查爾斯·艾倫·肖特

劍橋大學(xué)斯寇普坪，在奧特朗托城堡的閃亮日子

查爾斯·艾倫·肖特

因由歷史機(jī)緣，在劍橋大學(xué)，組織性及經(jīng)濟(jì)實(shí)力均欠佳的建筑系于1920年代被就近設(shè)置在校園內(nèi)維多利亞早期建成的斯寇普坪中。學(xué)院被打造成家庭房的模式，臥室、客廳及服務(wù)用房形成了可容納3～5名學(xué)生的工作室，由來自倫敦的相關(guān)教師負(fù)責(zé)監(jiān)管。在學(xué)院住宿條件的舒適性和妥善性被認(rèn)為對教學(xué)有所助益之前，這種冰冷的中世紀(jì)的學(xué)院房間是劍橋由來已久的傳統(tǒng)。諷刺的是，1960年代，萊斯利·馬丁和科林·威爾遜粗野主義風(fēng)格的擴(kuò)建打造了更為陰冷潮濕的室內(nèi)環(huán)境。一個(gè)新的工作室近日在斯寇普坪后方建成，經(jīng)過周密計(jì)劃，該工作室首次為學(xué)生提供了集體生活的經(jīng)歷及互相監(jiān)督的機(jī)會(huì)。

Abetract:By historical accident the Department of Architecture at Cambridge is located organisationally and therefore financially at the least well endowed end of Cambridge University and was shoe-horned into the nearest available buildings in the 1920s, a terrace of early Victorian houses. The Department's teaching style moulded itself into the pattern of domestic rooms available, bedrooms, sitting rooms, servants' quarters producing a collection of 3-5 student "ateliers" each presided over by a teaching "supervisor", an up and coming practitioner usually from London. There is a long Cambridge tradition of great discoveries happening in cold mediaeval college rooms. Until surprisingly recently comfort and adequacy in academic accommodation was thought to be counterproductive to scholarship. Not so ironic then that the 1960s modern addition, Leslie Martin and St.J. Wilson's Brutalist extension was even colder and wetter inside. More recently a studio building has been built behind the terrace, very tightly planned but offering for the first time in its history a collective experience for students and the chance to monitor each other's work in progress.

工作室，家庭房，粗野主義，分權(quán)，分解

劍橋大學(xué)包括6所學(xué)院——4所科學(xué)院、2所人文學(xué)院，各所學(xué)院又包括多個(gè)學(xué)科和系所。雖然有些不一致，但建筑系屬于藝術(shù)人文學(xué)院下的建筑與藝術(shù)史學(xué)院。雖然它在英國規(guī)模最小，卻排名第一。這樣一個(gè)不尋常而又充滿啟發(fā)性的搭配，將建筑系與世界上最杰出的藝術(shù)史學(xué)院之一聯(lián)系起來，后者擁有菲茨威廉博物館、凱特爾場博物館等藝術(shù)設(shè)施。

1 空間歷史

歷史上，建筑學(xué)院是劍橋大學(xué)獲資金支持最少的學(xué)院。嚴(yán)峻的資金形勢在一個(gè)多世紀(jì)中限制著學(xué)院所獲得的教學(xué)場所，學(xué)院一直處于一種“永久的臨時(shí)狀態(tài)”，期待著未來更多的資金支持。自1920年代以來，學(xué)院逐一收購了一排早期維多利亞式排屋，并在每層將其貫通成縱向的長廊（圖1）。除此之外，房屋依舊保持著原有的空間形式，其中包含臥室、起居室、寬裕的客廳，以及大理石的壁爐、仆人閣樓和包含新增尾水管的廚房地下室。1913年，曾有人倡議為建筑學(xué)院專門修建一座建筑。作為首位斯萊德教授，及一位非常有趣的工藝美術(shù)運(yùn)動(dòng)建筑師，愛德華·施羅德·普里奧爾在校園對該設(shè)想熱烈討論并激發(fā)大家對這一議題的興趣，不過這一切卻被第一次世界大戰(zhàn)的爆發(fā)所扼殺。

