巴比康人位于英国首都的金融中心，这使得它对商业开发商很有吸引力，并因此提出了几个办公方案。这些建议被该公司拒绝，部分原因是该地区人口不断减少。随着该地区日益商业化，居民人数从1851年的10万人骤降到1951年的略高于5000人。[1]由于选民人数如此之少，伦敦金融城面临失去议员的危险，因此它的政治影响力也随之下降。Chamberlin、Powell和Bon在1955年提出的住房计划通过吸引新居民进入城市的空隙，提供了一个扭转人口减少的机会。

The Barbican’s location in the financial center of the British capital made it attractive to commercial developers and, as a result, several office schemes were proposed. These were rejected by the Corporation, partly due to the area’s dwindling population. As the area had become increasingly commercialized, the number of residents had plummeted from 100,000 in 1851 to just over 5,000 in 1951.[1] With such a small electorate, the City of London was at risk of losing its Member of Parliament (MP) and, as a result, its political clout. A housing scheme put forward by Chamberlin, Powell and Bon in 1955 offered an opportunity to reverse the population decline by enticing new residents into this void in the City.

 Defoe House. Image © Joas Souza

笛福之家。图像(Joas Souza)

自1948年起，Peter Chamberlin(b.伦敦)和Geoffry Powell(b.印度班加罗尔(Bangalore)曾在伦敦金斯敦艺术学院(Kingston School Of Art)教授同事，1950年，克里斯多夫·邦(Christof Bon)加入了该校。瑞士圣加尔)。两年后，鲍威尔在伦敦金融城公司委托的大型住宅项目“金色巷”(GoldenLane)的设计竞赛中获胜后，他们的建筑合作关系就开始了。这一早期方案的设计，位于拟议中的巴比康遗址的北面，为他们更雄心勃勃的邻近项目铺平了道路。

Since 1948, Peter Chamberlin (b. London) and Geoffry Powell (b. Bangalore, India) had been teaching colleagues at London’s Kingston School of Art, where they were joined in 1950 by Christof Bon (b. St. Gall, Switzerland). Their architectural partnership began two years later, after Powell won a competition to design the Golden Lane Estate – a large scale residential project also commissioned by the City of London Corporation. The design of this earlier scheme, located just north of the proposed Barbican site, paved the way for their more ambitious neighboring project.

虽然选择Chamberlin、Powell和Bon的住房计划将使该公司有更好的机会维持其议会席位，但它所带来的收入将远远低于商业发展。为了最大限度地增加租金收入，并使该计划在财政上可行，建筑师们提出了一项针对中等收入和高收入人群的高密度开发项目。[2]这座建筑群被设计成一个城市缩影，住宅区围绕着公共空间-这是在勒·柯布西耶(Le Corbuser)工作的启发下提出的。勒·柯布西耶在马赛的联合住房项目最近已经完成；他对“垂直花园城市”的设想在黄金巷地产和巴比肯都很明显。

While the selection of Chamberlin, Powell and Bon’s housing scheme would allow the Corporation better chances of maintaining its parliamentary representation, it would bring in far less revenue than a commercial development. In order to maximize rental income and make the scheme financially viable, the architects proposed a high-density development aimed at those earning a mid-to-high income.[2] The complex was designed as an urban microcosm, with residential blocks arranged around communal spaces – an approach inspired by the work of Le Corbusier. Le Corbusier’s Unite d’Habitation housing project in Marseilles had been recently completed; his vision for a ‘vertical garden city’ is evident in both the Golden Lane Estate and the Barbican.

 © Joas Souza

c.Joas Souza

除了“豪华”住宅外，Chamberlin、Powell和Bon的巴比肯文化设施(包括音乐厅和剧院)、购物中心、地下停车场、私人花园、有喷泉和瀑布的湖泊都是特色文化设施。希望屋内的各种便利设施能够吸引他们的目标市场，并证明住房的更高成本是合理的。会馆音乐学院和伦敦金融城女子学校也将迁往新的场地，在建筑群内形成一种社区感。圣吉尔斯教堂是在1940年爆炸事件中幸存下来的少数建筑物之一，它将坐落在庄园的中心。

In addition to “luxury” housing, Chamberlin, Powell and Bon’s masterplan for the Barbican featured cultural facilities (including a concert hall and theater), a shopping mall, underground parking, private gardens, and lakes with fountains and a waterfall. It was hoped that the vast array of amenities within the estate would attract their target market and justify the higher cost of the housing. The Guildhall School of Music and the City of London School for Girls would also be moved to new premises on the site, forging a sense of community within the complex. St. Giles Church, one of the few buildings to survive the bombings of 1940, would stand in the center of the estate.

