威斯敏斯特教堂扩建项目
Westminster Abbey extended with "steampunk gothic" tower by Ptolemy Dean Architects

由专筑网李韧，吴静雅编译

Ptolemy Dean Architects事务所为伦敦威斯敏斯特教堂设计了一座星形塔楼，这是自1745年来这座教堂最为重要的扩建项目。

塔楼约7层楼高，造价2300万英镑，保持着现代哥特式风格，卫报评论家Olly Wainwright将其描述为“科幻哥特主义”，而广播员兼评论家Tom Dyckhoff则称它为“蒸汽朋克哥特主义”。

塔楼由Ptolemy Dean Architects事务所设计，主要用作Diamond Jubilee展馆的入口，这座展馆于2018年6月11日面向公众开放。

展馆由伦敦MUMA建筑事务所设计，位于教堂三拱式拱廊空间之中，这个空间环绕着教堂的上部区域，人们只能通过陡峭而狭窄的楼梯进入。

建筑事务所创始人Ptolemy Dean说：“这个拱廊空间有着令人窒息般的美景，即使没有这座塔楼和室内陈设，这里同样是一道亮丽的风景线。”

Ptolemy Dean Architects has added a star-shaped tower to London's Westminster Abbey, the most significant addition to the building since 1745.
Standing at seven stories tall, the ￡23 million Weston Tower is a modern take on gothic, which has been been described as "sci-fi gothic" by Guardian critic Olly Wainwright, and "steampunk gothic" by broadcaster and critic Tom Dyckhoff.
Designed by Ptolemy Dean Architects, the tower has been built to provide access to the Queen’s Diamond Jubilee Galleries, which open to the public on 11 June, 2018.
Designed by London-based practice MUMA the exhibition space is situated in the abbey's previously rarely-visited triforium – a space that runs around the upper perimeter of the interior and could previously only be reached via a steep, cramped staircase.
"It [the triforium] provides breath-taking views across the abbey, enabling its architecture to be seen without the obstruction of monuments and furnishings and thereby readily understood," explained practice founder Ptolemy Dean.

楼梯位于一片 “诗意庭院（Poet's Yard）”之中，这座庭院位于16世纪的圣母堂和13世纪的牧师会礼堂之间。

因为重新在内部建造一座楼梯会给历史建筑带来一定的损伤，因此建筑师决定在威斯敏斯特教堂的外部建造一条全新的通道通向展览空间。

The stair is situated on a small patch of land referred to as the Poet's Yard, which lies between the existing 16th-century Lady Chapel and the 13th-century Chapter House.
As building an internal stair would have damaged the building's historic fabric the Westminster Abbey decided to create an external access route to tree new exhibition spaces.

塔楼由钢框架结构组合而成，体量分为两个上下堆叠的方形，其中一个体量旋转45度，从而形成了星形的平面空间。

这既呼应了St Faith教堂祭坛屏风上的星星装饰，也呼应了教堂玻璃窗上同样主题的彩绘。

The steel-frame tower is composed of two stacked square volumes, one of which has been rotated at a 45-degree angle to create a star-shaped floor plate.
This is intended as a visual nod towards the star motifs seen on the decorative altar screens of St Faith's Chapel and on the stained glass windows of the the abbey.

在扩建部分的顶端有着一个金属皇冠，其设计灵感来源于剑桥郡11世纪Ely教堂的交叉塔楼，该塔楼的顶部就有着一个如灯笼般的发光结构。

Dean说：“‘Ely灯笼’其实是一个外覆铅层的木制框架结构，其支柱内隐藏有雨水管道。而威斯敏斯特教堂的新塔楼也应用了这种模式，只是在材质上运用的是钢材。”

考虑到无障碍需求，建筑师在塔楼中心设计了电梯，并在周围环绕设置了橡木楼梯，塔楼钢柱之间玻璃面板所发出的光芒让这个空间熠熠生辉。

At the peak of the new addition sits a steel crown. This has been designed in reference to the crossing tower of Cambridgeshire's 11th-century Ely Cathedral, which is topped by a faceted light-emitting structure called a lantern.
"The Ely lantern is a timber-framed structure that is clad in lead and whose piers also conceal rainwater pipes. The new tower at Westminster follows this same tradition, albiet using steel instead," said Dean.
At the centre of the tower is a lift, designed to accommodate disabled visitors and carers. Around it wraps a dog-leg oak staircase, which is illuminated by patterned panels of glazing that have been inserted between the towers's steel columns.

展览空间由MUMA建筑事务所设计，建筑师很好地将参观者的视线引导向室外景观。

建筑师说：“相比起按照既定的流线游览，游客似乎更愿意在空间中进行自我探索与发现，因此他们将通过一系列展开的空间、视角，将关注点放在展品之中。”

The exhibition spaces designed by MUMA have been configured to direct visitor's sight-lines towards exterior views.
"Rather than creating a prescribed route, the visitor is invited to explore – the layout allows for choice and discovery," said MUMA. "The visitor will be drawn through the series of unfolding spaces, framed vistas and views focusing on key artefacts or displays."

展馆中展出了至少300件艺术品，其中包括17世纪就在教堂任职的Nicholas Hawksmoor的蜡像，以及原始的建筑图纸。

艺术品的排布并非随意设置，建筑服务工程人员Max Fordham为此专门进行了为期1年的光环境研究与考察，目的是防止这些艺术品在展出过程中因太阳光的照射而受损。

在今年，位于瑞典首都斯德哥尔摩的AIX Arkitekter事务所设计建造了一座三角形展厅，用于收藏瑞典西南部19世纪教堂的遗留文物。

摄影：Alan Williams

Over 300 artfacts from the Abbey's past will be displayed, including wax funeral effigies and original architectural drawings by Nicholas Hawksmoor who worked on the abbey during the 1700s.
These have been arranged according to the results of a year-long light study that building service engineers Max Fordham carried out to ensure collection items were not damaged by the sun's rays over time.
Earlier this year Stockholm-based studio AIX Arkitekter erected a triangular exhibition hall to shelter the excavated ruins of a ninth-century church in southwest Sweden.
Photography is by Alan Williams.