塔式工作室位于纽芬兰省福戈岛肖尔湾的一段岩石海岸线上，非常引人注目。工作室的雕塑般的轮廓既向前又向后倾斜，因为它向上扭曲。对于岛上的普通游客来说，这座没有窗户的黑塔，往往会引起他们的疑惑和令人羡慕的问题：”那是什么？”
The Tower Studio is dramatically situated on a stretch of rocky coastline in Shoal Bay, Fogo Island, Newfoundland. The studio’s sculptural silhouette leans both for- ward and backward as it twists upward. For the average visitor to the island, this windowless black tower, more often than not, provokes a quizzical response and the enviable question, “What’s that?”
对于当地人来说，他们知道这个结构是福戈岛艺术公司的一个项目–一个2011年6月开放的艺术工作室。塔楼工作室的正式开幕是最喜庆的一次，包括：熊熊的篝火，从其屋顶露台上戏剧性地射出的信号弹，以及作为背景音乐的当地鲸鱼的录音声音。
For the locals, they know that this structure is a project of the Fogo Island Arts Corporation – an art studio opened in June 2011. The Tower Studio’s official opening was one of the most festive and included: a roaring bonfire, flares dramatically shot from its rooftop terrace and the recorded sounds of local whales as a background score.
塔楼工作室位于海岸线的岩石上，没有道路，只能从邻近的社区沿着海岸徒步旅行，或者走在由风化的木板组成的狭窄的木板路上，这些木板略高于沼泽地，沼泽地里有大量的云莓，当地人称之为烤苹果。
Perched on a rocky stretch of shoreline, there are no roads to the Tower Studio, it can only be reached by hiking along the shore from the adjacent community or walking on a narrow wooden boardwalk consisting of weathered planks that hover just slightly above a bog that features an abundance of cloudberries, known locally as bakeapples.
从远处看，木板路就像一条系带，将搁浅的塔楼工作室与繁忙的道路的生命线连接起来。木板路仅有12英寸宽，是塔楼工作室故事的重要组成部分，它为手推车提供了一条均匀的轨道，以便将建筑用品运到施工现场，而不会干扰纽芬兰沼泽地的脆弱生态系统和生长在岩石露头的地衣。
From a distance the wooden boardwalk reads like a tether strap, linking the stranded Tower Studio to the lifeline of a busy stretch of road. The boardwalk, a mere twelve inches wide, is a vital component to the story of the Tower Studio, it provided an even track for wheel barrows to bring building supplies to the construction site without disturbing the delicate eco-system of the Newfoundland bog and the lichens that grow on outcroppings of rock.
这条木板路证明了整体思维，这是Shorefast基金会思维的一部分，它将经济、文化和生态的可持续性在宏观和微观层面联系起来。现在，它的目的已经过去，木板路很快就会消失，以尽量减少塔楼工作室的建设对周围景观的影响。
The boardwalk is a testimony to the holistic thinking that is part of the Shorefast Foundation mindset that connects the dots of economic, cultural and ecological sustainability at both the macro and the micro level. Now that its purpose has past, the boardwalk will soon disappear in order to minimize the impact on the surrounding landscape of the Tower Studio’s construction.
当人们走近工作室时，其朝南的入口区域向后倾斜了30度。头顶上的一段三角墙向前倾斜，以遮挡下面的双玻璃门。檐口和倾斜的入口处，都用云杉的横板覆盖，被染成白色，与建筑的其他无窗外墙板的石板黑色形成鲜明对比。
As one approaches the studio, its south-facing entry area is angled back thirty degrees. Overhead a triangulated section of wall leans forward to shelter the double glass doors below. Both the soffit and the angled entryway, clad in hori- zontal boards of spruce are stained white in sharp contrast to remainder of the building’s windowless exterior of vertical plank siding painted slate black.
塔式工作室由三层组成，总高度为32英尺。它的入口区配备了一个小厨房、一个堆肥厕所和燃木壁炉。它的第二层是一个工作室，白天由一个面向北方的宽敞的天窗照明。头顶上的夹层，突出了工作室的双层高度。
The Tower Studio is comprised of three levels with an overall height of thirty-two feet. Its entry area is equipped with a kitchenette, a compost toilet and wood- burning fireplace. Its second level is a studio, day lit by a generous skylight that faces northward. A mezzanine overhead, juts into the double height volume of the studio.
除了空间的几何复杂性之外，增加迷失感的第二个特点是取消了建筑细节，所有垂直、水平和倾斜的表面，都用光滑的胶合板包覆，涂成亮白色。从严酷的内部环境中得到的唯一缓解是通过工作室唯一的天窗可以看到外部的一角。一面略微倾斜的墙与天窗相对并平行，提供了一个完美的观察面，人们可以躺在上面欣赏风景。
Aside from the geometric complexity of the space, the second feature that adds to a sense of disorientation is the elimination of architectural detail and the fact that all vertical, horizontal and inclined surfaces, clad in smooth plywood, are painted a brilliant white. The only relief from the stark interior is a sliver of the exterior visible through the studio’s sole skylight. A slightly angled wall oppo- site and parallel to the skylight provides the perfect viewing surface upon which a body can recline and enjoy the view.