从整体上看，这座庄园的住宅区构成了世界上任何地方布鲁塔主义建筑最引人注目的例子之一。“布鲁塔主义”一词来源于法国的贝顿畜生，意思是生硬的或未完成的混凝土。尽管巴比康庄园的混凝土被露在外面，但它并非未完成，而是被凿成锤子，使它呈现出一种粗糙、简朴的外观，暗示着一种不朽的感觉。

Collectively, the residential blocks of the estate form one of the most remarkable examples of Brutalist architecture anywhere in the world. The term ‘Brutalism’ is derived from the French béton brut, meaning raw or unfinished concrete. Although the concrete at the Barbican Estate was left exposed, it was not unfinished, having been pick-hammered to give it a rough, rusticated appearance implying a sense of monumentality.

 © Joas Souza

c.Joas Souza

该庄园由三座塔楼、十三座露台、两座“梅斯”(两层小房子的梯田)和一排联排房屋组成。塔楼块占据了天际线，它们的正面以混凝土镶板的网格模式为特征。这个混凝土网格的水平线被垂直的连续线打破，强调了塔的高度。同时，露台也是水平的，与高耸的塔楼形成了动态的对比。无论是塔楼还是露台，公寓的布局都是为了最大限度地利用房间中的自然光线，从而最大限度地利用自然光线。因此，卧室、餐厅和客厅沿外墙放置，而厨房和浴室则位于内墙上。

The estate comprises three tower blocks, thirteen terrace blocks, two “mews” (terraces of small two-story houses) and a row of townhouses. The tower blocks dominate the skyline, their facades featuring a grid pattern of concrete paneling. The horizontals of this concrete grid are broken by the continuous lines of the verticals, emphasizing the height of the towers. The terrace blocks, meanwhile, are orientated horizontally, creating a dynamic contrast to the soaring towers. In both the tower and terrace blocks, the layout of the apartments was designed to maximize the amount of natural light in the rooms that would most benefit from it. Bedrooms, dining rooms and living rooms are therefore positioned along external walls, while kitchens and bathrooms are placed against inner walls.

 Highwalk and podium at Lauderdale Tower. Image © Joas Souza

在劳德代尔大厦的高台和领奖台。图像(Joas Souza)

住宅区由两种行人循环系统连接起来：人行道和讲台。高架路是一个由桥梁和狭窄的走道组成的网络，涵盖了整个庄园。平台是一个高耸的平台，一旦进入地产界，它就变成了一个新的“地面层”。这一设计功能使巴比康完全成为行人专用区，公路和铁路交通在下面通过，视线和声音都消失了。

The residential blocks are linked by two systems of pedestrian circulation: the highwalk and the podium. The highwalk, a network of bridges and narrow walkways, encompasses the estate. The podium is a raised platform which becomes a new ‘ground level’ once inside the boundary of the estate. This design feature allows the Barbican to be entirely pedestrianized, with road and rail traffic passing underneath, out of both sight and sound.

所有三座塔楼和大部分露台大厦都矗立在领奖台上方，行人可以畅通无阻地在这片土地上航行。其中最引人注目的可能是吉尔伯特大厦下面，这是一个横跨湖面的露台，把讲台分成两半。立柱的高度，即使是高耸的人行道，也可以在主楼下面通过；一座桥坐落在支撑的柱廊之间。领奖台创造了一种空气舒畅的感觉，而高台则鼓励运动和探索；它们一起产生了空旷的空间，流经整个庄园。

All three tower blocks and the majority of the terrace blocks stand above the podium on piloti, enabling pedestrians to navigate the estate unimpeded by buildings. Perhaps the most striking of these can be found beneath Gilbert House, a terrace block spanning the lake which bisects the podium. The height of the columns allows even the highwalk to pass beneath the main structure; a bridge is nestled amongst the supporting colonnade. The podium creates a sense of airiness, while the highwalk encourages movement and exploration; together, they produce open space which flows throughout the estate.

