Although relatively austere, the varying rooflines, oriel window, and pointed arch window frames add Gothic flair to the otherwise simplistic Red House. ImageCourtesy of Flickr user Gabrielle Ludlow (licensed under CC BY-NC-ND 2.0)

虽然相对简朴，不同的屋顶，东方窗口和尖顶拱形窗框增加了哥特式的才华，否则简单的红色房子。Flickr用户加布里埃尔·路德洛的形象礼貌(由-NC-ND2.0认证)

莫里斯是19世纪中叶越来越关注工业革命深远影响的正式人群之一。虽然大量生产的家用物品使他们负担得起，但批评约翰罗斯金的人认为，现代制造工艺剥夺了工人们手工艺的满意度，而消费者的周围则是无灵魂的产品。这一印象与当代的观念不太一致，即家庭应该作为一种精神和道德上的喘息，从城市的混乱中解脱出来，一种被称为“家庭生活的崇拜”的哲学。认为的解决办法是恢复中世纪的“行会”生产方式，其中工匠直接参与整个制造过程。

Morris was one of a formal group of people in the mid-19th Century who grew increasingly concerned about the far-reaching effects of the Industrial Revolution. While the mass-production of household objects made them affordable, critics in the vein of John Ruskin felt that modern manufacturing processes deprived workers of the satisfaction of handcrafting, and that consumers were surrounding themselves with soulless products. This impression aligned poorly with the contemporary notion that the home should serve as a spiritual and moral respite from the chaos of the cities, a philosophy termed the “Cult of Domesticity.” The perceived solution was a revival of the medieval “Guild” mode of production, in which craftsmen were directly involved in the entire manufacturing process.[1]

 Courtesy of Flickr user KotomiCreations (licensed under CC BY-NC 2.0)

Flickr用户KotomiCreations(由-nc2.0授权)

莫里斯在牛津建筑师乔治埃德蒙街(George Edmund Street)的办公室任职期间，与他的同事菲利普斯皮克曼韦伯(PhilipSpeakmanwebb)建立了长期的友谊。莫里斯离开这家公司后-以及整个建筑行业-仅仅一年后就成了一名画家，两人仍然关系密切，以至于在1858年期间，他们和他们的朋友查尔斯·福克纳(Charles Faulkner)一起沿着法国的塞纳河进行了一次联合旅行。在这次航行中，莫里斯与韦布讨论了为自己和妻子简盖房子的计划。他还决心开始自己的艺术家和工匠联谊会，不久就意识到，他的新家可能是对他们综合能力的考验。

During his tenure in the Oxford office of architect George Edmund Street, Morris formed what would turn out to be a long-lived friendship with his co-worker Philip Speakman Webb. Even when Morris left the firm—and architectural practice altogether—after only a year to become a painter, the two remained close enough that they, along with their friend Charles Faulkner, took a joint trip along the Seine in France over the course of 1858. During this voyage, Morris discussed his plans to build a house for himself and his wife Jane with Webb. He also became determined to start his own fellowship of artists and craftsmen, and shortly realized that his new home could be the test of their combined abilities.[2]

回到英国后，莫里斯和韦伯在肯特Bexleyheath附近的Upton村选择了一个地点。当时，这是一个风景如画、不发达的地区，到处都是农舍、中世纪遗迹和附近的都铎大厦(霍尔广场)。这座新房子坐落在果园和市场花园之间，坐落在一英亩的土地上，按今天的标准，这片土地的价格约为307，026英镑(约合395，962美元)，是当时莫里斯年收入的五倍。他的新家规模有点小，并不像英国的乡村庄园，而是预示着未来几十年郊区发展的别墅。

