富勒姆公墓小屋建于1865年，是与公墓小教堂和门楼并列的城市建筑的一部分。多年来，小屋和相邻的棚屋和公共厕所已经年久失修。原有的城市构图已经被修复和加强，发展出一种建筑语言，使新旧之间相互赋予意义。保留下来的小屋，现在经过大幅度的整修和扩建，将一个活人的房子和一个死人的家并列在一起。
Fulham Cemetery Lodge was built in 1865 as part of an urban composition alongside the cemetery chapel and gatehouse. Over the years the lodge and an adjacent accretion of sheds and public toilets had fallen into disrepair. The original urban composition has been repaired and enhanced, developing an architectural language that allows old and new to give meaning to each other. The retained lodge, now dramatically refurbished and extended, juxtaposes a house for the living beside a home for the dead.
房子和花园的新安排确保了所有的生活空间都有充足的光线和视野，同时仍然提供了与邻近墓地的隐私。房子坐落在外部空间之间：背对着繁忙的主干道，而拥抱一个令人回味的回廊式花园。
The new arrangement of the house and the gardens ensures that all living spaces have abundant light and views, while still offering privacy from the adjacent cemetery. The house sits between exterior spaces: turning its back to the busy main road and instead embracing an evocative cloister-like garden.
材料和功能在新旧之间创造了一种动态关系。例如，扩建部分的巴斯石墙与原有小屋的灰岩细节相融合，而小屋的尖拱门则作为屋顶灯重新出现，照亮了扩建部分。原有窗户上方的装饰细节被用来覆盖连接新旧元素的面板。一个护城河般的池塘的引入让人想起了中世纪的防御性庄园，将小屋的 “哥特式 “提升到了另一个层次。更为平实的是，扩建部分的普通石墙呼应了邻近变电站的简单功能。
Materials and features create a dynamic relationship between old and new. For instance, the extension’s Bath stone walls blend with ashlar details on the original lodge, while the lodge’s pointed arches reappear as roof lights illuminating the extension. Decorative detailing above the original windows is used to clad panels connecting old and new elements. The introduction of a moat-like pond evokes a medieval fortified manor house, taking the ‘Gothicity’ of the lodge to another level. More prosaically, the extension’s plain stone walls echo the simple functionality of an adjacent electricity substation.
卧室和浴室包含在原来的小屋建筑内，而扩建部分则是家庭生活和娱乐区。一系列精心安排的围墙让人们可以看到整个房子：从用餐区到原来的走廊和前门，通过明暗交替的区域给予了额外的深度，从而在构图上连接了新旧。另一个构图手段是空间的 “瓶颈”–一种结合传统和现代的方式。
Bedrooms and bathrooms are contained within the original lodge building, while the extension houses the family living and entertaining areas. A series of carefully arranged enfilades gives views through the house: from the dining area through to the original hallway and the front door is given extra depth by alternating areas of light and dark, thus connecting old and new compositionally. Another compositional device is the “bottlenecking” of space – a way of combining traditional and modern.
空间像现代空间一样流动，但又交替地缩小，然后打开，形成生活空间–这是一种连续性和停滞性的交替。地板墙壁和天花板的材料处理给每个区域带来了进一步的身份感。一个大的地下室被挖掘出来，用来容纳客人的住宿和一个媒体室，以及植物和公用设施空间。然而，这一层的亮点是一个非凡的地下游泳池，上面的大天窗提供了戏剧性的照明。
Space flows as in modern space but alternately narrows then opens to create living spaces – an alternation of continuity and stasis. The material treatment of the floors walls and ceilings gives a further sense of identity to each area. A large basement was excavated to house guest accommodation and a media room as well as plant and utility space. The highlight of this level, however, is an extraordinary subterranean swimming pool, dramatically lit by a large skylight above.
对细节的关注和对建筑历史的丰富理解在整个项目中都很明显。一个新的楼梯间从威尔斯大教堂和曼彻斯特市政厅的楼梯中获得灵感，同样在经验和形式之间徘徊。碎裂的楼梯间墙壁和中央种植的墩子暗示着废墟–这是浪漫主义时代的一个主要诗意参考点，也是对新哥特式和现代式的一种介绍。光滑的石墙和栏杆与原来小屋楼梯间的粗糙裸露的砖块形成对比。
Attention to detail and a rich understanding of architectural history are evident throughout. A new stairwell takes inspiration from – among others – staircases in Wells Cathedral and Manchester Town Hall, similarly hovering between experience and form. The fractured stairwell walls with a central planted pier suggest ruin – a staple poetic reference point of the Romantic era, and an introduction of the Neo-Gothic alongside the Gothic and modern. Smooth stone walls and balustrade contrast with the rough exposed brick of the original lodge stairwell.
这里也有俏皮的一面–通往衣帽间、储藏室和楼底柜的暗门都是浪漫主义的传统。在春天和夏天，阳光透过楼梯上的三叶形屋顶灯–取自巴黎的圣礼拜堂–在楼梯间的墙上创造了一个 “鬼窗”。
There is playfulness too – with secret doors to the cloakroom, pantry, and understair cupboard all in the Romantic tradition. In spring and summer, sunlight through a trefoil roof light over the stair – taken from the Sainte Chapelle in Paris – creates a ‘ghost window’ on the stairwell wall.
Architects: Simon Gill Architects
Area : 490 m²
Year : 2021
Photographs :James Brittain
Manufacturers : Mandarin Stone, Alco Glass, Farmington Natural Stone, Intermarble, Schuco, Woodmar
Structural Engineer : Green Structural Engineering, Mike Egan
Mechanical And Electrical Engineer : Will Potter Partnership, Will Potter
Interior Designer : Shake the Sky, Gretchen Trusted
Lighting Designers : Light House Designs, Jo Mann, Lotti Meadley
Principal : Simon Gill
Project Architect : Sasa Regorsek
Architect : Hristina Hristova
Assistant : Margaux Guillot
Av Design : Atlantis AV Solutions, Hugh Roche
Collaborators : Stephen Fearn Associates, Harry Holding Garden Design
City : Fulham
Country : United Kingdom