我清楚地記得1974年10月，我和同是新生的姚威廉一同到達(dá)斯寇普坪1號(hào)門時(shí)的情景。我們一致認(rèn)為劍橋大學(xué)一定極不重視建筑系，以至于讓建筑系蜷縮在這樣一個(gè)不適宜的空間。不過在劍橋卻一直有個(gè)傳統(tǒng)，即偉大的發(fā)現(xiàn)都來自于糟糕的環(huán)境?？死锟撕臀痔厣瓝?jù)說是在博物館后院的一個(gè)狹小的軍用棚屋內(nèi)構(gòu)建了DNA模型；原子物理與雷達(dá)的研究推進(jìn)也是發(fā)生在中世紀(jì)時(shí)期的教學(xué)樓內(nèi)；盧瑟福在圣三一學(xué)院的工作室據(jù)傳至今仍含有放射性，當(dāng)然希望這只是一個(gè)傳說。所以，建筑系對于這塊土地及5幢住宅的處理也是非同尋常的。因無法在一間設(shè)計(jì)教室中容納所有學(xué)生，院系將學(xué)生劃分為3～5人的設(shè)計(jì)小組，各自分配一間教室，且分別由一位設(shè)計(jì)導(dǎo)師監(jiān)督。對于一年級新生而言，看到主樓層空間完全被高年級的學(xué)生占據(jù)是非常令人震驚的。每學(xué)年的設(shè)計(jì)課尾聲，設(shè)計(jì)教室便會(huì)堆滿各種模型、材料、圖板和垃圾，而這些空間從未經(jīng)過打掃和粉刷，墻上的涂鴉已有數(shù)十年歷史。老一輩畢業(yè)生返校時(shí)依舊能看到幾乎沒有任何改變的設(shè)計(jì)教室，當(dāng)然，唯一的變化是1960年代初期學(xué)院開始招收女生。二年級的設(shè)計(jì)教室沒有水暖電設(shè)備，不過我在圣三一學(xué)院的教室還有兩條電暖片，但羊毛制的露指手套依舊無法和連指手套相比。40年前的氣候條件完全不同，當(dāng)時(shí)的冬天更加的寒冷和多霧。

1 斯寇普鳥瞰/Scroope aerial view

2 建筑學(xué)院在1959年的擴(kuò)建，科林·圣約翰·威爾遜與亞歷克斯·哈迪設(shè)計(jì)/The 1959 extension to the School of Architecture, Colin St.John Wilson and Alex Hardy

Cambridge University is organised into six Schools which contain the various Faculties and Departments: four for the Sciences and two for the Humanities. It is a little inconsistent but the Department of Architecture, the smallest in Britain but ranked first in the League Tables, sits within the Faculty of Architecture and History of Art in the School of Arts and Humanities. This is an unusual but inspired coupling of Architecture with one of the leading art historical institutions in the world including the Fitzwilliam Museum and Kettles Yard.

1 History of Spaces

Historically this is the least well funded end of Cambridge University. Frosty financial reality has impinged for over a century on the accommodation provided for it, resulting in a state of "permanent temporariness" whilst the School waits for a brighter financial future. Since the early 1920s the Faculty has shared a row of early Victorian terraced houses, acquired one by one and knocked through to form a longitudinal corridor on each floor (Fig. 1). Otherwise the houses remain in their original form with bedrooms, sitting rooms, handsome Drawing Rooms, with stone and marble fireplaces, servants' attics and kitchen basements, with rear additions for the plumbing. In 1913 there was an initiative to build a purpose built building for Architecture. The first Slade Professor, the extremely interesting Arts and Crafts architect E.S.Prior, had talked up Architecture in the University and stoked some interest in the subject, but the outbreak of the Great War scuppered all that.

I clearly recall arriving at the front door of No.1 Scroope Terrace in October 1974 with my similarly new co-student William Yiu, the two of us concluding that Cambridge University must have thought so little of Architecture to have provided such inappropriate space for it. In Cambridge there had been a very long tradition of spectacularly important discoveries coming out of squalid environments. Crick and Watson are alleged to have made their model of DNA in a small army Nissen Hut in the New Museums yard. Atomic physics and radar had been advanced in mediaeval college rooms. Rutherford's rooms at Trinity were rumoured to still be radioactive, hopefully an urban myth. And so the Department of Architecture made do with its lot and colonised the five family houses in a very unusual way. Unable to assemble the whole student body in a single studio hall, the students were split into small studio groups of three to five. Each group took over a room under the supervision of a Studio Master. It was bizarre and not a little intimidating for First Year students to walk through the rooms occupied by older student studio "families" on the main floor, the "piano nobile". Over the course of the academic year the studios became choked with models, materials, drawings and rubbish. They were never cleaned and never painted. Graffiti remained on the walls for decades. Ancient old boys returned to see their youthful studios largely unchanged and of course women joined the succession of cohorts from the early 1960s. Our second year studio had no mains services, no electricity, no water and no heat. I worked in my room at Trinity College which had a two bar electric fire. Woollen fingerless gloves called mittens were essential. The climate was different forty years ago, it was colder and foggy through most of the winter.