Upon their return to England, Morris and Webb selected a site in the hamlet of Upton, near Bexleyheath in Kent. It was, at the time, a largely picturesque and undeveloped area, dotted with cottages, medieval ruins, and a nearby Tudor mansion (Hall Place). Nestled between orchards and market gardens, the new house was to stand on an acre of land which, at the price of £4000 (roughly £307,026 [$395,962 USD] by today’s standards), cost Morris five times his annual income at the time. With its somewhat modest proportions, his new home was not to resemble an English country estate, but rather a villa that presaged the suburban developments to come in the following decades.[3]

 The centerpiece of Red House’s garden is a well topped with a steep conical roof. ImageCourtesy of Flickr user Gabrielle Ludlow (licensed under CC BY-NC-ND 2.0)

红楼花园的中心是一个顶部有一个陡峭的锥形屋顶的水井。Flickr用户加布里埃尔·路德洛的形象礼貌(由-NC-ND2.0认证)

这座房子的美学风格清楚地表明了设计师们对中世纪理想的执着：它陡峭的屋顶、突出的烟囱和横墙标志着这座建筑是简化都铎哥特式设计的典范。这座房子的L形脚印使它能够部分地围绕着花园，同时也创造了一种典型的中世纪建筑的不对称，随着时间的推移逐渐被建造和翻新。哥特式风格是工艺美术从业者的最爱；对他们来说，哥特式风格让他们回想起一个工艺精湛、人的尊严更高的时代。它起源于西欧，也被认为比古罗马古典主义建筑的影响更适合作为一个英语网站。

The aesthetic styling of the house is a clear indicator of its designers’ fixation on the medieval ideal: its steeply-pitched roofs, prominent chimneys, and cross gables mark the building as an example of simplified Tudor Gothic design. The L-shape of the house’s footprint allows it to partially wrap around a garden, simultaneously creating an asymmetry typical of medieval structures built and renovated incrementally over time. The Gothic style was a favorite of Arts and Crafts practitioners; to them, it hearkened back to an age of greater craftsmanship and human dignity. Having originated in Western Europe, it was also seen as more appropriate for an English site than the Greco-Roman influences of Classicist architecture.[4]

当时大多数时髦的别墅都是用灰泥建成的，而莫里斯的新家则是用裸露的砖块建造的，这启发了它的名字“红楼”(RedHouse)。一座塔矗立在L的顶点，包含楼梯；从这个顶点伸出的分支是房子的两翼。前翼包括主要房间，包括餐厅、接待室、客厅、主卧室、工作室和花园门廊。后翼包含更多的私人元素，如较小的卧室、仆人宿舍和厕所、洗衣间、厨房、储藏室和后楼梯。这座花园位于建筑物的东南李镇，正门在北面，面向街道。豪宅结构材料的大胆表现，加上其实用和直截了当的布局，暗示出一种出人意料的功能主义方法，它披着历史主义的外衣。[5，6]

Whereas most fashionable villas of the period were finished in stucco, Morris’ new home was built of exposed brick that inspired its name “Red House.” A tower stands at the vertex of the L, containing the staircase; branching out from this vertex are the two wings of the house. The front wing contains the principal rooms, including the dining room, reception rooms, drawing room, main bedroom, studio, and a garden porch. The rear wing contains the more private elements, such as the lesser bedrooms, servant quarters and lavatory, scullery, kitchens, larders, and back stairs. The garden is sheltered in the southeastern lee of the building, while the main entrance is to the north, facing the street.The bold representation of the house’s structural materials, along with its practical and straightforward layout, hint at an unexpectedly Functionalist approach cloaked in historicist trappings.[5,6]

 The painted front door is undeniably medieval in character; the stained glass window panes are not original. ImageCourtesy of Flickr user KotomiCreations (licensed under CC BY-NC 2.0)

不可否认，彩绘的前门在性质上是中世纪的；彩色玻璃窗玻璃并不是原始的。Flickr用户KotomiCreations的图像礼貌(CC2.0授权)

