沃爾比拉修道院，普拉霍瓦，羅馬尼亞

建筑設(shè)計：RESTITUTIO建筑事務(wù)所

1 外景/Exterior view

2 1901年老照片/Old photograph, 1901

3 重修前/Before reconstruction

4 草圖/Sketch

在過去，中世紀(jì)修道院是重要的地區(qū)組織中心，而沃爾比拉修道院也不例外。修道院被證明建于16世紀(jì)中葉，僅存門樓下部和教堂基礎(chǔ)。17 世紀(jì)中葉，教堂在16 世紀(jì)的基礎(chǔ)上進(jìn)行了重建，并增加了帶八角柱的門廊和砌筑券，以及西立面上的鐘樓。同一時期建造了主體建筑（修道院大堂），并改造了院區(qū)護(hù)墻。

1838 年大地震后，大量建筑倒塌。這場地震給沃爾比拉修道院造成了嚴(yán)重破壞：教堂拱頂、鐘樓和修道院大堂首層的大面積墻體倒塌。1850 年代前后進(jìn)行了修繕，但資源非常有限。教堂和修道院大堂的磚拱頂被換成木梁天花板。在鐘樓倒塌的位置，教堂頂上建了一座瞭望塔，塔內(nèi)帶木梁和有重要藝術(shù)價值的柱子。教堂頂部的鐘被遷到加建了一層的門樓里。

1977 年的地震造成了更大的破壞：瞭望塔和門廊拱頂?shù)顾?，教堂、修道院大堂、護(hù)墻和門樓出現(xiàn)建筑大面積毀損。此外，門樓曾在1930 年代遭到一次破壞性干預(yù)。周圍的門廊結(jié)構(gòu)被拆除，門樓高度也大大降低。

2013 年完成的復(fù)原工作采用的理念將建筑的各個階段都納入到考慮當(dāng)中，并充分利用建筑群多災(zāi)多難的歷史中每一個在建筑上具有代表性的因素。建筑群中的每座建筑都是記錄工作詳細(xì)分析、考古調(diào)查收集壁畫和地仗類型信息的對象。

此外選用了特殊的加固系統(tǒng)以保護(hù)建筑群的原始遺跡。修道院大堂的墻體用金屬構(gòu)件進(jìn)行了加固，并使用了鋼筋混凝土。通過傳統(tǒng)工藝對砌體進(jìn)行保護(hù)和加固實現(xiàn)了拱頂?shù)膹?fù)原。首層墻體被提升到17世紀(jì)中葉保留至今的原始砌體顯示的高度。檔案文件和照片被用于修道院大堂屋頂輪廓的重建。同樣的信息來源也被用于門樓的重建。

在復(fù)原后的修道院大堂里開設(shè)了村中唯一的博物館。地下室是文物庫房，首層為17 世紀(jì)初的文物展。沃爾比拉修道院建筑群被納入一條跨地區(qū)的文化線路中，使它成為該地區(qū)可持續(xù)發(fā)展的一個關(guān)鍵因素，社區(qū)的文化特征明顯增強，為經(jīng)濟(jì)和旅游的發(fā)展創(chuàng)造了前提?！?/p>

（克勞迪婭·杰奧爾杰塔·珀爾夫 文，尚晉 譯）

5 總平面/Site plan

6 草圖/Sketch

In the past, medieval monasteries represented important centres of territorial organisation, and V?rbila monastery was no exception. Attested in mid-16th century, only the lower part of entry tower and the church foundation were preserved. During the mid-17th century, the church was rebuilt on the 16th century foundation, adding the porch with octagonal pillars and masonry arches, as well as a bell tower on the western. In that same period, the main house (monastic house) was built, and the precinct defensive walls were remodeled.

After the big earthquake in 1838, many buildings collapsed. At V?rbila monastery, this earthquake caused serious damage: the collapse of the church vaults, the bell tower and a large part of the walls on the ground floor of the monastic house. For the repairs carried out around the 1850s there were limited resources. The church and monastic house brick vaults were replaced with wooden beam ceilings.On the collapsed bell tower's location, on top of the church, a watchtower with wooden beams and pillars of a significant artistic value were built. The bells from the top of the church were moved in the gate tower which was modified by adding a new level.

The 1977 earthquake caused more damage:the collapse of the watchtower and the porch vault, as well as extensive deterioration at the church, monastic house, defensive walls and gate tower. Furthermore, the gate tower had previously undergone a mutilating intervention during the 1930 that had removed the surrounding porch structure and had drastically reduced the tower height.

The restoration work that ended in 2013 came up with a concept taking into consideration of all building stages, aiming to make the best of each and every architecturally representative aspect in the troubled history of the ensemble. Every building in this ensemble has been the subject of a detailed analysis of documentary work, of information collected from archaeological investigations and of those regarding the painting and type of mortar.

Regarding the church, the inside vault was rebuilt on a wooden structure, preserving the original parts, and the molding of fa?ades were remodeled. As far as the mural painting is concerned, the restoration approaches include both preserving the original painting and adding new sepia paint filling the missing areas. In this way,the valuable painting was put into value, without altering the coherence of the entire mural painted space, which is characteristic for orthodox churches.