There was no exhibition space but a beautiful library of rare historical books on Architecture collected by Robin Middleton and David Watkin. We did have a lecture theatre, the neo-Brutalist 'Extension' designed by Sir Leslie Martin, the first Professor of Architecture, and his successor but one, Sir Colin St. John Wilson (Fig. 2). It very consciously mimicked Le Corbusier's Maison Jaoul randomly incorporating other Corbusian details: the concrete pulpit at Ronchamp, enormous centre pivot hardwood doors which concussed generations of students and visitors, a brick core, shiny quarry tiles. It had a grid of rooflights which leaked in even light rain with rotating timber baffles below for black out (Fig. 3). The lectern has an array of handles and knobs which defeat all visiting speakers as they unintentionally set the baffles moving, dim the lights and fire the projectors as students sit impassively without helping. Sir Denys Lasdun was so incensed by his silent and uncomfortable reception that he wrote a letter of complaint to the Vice-Chancellor.

Alongside the lecture room, an attenuated double square in plan to Modulor proportions forcing the audience into a long narrow seating block, is an L-shaped Crit space (Fig. 4). The interiors were all fair faced brick and concrete. Vertical hessian wrapped planks of Sundeala board were spaced around the perimeter to take drawing pins and thereby display work. Below all of this was the Pit, a sunken seating area with a desk made as a mass concrete block. Our former Departmental Secretary remembered trying to work at it and grazing her knees. This space became the Martin Centre for Land Use and Built Form Studies for some years before it moved to Lord Acton's former Edwardian Gothic mansion at Chaucer Road (Fig. 5). The geographical separation of research and teaching was regrettably established from that moment.

2 Connection

The nature of the studio spaces then was entirely accidental but strangely appropriate to the highly personal Cambridge system of teaching, one to one Supervision by studio tutors who are free to teach entirely from the heart, only viable in a very small school in a prestigious collegiate university in which the Colleges employ the Supervisors directly. In the early part of the current century the Scroope Terrace site became rationalised and a new Northlit studio building was built behind the Terrace so that all the undergraduates were tipped out of the Terrace into what they quickly called the "Shed in the Garden" (Fig. 6). It is very densely packed with all three undergraduate years and has to be hot-desked between the different Years' Studio Days. In this new arrangement it is much more conventional and the mysterious "something" has been lost. All the work is visible now whereas it used to miraculously appear at the final portfolio examination. The Terrace is for adults now, the full time staff members who are not permitted to luxuriate in Studio life but lead funded research projects and teams of Research Assistants.

雖然沒有展覽空間，但是建筑卻包含一個(gè)華麗的圖書館，其中藏有由羅賓·米德爾頓和大衛(wèi)·沃特金收集的一些罕見的建筑歷史書籍。我們還有一個(gè)講堂，它是由學(xué)院的第一位建筑系教授萊斯利·馬丁爵士及其唯一的學(xué)徒科林·圣約翰·威爾遜爵士共同設(shè)計(jì)的新粗野主義“加建工程”（圖2）。它有意識(shí)地模仿了勒·柯布西耶的喬烏爾住宅，并隨機(jī)融合了一些柯布式的建筑細(xì)節(jié)，如：朗香教堂的混凝土講壇、給學(xué)生和游客留下深刻印象的巨型中軸可轉(zhuǎn)的實(shí)木門、磚砌核心筒、閃閃發(fā)光的碎石片。屋頂上布置了陣列排布的天窗，能均勻透射自然光線，并在底部設(shè)置用于遮陽的可旋轉(zhuǎn)木隔板（圖3）。小講臺(tái)上有一系列把手和旋鈕，不過客座演講者時(shí)常因錯(cuò)誤操作而遇到麻煩，例如，不自覺地觸碰到擋光隔板、調(diào)暗燈光、或是當(dāng)學(xué)生還未秩序就座時(shí)便觸碰了投影儀開關(guān)。演講者丹尼斯·拉斯頓爵士曾對于這種漠不關(guān)心、令人不悅的待遇深感不悅，并給當(dāng)時(shí)的副校長寫了一封投訴信。

沿著講堂，一個(gè)按照人體模度比例設(shè)計(jì)的并列長方形坐席平面，引導(dǎo)觀眾進(jìn)入狹長的座椅區(qū)，同時(shí)也是L形的評圖空間（圖4）?？臻g內(nèi)部均為裸露的磚墻和混凝土墻，垂直條紋粗麻布包裹的釘圖板環(huán)繞周圍，可用于懸掛展示設(shè)計(jì)作品。該空間正下方是一個(gè)內(nèi)凹下沉的座椅區(qū)，桌子是由巨型的混凝土塊砌筑而成。前任學(xué)院秘書仍記得因嘗試搬動(dòng)它而擦傷了膝蓋。該空間后來有幾年為“馬丁土地利用和建成形式研究中心”所使用，不過后來后者搬遷到了阿克頓勛爵之前在喬叟路上的愛德華哥特式住宅中（圖5）。雖令人遺憾，但研究和教學(xué)在空間上的分離從那一刻就開始了。