 Gilbert House piloti. Image © Joas Souza

吉尔伯特·豪斯·皮洛蒂。图像(Joas Souza)

在为巴比坎开发设计的同时，张伯林、鲍威尔和邦也到国外寻求建筑灵感，在意大利度过了大部分时间。邦以前的职业生涯中有一部分是在米兰工作的，意大利的建筑对这三位建筑师有很大的吸引力。这种影响在庄园中是显而易见的；例如，露台街区的顶层公寓有桶形拱形屋顶，这是罗马建筑中广泛使用的一种特征。建筑师们引用威尼斯的运河、桥梁和人行道作为巴比坎行人系统的典范，称其为“步行与服务交通完全隔离的城市的最佳例子”。“这种隔离，”他们继续说，“已经成功了许多世纪，没有充分的理由不应该在伦敦金融城同样有效地适用这一原则。”

While developing the design for the Barbican, Chamberlin, Powell and Bon travelled abroad extensively to seek architectural inspiration, spending much of their time in Italy. Bon had spent part of his earlier career working in Milan, and the architecture of Italy held a great fascination for the three architects. This influence is evident in the estate; the penthouses of the terrace blocks, for example, have barrel-vaulted roofs – a feature widely employed in Roman architecture. The architects cited the canals, bridges and pavements of Venice as the model for the pedestrians systems of the Barbican, describing it as “the best example of a city where foot and service traffic is completely segregated. This segregation,” they continued, “has worked admirably for many centuries and there is no good reason why the principle should not be applied equally effectively in the City of London.”[3]

湖和花园为居民提供了丰富的公共户外空间；在伦敦其他高度密集的地区，这是一种罕见的现象。这些景观区域位于讲台的下方，不断变化的高地增加了视觉兴趣，给人一种隐逸感。为了确保下面的地铁线路不会干扰那些欣赏花园的人，奥夫·阿鲁普设计了一个工程解决方案，以减少列车通过时的振动。轨道安装在橡胶支座上，这是整个伦敦地铁网络中唯一需要这样修改的部分。

The lake and gardens provide the residents with generous communal outdoor space; a rarity in an otherwise heavily built-up area of London. These landscaped areas lie below the level of the podium, with the changing elevations adding visual interest and lending a sense of seclusion. To ensure the underground line below did not disturb those enjoying the gardens, Ove Arup devised an engineering solution to reduce vibration from passing trains. The track was mounted on rubber bearings; the only section of the entire London Underground network to be modified in this way.

 © Joas Souza

c.Joas Souza

张伯林，鲍威尔和邦最初的计划是以二十层楼的五座塔楼为特色。这些设计被规划当局拒绝，主要理由是该计划没有足够的室外空间。[4]作为回应，建筑师将塔楼的数目减少到3座，以尽量减少建筑物的脚印。同时，他们的身高增加了一倍多，以保持住房密度。

Chamberlin, Powell and Bon’s original plans featured five tower blocks of twenty stories. These designs were rejected by the planning authority, primarily on the grounds that the scheme had insufficient outdoor space.[4] In response, the architects reduced the number of tower blocks to three in order to minimize the buildings’ footprints. At the same time, they more than doubled their height to maintain housing density.

克伦威尔大厦有四十三层高，而劳德代尔塔和莎士比亚塔则有四十四层，当时它们是欧洲最高的住宅楼。[5]建筑师们设计出了巧妙的办法来解决住在这么高的建筑物里的问题。例如，“每个电梯”都有一个辅助的小面板门，可以直接进入电梯和房客的服务柜之间。[…]这样，每天的牛奶、晨报和邮件就可以直接从电梯送到各个单位，而不需要送奶工或邮递员离开电梯。“[6]同样注重细节的是固定装置和装置：建筑师安装了水平旋转的窗户，使之易于从内部清洗，几乎所有的住宅区都使用了一个Garchey水槽单元，以方便废物处理。

