向Lutyens学习:Noel Bamford和奥克兰Ngahere的设计(1907)

Anthony C. Barnes
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引用次数: 0

摘要

建筑师F. Noel Bamford(1881-1952)和A.P. Hector Pierce(1879-1918)都曾在Edwin Lutyens的伦敦办公室工作,然后于1907年在奥克兰建立了合作伙伴关系。就在成立合作伙伴关系之前,Bamford在奥克兰郊区Epsom设计了一座名为Ngahere的房子。Ngahere被认为是新西兰奥特罗阿艺术和工艺建筑的早期和重要的例子。这是蝴蝶计划的一个新应用,有一个占主导地位的中央部分和两个铰接的翅膀。虽然像伊甸山周围的一些大型别墅一样,它是在玄武岩的基础上建造的木材,但它的计划和形式与奥克兰的任何其他房子都不同。本文结合Bamford在艺术和工艺建筑方面的知识和经验,包括他在Lutyens办公室期间获得的知识和经验,探讨了Ngahere的设计。它询问这座房子是否符合英国工艺美术运动的理想,使用前工业形式,传统的建筑方法和手工制作,或者显示出其他地理路径的工艺美术运动的证据,如美国和澳大利亚。此外,它还询问了与规划相关的房屋方面(包括与场地的关系)、建筑形式、材料和细节是否反映在后来的班福德和皮尔斯住宅中,或者更广泛地反映在奥克兰地区的工艺美术住宅中。这份文件显示,虽然班福德在鲁琴斯办公室的时间显然为他提供了一系列设计技巧和想法,但这并没有使他成为一个助手。相反,Ngahere明确地参考了英国及其他地区更广泛的建筑谱系和工艺美术运动的方向,这在房子回应其场地和环境的方式上是显而易见的,包括室内和室外空间之间的视觉和物理关系。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Learning with Lutyens: Noel Bamford and the Design of Ngahere, Auckland (1907)
Architects F. Noel Bamford (1881-1952) and A.P. Hector Pierce (1879-1918) both worked in Edwin Lutyens’ London office before establishing their Auckland partnership in 1907. Just prior to the formation of the partnership, Bamford designed a house called Ngahere in the Auckland suburb of Epsom. Ngahere is known as an early and important example of Arts and Crafts architecture in Aotearoa New Zealand. It is a novel application of the butterfly plan, with a dominant central section and two articulated wings. Although built in timber on a foundation of basalt, like some larger villas in surrounding Mount Eden, in its plan and form it was unlike any other house in Auckland. This paper explores the design of Ngahere considering Bamford’s knowledge and experience of Arts and Crafts architecture, including that gained during his time in Lutyens’ office. It asks whether this house is true to the ideals of the Arts and Crafts movement as conceived in England, using pre-industrial forms, traditional construction methods and hand-crafting, or shows evidence of other geographical paths of the Arts and Crafts movement such as the United States and Australia. Additionally, it asks whether aspects of the house relative to planning (including relationship to the site), built form, materials and detailing are reflected in later Bamford and Pierce houses, or more widely in Arts and Crafts houses in the Auckland region. The paper shows that while Bamford’s time in Lutyens’ office apparently provided him with a repertoire of design skills and ideas, it did not render him an acolyte. Rather, Ngahere included clear references to the broader architectural lineage and direction of the Arts and Crafts movement in England and beyond, apparent in the ways the house responds to its site and context, including the visual and physical relationships between indoor and outdoor spaces.
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