通过一个略显低矮和不拘谨的前廊，游客们进入了简朴的入口大厅。这个空间很大程度上没有外来的装饰，用简单的红色石板铺成，并用裸露的木材构成框架，这是一个装饰先例，随后是房子的其他部分。然而，缺乏狂热的装饰并不意味着没有对美学的关注，而是用结构本身来创造视觉兴趣，而不是用装饰来装饰结构。在整个室内空间，暴露的砖拱门和木结构，经常不对称地布置，作为房子外部外观的室内延续。砖壁炉构成了主要房间的视觉中心，并配有已拆除的铁丝网。

Through a somewhat low and unceremonious front porch, visitors pass into the austere entrance hall. The space is largely devoid of extraneous ornament, paved in simple red flagstone and framed with exposed timbers, setting a decorative precedent followed by the rest of the house. The lack of frenetic ornamentation does not mean that there is no attention to aesthetics, however; rather than gird the structure with decorations, Webb used the structure itself to create visual interest. Throughout the interior spaces, exposed brick arches and timber framing, frequently laid out asymmetrically, serve as an indoor continuation of the house’s external appearance. Brick fireplaces formed the visual centerpieces of the principal rooms, complete with ironwork grates which have since been removed.[7]

虽然这幢房子的建筑是韦伯的领地，但家具的创作却落在了莫里斯、他的妻子简和画家爱德华·伯恩-琼斯(EdwardBurne-Jones)身上。他们在整个房子里的合作工作既是对中世纪工艺的庆祝，也是对包含他们的建筑的庆祝：从壁纸到内置家具，每件东西都带有创造性。入口处的一处建筑装饰着莫里斯对尼伯伦风格场景的描绘，而韦布设计的哥特式小屋则矗立在餐厅里。房子周围的彩色玻璃窗是莫里斯的家人和朋友设计的。在二楼，客厅壁炉上画着莫里斯的拉丁语格言：“生命是短暂的，艺术是永恒的。”

While the architecture of the house was Webb’s domain, the creation of its furnishings fell to Morris, his wife Jane, and painter Edward Burne-Jones. Their collaborative works throughout the house were as much a celebration of medieval craftsmanship as the building which contained them: everything from the wallpapers to the built-in furniture bore their creative touch. A settle in the entrance hall is adorned with Morris’ painted realization of a scene from the Niebelungenlied, while a Gothic hutch designed by Webb stands in the dining room. Stained glass windows around the house were designed by Morris’ family and friends. On the second floor, the living room fireplace is painted with Morris’ Latin motto, Ars Longa, Vita Brevis: “Life is short, art is forever.”[8]

 Morris’ hand-painted settle in the entry hall features a depiction of a scene from the German epic the Niebelungenlied. ImageCourtesy of Flickr user KotomiCreations (licensed under CC BY-NC 2.0)

莫里斯的手绘安顿在入口大厅的特点是一个场景的描绘来自德国史诗，尼伯伦成因。Flickr用户KotomiCreations的图像礼貌(CC2.0授权)

虽然“红楼梦”是一部文体杰作，但它的某些特色却暴露了它的设计师们的相对缺乏经验。房子的方向意味着主房间都朝北，即使在夏天也会让它们感到不舒服。每个壁炉不仅太小，无法弥补，而且烟熏得很厉害，以致于1861年烟囱不得不加高。与此同时，厨房的位置可以在下午的阳光下取暖，就在客房工作人员准备下午的茶和晚餐的时候。这些储藏室位于厨房附近，同样容易过热-这是指定用于储藏食物的空间中的一个严重缺陷。地窖只占楼梯下的空间，而不像往常那样占了房子的大部分，不足以补偿。这些缺陷虽然没有削弱“红屋”在建筑规范中的地位，但却激怒了后来的菲利普·韦伯，以至于他宣称他再也不想看到这座建筑了，任何四十岁以下的建筑师都不应该设计一座房子。