Cromwell Tower is forty-three stories high, while Lauderdale Tower and Shakespeare Tower stand at forty-four stories; at the time they were the tallest residential towers in Europe.[5] The architects devised ingenious solutions to the perceived problems of living in buildings of this height. “Each lift,” for example, “is designed with a secondary small panel door which provides direct access between the lift and a tenant’s service cupboard. […] In this way the daily milk, the morning newspaper and post can be delivered directly from the lifts to the individual flats without the milkman or the postman having to get out of the lift.”[6] Similar attention to detail was paid to the fixtures and fittings: the architects installed windows which pivoted horizontally to make them easy to clean from the inside, and a Garchey sink unit was employed across almost all residential blocks to facilitate waste disposal.[7]

 © Joas Souza

c.Joas Souza

在如此高的高度和复杂的程序要求，该项目需要专门的工程，由Ove Arup交付。

Standing at such a height and with complex programmatic requirements, the project demanded specialised engineering, delivered by Ove Arup & Partners. The towers utilise pre-cast reinforced concrete elements for the frame, which places the majority of the load around the exterior of the building “on the same principle as is familiar in a chimney.”[8] Roughly triangular in plan, each floor of the towers contains three apartments arranged around a central core of lift shafts, stairwells and service risers. The living rooms are located at each corner of the triangle, where the meeting of two walls affords panoramic views.

 Plan: Lauderdale Tower

计划：劳德代尔大厦

高度独特的悬臂式塔楼阳台，与其优雅的弯曲尖端，类似于一艘船的船体。它们也有一个实际的应用：它们独特的形式降低了风阻，减轻了结构框架的应变。阳台的长长的凸出是工程师们推荐的设计特色，在下面的公寓上形成了深邃的屋檐。[9]屋檐为居民提供了保护，让他们免受各种元素的影响，也为居民提供了安全感。建筑师们推断，有些居民“可能不喜欢住在悬崖边缘的印象。”[10]

The highly distinctive cantilevered balconies of the towers, with their elegantly curved tips, resemble the hull of a ship. They also have a practical application: their unique form reduces wind resistance and eases the strain on the structural frame. The long protrusions of the balconies, a design feature recommended by the engineers, create deep eaves over the apartments below.[9] The eaves offer both protection from the elements and a sense of security to residents, some of whom, the architects reasoned, “might otherwise dislike the impression of living on the edge of a cliff.”[10]

古罗马城墙的残存碎片，以及13世纪晚期的堡垒，都可以在这片土地上找到。历史和现代碰撞，因为这些废墟的风化砖被并列在上面的整体结构的灰色混凝土。进一步参考了该遗址的历史，并以当地一位著名人物的名字命名了每一座居民楼。例如，莎士比亚塔之所以被称为莎士比亚塔，是因为这位伟大的剧作家曾经住在这个地区。

Surviving fragments of the ancient Roman wall, and a later 13th-century bastion, can be found about the estate. History and modernity collide as the weathered bricks of these ruins are juxtaposed against the grey concrete of the monolithic structures above. Further references to the history of the site were made by naming each of the residential blocks after a prominent local figure. Shakespeare Tower, for instance, is so called because the great playwright once lived in the area.

巴比康庄园的建设历时十三年，并于1976年完成了莎士比亚大厦的建设。批评人士指责这座庄园的布局混乱，但不能完全归咎于这一设计。1964年，伦敦金融城公司向Chamberlin、Powell和Bon提交了一份经过修订的简报，要求扩大剧院和音乐厅。这样做的结果是巴比肯中心，这是一座建筑，在建筑工程开始后，它必须被钉进总体规划中。

Construction of the Barbican Estate took thirteen years, concluding in 1976 with the completion of Shakespeare Tower. Critics have accused the layout of the estate as being disorientating and cluttered, though the blame for this cannot be entirely attributed to the design. In 1964 the City of London Corporation presented Chamberlin, Powell and Bon with a revised brief which demanded an expanded theater and concert hall. The outcome of this was the Barbican Center, a building which had to be shoehorned into the master plan after construction had already begun.

 Podium at Defoe House. Image © Joas Souza

迪福大厦的讲台。图像(Joas Souza)

随着布鲁塔主义在整个20世纪70年代成为英国新屋的主流建筑风格，巴比康人的声誉与不太成功的项目(例如曼彻斯特的Hulme Crescents)联系在一起。然而，最近，公众对现代派和布鲁塔式建筑的兴趣重新抬头，使这片土地受益良多。2001年，它获得了英国政府的二级名单地位，目前该庄园内的公寓非常受欢迎。

As Brutalism became the prevailing architectural style for new housing estates in Britain throughout the 1970s, the reputation of the Barbican suffered from association with less successful projects (such as the Hulme Crescents in Manchester). More recently, however, the estate has benefited from a resurgence of public interest in Modernist and Brutalist architecture. It received Grade II listed status from the British government in 2001, and apartments in the estate are now highly sought after.

