 內(nèi)景/Interior view

5 細(xì)部/Detail

6 入口/Entrance

7 平面/Floor plan

8 細(xì)部/Detail