人们可以想象，在月光下的夜晚，靠在这个表面上，听着北大西洋的轰鸣声和风对塔楼裸露表面的力量，会产生怎样的神奇效果。从工作室层，一个狭窄的梯子（也是白色的）穿过夹层，通向屋顶舱口的下方。当人们穿过水平开口，站在屋顶甲板上时，海洋和风蚀岩石的景色非常壮观。
One can imagine the magical effect of resting against this surface during a moonlit evening with the audible roar of the North Atlantic and force of the wind against the exposed surface of the tower. From the studio level, a narrow ladder (also painted white) leads past the mezzanine level to the underside of a roof hatch. As one passes through the horizontal opening and stands on the roof- top deck, the view of the ocean and the rocky wind-swept terrain is spectacular.
从最近完成的工作室名册来看，人们普遍认为，由当地木匠团队建造的塔楼工作室是最具挑战性的一个。虽然塔楼的几何形状的基本前提是一个简单的前提–平面图与屋顶平面图旋转一百八十度–但事实证明，切面形式的施工要复杂一些。为了弄清框架图，我们建造了一系列的木制模型。最终，一个大型模型被制作出来，以减少现场的混乱。
From the roster of studios recently completed, it is generally agreed that the building of the Tower Studio by the local crew of carpenters was one of the most challenging. Although the basic premise of the Tower’s geometry is a simple one – the plan rotates one hundred and eighty de- grees to the roof plan – the construction of the facetted form proved to be a little more complex. In order to figure out the framing diagram, a series of wooden models were constructed. Ultimately a large-scale model was fabricated to mini- mize any on-site confusion.
如果不提及支持塔楼的两个结构，塔楼工作室的故事就不完整。第一个是一个 “独立 “的太阳能电池板阵列，位于工作室主入口以西约50英尺处。因为所有的工作室都位于孤立的地点，没有电、水和下水道等公用设施，所以它们都配备了光伏电池板、堆肥厕所和蓄水池。
The story of the Tower Studio is not complete without referencing two structures that support it. The first one is a ‘standalone’ array of solar panels situated about fifty feet to the west of the studio’s main entrance. Because all the studios are located on isolated sites without access to the utilities of electricity, water and sewer, they are equipped with photovoltaic panels, compost toilets and water cisterns.
塔楼工作室成功的另一个必要结构是它的 “兄弟姐妹”–在附近的村庄修复的传统房屋，当艺术家不在工作室工作时，他/她住在那里。所有的福戈岛工作室都遵循同样的模式，即工作室与盐盒–纽芬兰土地上的传统房屋配对，艺术家在不专注于他/她最近的艺术项目时就住在那里。
The other structure necessary for the Tower Studio’s success is its ‘fraternal twin’ – a restored traditional house in the nearby village where the artist lives while he/she is not working in the studio. All the Fogo Island studios follow the same model in which the studio is paired with a Saltbox – a traditional Newfound- land house, where the artist abides when not fixated on his/her most recent art project.
传统的盐盒屋的修复和建筑上具有挑衅性的工作室的新建，创造了一种有趣的动态，使当地的乡土建筑与当代文化的多面性表达面对面。正如建筑师托德-桑德斯所解释的那样，翻新的房屋是当地建筑方式的一部分，这增加了分配给工作室的建筑实验水平。
The restoration of the traditional Saltbox house and the new construction of the architecturally provocative studios has created an interesting dynamic that brings the local vernacular architecture face-to-face with the multifaceted expressions of contemporary culture. As the architect, Todd Saunders, has explained, the fact that the renovated houses were part of a vernacular way of building increased the level of architectural experimentation allotted to the studios.
与位于村庄中间的翻新房屋相比，工作室位于村庄外围，步行约15分钟。艺术家们既能体验到邻居们的热情好客，又能感受到工作室的清凉庇护。由于工作室位于当地村庄之外，它们的建筑特点既显得熟悉，又让人感到不可思议的 “陌生”。从某种意义上说，这些工作室 “适合”，但更重要的是它们很突出。
In contrast to the renovated houses, located in the middle of the villages, the studios are situated about a fifteen minutes walk on the villages’ periphery. The artists experience both the warm hospitality of their neighbours, as well as, the cool refuge of their studios. Because the studios are outside the local villages, their architectural character is both seemingly familiar and uncannily ‘strange’. In some sense the studios ‘fit in’, but more importantly they stand out.
有时，画成黑色和/或白色的工作室的鲜明抽象形式似乎消失在多雾的天气里，这是福戈岛的典型特征。消失可能是Saunders建筑作品辞典中一个有趣的补充，该辞典专注于游戏性的几何图形，产生了奇怪的熟悉的动态形式。
At times, the stark abstract forms of the studios painted black and/or white seem to disappear into the foggy weather, typical on Fogo Island. Disappearance may be an interesting addition to the lexicon of Saunders’s architectural production that focuses on playful geometries that generate dynamic forms that are strangely familiar.
福戈岛上的这一系列建筑项目确实包含了新产品中的乡土气息。更重要的是，它形成了一种当代的感觉，这对于重塑、重新定位和振兴任何传统文化都是至关重要的，以使其能够迎接二十一世纪的机遇和挑战–正面的。
This series of architectural projects on Fogo Island does encompass the vernacular within the production of the new. More importantly, it forms a contemporary sensibility that is vital to reframe, re-situate and rejuvenate any traditional culture, in order for it to meet the opportunities and challenges of the twenty-first century – head on.
Architects: Saunders Architecture
Area: 47 m²
Year: 2011
Photographs: Bent René Synnevåg
City：BAY ROBERTS
Country：Canada