MDA-MB-436和A549細(xì)胞均用含10%胎牛血清、青霉素100 kU·L-1和鏈霉素0.1 g·L-1的DMEM高糖培養(yǎng)基在37℃，5%CO2的培養(yǎng)箱中培養(yǎng)。待細(xì)胞生長密度長到80%～90%時進(jìn)行傳代培養(yǎng)。

Special consolidating systems were chosen in order to protect the original remains of the ensemble.The walls of the monastic house were consolidated with metallic elements, making use of reinforced concrete. The vaults were restored by preserving and consolidating the masonry through traditional technical procedures, and the ground floor walls were elevated to the level indicated by the mid-17th century preserved original masonry. Archival documents and photos were used to rebuild the roof profile of the monastic house. The same source of information was used to rebuild the gate tower.

Inside the restored monastic house was opened the only museum in the village. In the cellar there is a lapidarium and on the ground floor an exhibition of cultural objects dating back to the beginning of the 17th century. V?rbila monastery ensemble was included in a transregional cultural route, and as a result, it became a key factor in the sustainable development of the area. The community's cultural identity has grown visibly stronger,creating the premises for economic and touristic development.□(Text by Claudia Georgeta P?rvu)

項目信息/Credits and Data

主持建筑師/Principal Architects: C?lin Hoin?rescu, Daniel Hoin?rescu

壁畫專家/Painting Expert: Ion Chiriac

結(jié)構(gòu)工程/Structural Engineers: Sandor Zoltan, Mihai Savu

設(shè)計時間/Design Period: 1990-2013

竣工時間/Completion Time: 2013

造價/Cost: 3.7M EUR

攝影/Photos: RESTITUTIO

7.8 鐘樓重修中/Bell tower under reconstruction

9 鐘樓重修后/Bell tower after reconstruction

10 鐘樓立面/Bell tower elevation

11 鐘樓平面/Bell tower plan

12 1977年教堂在地震中倒塌/Church collapsed in the earthquake in 1977

13 教堂重修后/Church after reconstruction

14 教堂立面/Church elevation

17 教堂內(nèi)景/Interior view of Church

18 修道院立面/Monastic house elevation

19 修道院地下室原狀平面/Monastic house basement original plan

20 修道院地下室平面/Monastic house basement plan

21 修道院剖面/Monastic house section

22 修道院外景/Exterior view of Monastic house

23 修道院地下室內(nèi)景/Interior view of Monastic house basement

24.25 修道院地下室重修中/Monastic house basement under reconstruction

26 外景/Exterior view

評論

安娜瑪麗亞·安德里佐尤：要修復(fù)任何一種歷史悠久、經(jīng)歷過多種不為人知的干預(yù)的建筑遺跡，都需要進(jìn)行大量研究。當(dāng)看到木結(jié)構(gòu)、磚塊與灰漿的無縫結(jié)合時，我知道這個項目顯然是這么做的。然而，這次修復(fù)工程賦予了修道院一個全新的形象，在某種意義上與它的歷史有所矛盾。盡管建筑師保留了一些建筑元素以展現(xiàn)修道院的真實性，但它們沒有達(dá)到人們所希望的那樣多或那樣明顯。建筑的風(fēng)格、室內(nèi)的處理，以及與社區(qū)的融合，都秉承了歷史的血脈，也保留了自身特色。但是，對于一個有幾個世紀(jì)的歷史、經(jīng)歷過多次巨大動蕩的建筑復(fù)合體而言，我認(rèn)為它的整體形象過于整潔。（母卓爾 譯）

王逸凡：修復(fù)工作保存了這樣一組在不同的時刻曾暫存于世的建筑。它們見證著場所長久持續(xù)的歷史變遷，目睹著建筑結(jié)構(gòu)發(fā)生不可避免的變化，每一座建筑都體現(xiàn)工匠繁忙尋視的勞作、不斷改造的歷史以及地震破壞帶來的影響。建筑正是因此獲得了生命，還有不可避免的死亡，它處于兩者之間的任一時刻，而這項修復(fù)使建筑不同的生命時刻得以并置在同一空間，如同我們體驗到的自然生命：一部分正在衰老，又有一部分正在新生。

Comments

Anamaria Andritoiu:The restoration of any type of architectural monument with a long history and diverse historical ulterior interventions requires a great amount of research. This is obviously the case in this project, when seeing the seamless marriage of wooden structure, brick and plaster. Yet the restoration of the Monastery gives it a brand new image somehow at odds with its history and,while there are elements preserved to showcase its authenticity,they are perhaps not as many or as visible as one would wish. The architectural style, treatment of interior and community integration uphold the historical lineage, which holds its own upon closer inspection. Yet for a compound that is several centuries old and has suffered at least several major upheavals, I feel the overall image is too neat and trim.

WANG Yifan:The restoration work preserves such a temporallyconstituted architecture, the buildings can be understood as witness to the long and ongoing history of the place, to the inexorable transformation of the fabric, each, a testament to the labour of individual craftsmen; to a history of physical adaption; and to the effects of earthquake and decay. These are the signs of life similar to that in a mortal body, that is to say, a state of progress of change. The asynchrony achieved by the restoration work guarantees its capacity for retention: part of it is decaying, part nascent.