2 新舊關(guān)系

建筑設(shè)計(jì)教室空間的布置是純屬偶然的，但卻驚人地與劍橋個(gè)體化的教學(xué)系統(tǒng)高度呼應(yīng)，一對一的建筑設(shè)計(jì)指導(dǎo)使得導(dǎo)師能夠全身心投入教學(xué)，而這也只有在實(shí)行高校直聘教授制度的著名大學(xué)中的小規(guī)模學(xué)院才能實(shí)現(xiàn)。本世紀(jì)初，斯寇普坪變得更為合理化，本科生被全部轉(zhuǎn)移至在其背面修建的新建筑“北光教學(xué)樓”中，它也被學(xué)生們稱作“花園中的棚屋”（圖6）。因容納所有3個(gè)年級的本科生，新建筑內(nèi)部空間十分緊湊，尤其在年級交叉的評圖日，桌椅更是供不應(yīng)求。這個(gè)新改變使得空間更加符合傳統(tǒng)常規(guī)，然而原本的神秘感卻消失不見。所有設(shè)計(jì)作品隨處可見，而以往，作品的完整面貌只在最終的設(shè)計(jì)評圖才得以呈現(xiàn)。原本的斯寇普坪如今主要由帶領(lǐng)基金研究項(xiàng)目而非設(shè)計(jì)教學(xué)的全職教師及其研究助理團(tuán)隊(duì)使用。

3 總平面/Site plan

4 地下室平面/B1 floor plan

5 首層平面/Ground floor plan

6 一層平面/1st floor plan

7 與玻璃連接的后院外景/Exterior from rear courtyard with glazed link

8 改造前的建筑教室（左），改造后（右）/Arct lecture room, original (left), extension (right)

9 評圖空間/Review space

10 入口臺(tái)階/Entrance steps

11 三層平面/2nd floor plan

12 四層平面/3rd floor plan

3 學(xué)生反饋

近些年，學(xué)生們喜歡在連接斯寇普坪和粗野主義講堂的連廊空間聚集，他們利用該空間舉辦一些創(chuàng)作過程中作品的非正式展覽、或小型的討論會(huì)。

4 擴(kuò)建計(jì)劃

學(xué)院一直有機(jī)會(huì)進(jìn)行新建和遷移。包含劍橋大學(xué)在內(nèi)的一個(gè)大型建筑工程項(xiàng)目計(jì)劃將所有學(xué)院及教職工移轉(zhuǎn)至劍橋市的西部或西北部，但令人意外的是，老一輩劍橋建筑人依然對于極不舒適的斯寇普坪極其依戀，在不斷錯(cuò)失機(jī)會(huì)之后，那些空閑的場地很快都被其他院系所占滿。因此，建筑的空間質(zhì)量和教學(xué)方式之間保持著這種微妙而神秘的聯(lián)系，建筑本身展現(xiàn)出維多利亞早期哥特小說中的城堡那種對毫不知情的住戶牢固的控制力。這即是我們專屬的“奧特朗托城堡”。□（黃華青 譯）

13 MOLE工作室/Studio MOLE (攝影/Photo: David Butler)

3 Feedback

Recent generations of students like to gather in the Gallery space linking the Terrace to the Brutalist Lecture Room and they use it for informal exhibitions of work in progress or short Charrettes.

4 Expansion plan

There have been opportunities to build a new building and move the Department. Cambridge University is midst a huge building programme so that almost every Faculty and Department is moving Westwards to West or Northwest Cambridge but, very surprisin–gly, the older generation is so dedicated to Scroope Terrace despite its extreme discomforts that by default it has missed the boat as available sites have been nabbed by other institutions within the University. And so the qualities of the spaces and the nature of the teaching are so interlinked in such subtle and mysterious ways that the building itself exerts a vice-like grip on its unsuspecting occupants in the manner of the early Victorian Gothic novel. It is our very own "Castle of Otranto".□

14 工作室內(nèi)景/Interior view of studio （本文照片均由劍橋大學(xué)建筑學(xué)院提供/All photos are provided by School of Architecture, Cambridge University）

Scroope Terrace of Cambridge University, a Latter Day Castle of Otranto

C. Alan Short

ateliers, domestic, Brutalism, decentralised, disaggregated

劍橋大學(xué)建筑學(xué)院

2017-06-26