居民们谈到他们在那里享受的极好的生活质量；建筑评论家乔纳森·格兰西(Jonathan Glancey)在这里住了四年，并宣称“在英国其他任何地方，甚至在世界上，规模、智慧、创造力、质量、城市景观和纯粹的抽象艺术都比不上它。”[11]除了伦敦皇家国家剧院(Royal National剧院)和谢菲尔德公园山庄园(Park Hill Estate)这样的建筑，巴比康庄园已成为英国战后建筑的象征.

Residents speak of the excellent quality of life they enjoy there; architecture critic Jonathan Glancey spent four years living in the estate, and proclaims that “there is nothing like [it] in scale, intelligence, ingenuity, quality, urban landscaping and sheer abstract artistry anywhere else in Britain, perhaps even the world.”[11] Alongside buildings such as the Royal National Theatre in London and Park Hill Estate in Sheffield, the Barbican Estate has become a symbol of British post-war architecture.

参考文献[1]Harwood，Elain。空间，希望与布鲁塔主义：英国建筑，1945-1975年。伦敦：耶鲁大学出版社，2015年。第73页[2]Harwood，Elain。张伯林，鲍威尔和邦：巴比肯及更远。伦敦：RIBA出版社，2011年。第103页[3]Chamberlin，Powell和邦建筑师。1959年巴比康重建计划中的“建议”。伦敦：伦敦金融城公司，1959年。第5页[4]同上。哈伍德。张伯林鲍威尔和邦。第108页[5]Orazi，Stefi。现代主义遗产：建筑物和居住在其中的人。伦敦：弗朗西丝·林肯，2015年。P.109[6]同上。张伯林鲍威尔和邦建筑师。P.15[7]同上。哈伍德。张伯林鲍威尔和邦。P.118[8]同上。张伯林鲍威尔和邦建筑师。“技术科”。第6页[9]同上。哈伍德。太空希望和布鲁塔主义。P.74[10]同上。张伯林鲍威尔和邦建筑师。“提案”。第15页[11]Glancey，Jonathan。“巴比康：批评家的裁决”。暂停，2007年2月6日。2016年6月10日[查阅]

References [1] Harwood, Elain. Space, Hope and Brutalism: English Architecture, 1945-1975. London: Yale University Press, 2015. p.73 [2] Harwood, Elain. Chamberlin, Powell and Bon: The Barbican and Beyond. London: RIBA Publishing, 2011. p.103 [3] Chamberlin, Powell and Bon Architects. “Proposals” In Barbican Redevelopment 1959. London: City of London Corporation, 1959. p.5 [4] Ibid. Harwood. Chamberlin, Powell and Bon. p.108 [5] Orazi, Stefi. Modernist Estates: the buildings and the people who live in them today. London: Frances Lincoln, 2015. p.109 [6] Ibid. Chamberlin, Powell and Bon Architects. p.15 [7] Ibid. Harwood. Chamberlin, Powell and Bon. p.118 [8] Ibid. Chamberlin, Powell and Bon Architects. “Technical Section”. p.6 [9] Ibid. Harwood. Space, Hope and Brutalism. p.74 [10] Ibid. Chamberlin, Powell and Bon Architects. “Proposals”. p.15 [11] Glancey, Jonathan. “Barbican: the critics' verdict”. Time Out, 6 February, 2007. Accessed 10 June, 2016 [access]

建筑师Chamberlin，Powell和Bon Architect Location Barbican Estate，London EC2Y，联合王国类别住房建筑师，负责Peter Chamberlin，Geoffry Powell，Christof Bon结构工程师Ove Arup

Architects Chamberlin, Powell and Bon Architects Location Barbican Estate, London EC2Y, United Kingdom Category Housing Architects in Charge Peter Chamberlin, Geoffry Powell, Christof Bon Structural Engineers Ove Arup & Partners Area 160000.0 sqm Project Year 1976 Photographs Joas Souza