Although Red House is a stylistic masterpiece, certain of its features reveal the relative inexperience of its designers. The orientation of the house means that the principal rooms all face north, leaving them uncomfortably cold even in summer. The fireplaces in each were not only too small to compensate, but smoked so badly that the chimneys had to be heightened in 1861. Meanwhile, the kitchen was positioned to take in the afternoon sun, heating up just as house staff were preparing for afternoon tea and dinner. The larders, being located adjacent to the kitchen, were likewise prone to overheating – a serious flaw in a space designated for food storage. The cellar, which only occupied the space under the stairs instead of the majority of the house as was customary, was insufficient to compensate. These flaws, although having failed to diminish Red House’s status in the architectural canon, rankled Philip Webb later in life to the point that he declared his desire never to see the building again and that no architect under forty ought to design a house.[9]

财政困难迫使莫里斯在1865年卖掉了“红屋”，就在他的家人搬进来五年之后。在接下来的十四年里，这栋房子一直是私人住宅；直到2003年，英国国家信托基金才收购了这座房子，确保了它的保存，并将房子作为博物馆向公众开放。除了莫里斯搬走后开发的一些丢失的家具和新壁纸外，“红屋”仍然和1865年一样，让当代游客一睹原来主人对理想生活的憧憬。[10]现在，红屋被一处密集的郊区开发所包围，它是一件技艺精湛的作品。它的哥特式美学默默地抗议工业化世界的现实。

Financial difficulties forced Morris to sell Red House in 1865, only five years after his family had moved in. Over the next fourteen decades, the house remained a private residence; it was only in 2003 that the property was acquired by the UK’s National Trust, ensuring its preservation and opening the house to the public as a museum. With the exception of some missing furniture and new wallpapers developed by Morris after he moved away, Red House remains much as it did in 1865, providing contemporary visitors with a glimpse of the original owner’s vision for an ideal life.[10] Now surrounded by a dense suburban development, Red House stands out as a work of dedicated craftsmanship, its Gothic aesthetic silently protesting the realities of an industrialized world.

 This stained glass window, depicting Love and Hate, was one of many designed by friends and family of William Morris throughout Red House. ImageCourtesy of Flickr user KotomiCreations (licensed under CC BY-NC 2.0)

这扇描绘爱与恨的彩色玻璃窗，是威廉·莫里斯的朋友和家人在整个红楼中设计的众多窗户之一。Flickr用户KotomiCreations的图像礼貌(CC2.0授权)

参考文献[1]Harkness博士，Kristen M.“威廉·莫里斯和菲利普·韦伯，红楼”可汗学院。2017年6月2日查阅。[进入]。[2]Postiglione，Gennaro和Francesca Acerboni。一百所建筑，一百位建筑师。香港：Taschen，2008年。p 272。[3]Marsh，1月WilliamMorris和RedHouse。伦敦：国家信托基金，2005年。P19-22.[4]Harkness。[5]Marsh，第29页。[6]Postiglione和Acerboni，p 276。[7]Marsh，第22-24页。[8]Harkness。[9]Marsh，第29至32页。10 Harkness。

References [1] Harkness, Dr. Kristen M. "William Morris and Philip Webb, Red House." Khan Academy. Accessed June 02, 2017. [access]. [2] Postiglione, Gennaro, and Francesca Acerboni. One Hundred Houses for One Hundred Architects. Hong Kong: Taschen, 2008. p272. [3] Marsh, Jan. William Morris and Red House. London: National Trust, 2005. p19-22. [4] Harkness. [5] Marsh, p29. [6] Postiglione and Acerboni, p276. [7] Marsh, p22-24. [8] Harkness. [9] Marsh, p29-32. [10] Harkness.

建筑师威廉·莫里斯

Architects William Morris & Philip Webb Location Greater London, United Kingdom Category Residential Architect in Charge Philip Webb Interior Designs And Furniture Jane Morris Painter Edward Burne-Jones Project Year 1859