© James Morris

(詹姆斯·莫里斯)

架构师提供的文本描述。斯凯内·卡特林·德拉培尼亚(Skene Catling De La Pe A)被要求简单地对位于白金汉郡的一个大庄园Waddesdon的一处场地做出回应，这座建筑最初是为一座新档案馆的馆长设计的。弗林特之家由三间卧室组成，一间餐厅、一间厨房、一间图书馆和一间独立的附属工作室，面积分别为465平方米和115平方米。

Text description provided by the architects. Skene Catling de la Peña were asked simply to respond to a site in the grounds of Waddesdon, a large Estate in Buckinghamshire, with a building initially intended for the curator of a new archive building. The Flint House consists of three bedrooms, a dining room, kitchen, library and study, with a self-contained annex studio, of 465 and 115 sqm respectively.

 © James Morris

(詹姆斯·莫里斯)

 © James Morris

(詹姆斯·莫里斯)

弗林特是一种与黑云石有关的石英，仅见于从南海岸延伸到诺福克的白垩层。弗林特是一种与碧玉、黑石和红玛瑙有关的古老材料；一种坚硬的隐晶石英存在于英国的一条地质缝中，大量存在于该遗址周围的耕地表面。这座建筑是由这种新石器时代的材料、地质学和直接的生态系统产生的。

Flint is a quartz related to obsidian, and is found only in the chalk seam that extends from the south coast to Norfolk. Flint is an ancient material related to jasper, obsidian and onyx; a hard, cryptocrystalline form of quartz found in one geological seam in the UK, and in abundance on the surface of the ploughed fields surrounding the site. The architecture was generated from this Neolithic material, the geology and the immediate ecosystem.

 © James Morris

(詹姆斯·莫里斯)

该遗址是一个偏远的岛屿，一个奇怪的，仍然，在高度耕地的荒野异常。弗林特屋和附属物形成两个台阶，线性的单石，从景观中拉出的地质挤压无限年代，与粗糙的纹理和稀薄的环境。这些建筑物既是观景台，也是周围全景的镜片。

The site is a remote island, a strange, still, anomaly of wilderness within highly cultivated agricultural fields. The Flint House and Annex form two stepped, linear monoliths that appear pulled from the landscape as geological extrusions of infinite age, with the rough texture and rawness of their surroundings. The buildings are both viewing platforms and condensing lenses for the surrounding panorama.

 © James Morris

(詹姆斯·莫里斯)

打火石的最低层是最黑、最粗糙的，在黑色灰浆接缝中用大帆船凿成。墙和水磨石屋顶在六种颜色的地层中逐渐褪色，打火石沿着建筑物向上推进，从深黑色到细密的灰色，最后变成了长长的、狭窄的白色粉笔，在那里，建筑物似乎溶入了天空。水道内衬生的火石结核，因为它是在地面上发现的。

The lowest courses of flint are blackest and rough hewn with large gallets in black mortar joints. The walls and terrazzo roofs fade in six coloured strata as the flint progresses up the building, from galleted black through finely knapped grays and finally into courses of long, narrow blocks of white chalk, where the building appears to dissolve into the sky. The watercourse is lined in raw flint nodules, used as it is found in the ground.

 Floor Plan

该项目从位于遗址中心的实用空间和开放空间转移到更多沉思的私人房间，这些空间被埋在每栋建筑远端的现有树木中。这里有古老的类型、技术和材料；内部的“河流”改造了历史上的石窟，但使用的是仍被粉笔覆盖的火石的原始结核，以及它们古老的水下起源。它通过公共空间和更内省的空间之间的结构雕刻出一个神秘的内部洞穴，通过水景，通过火和在反射中扩展。下面黑玻璃的天花板反射着黑暗的水，创造了无限空间的印象，把景观深深地拉进了建筑的核心，混合了记忆和欲望。

The programme moves from the utilitarian and open spaces at the centre of the site to more contemplative, private rooms buried in the existing trees at the far ends of each building. There are plays with old typologies, techniques and materials; the internal ‘river’ reinvents the historic grotto, but using raw nodules of flint, still covered in chalk, with their ancient underwater origins. It carves a mysterious, internal cave through the structure that separates the public spaces from the more introspective, with views across water, through fire and expanded in reflections. The ceiling of black glass mirrors dark water below, creating an impression of infinite space, drawing the landscape deep into the core of the building, mixing memory and desire.

 © James Morris

(詹姆斯·莫里斯)

Collaboration

Flint House被认为是一个更大的项目，一个“Gesamtkunstwerk”，在那里，最初的建筑概念可以通过与其他媒体的合作来探索和扩展，以创造一种艺术的综合，成为一件“全部的艺术品”。建筑师和客户邀请艺术家与摄影工作，以创造交替阅读和记录的建筑发展和建设，从而质疑传统的建筑表现。反应各不相同，从直接参与建筑的重要性，到记录建造它的个人，再到通过从Waddesdon的Rothschild收藏品中重新创作作品来反思客户和佣金本身。这些反应改变了建筑制造过程中短暂的瞬间，否则就会丢失，并将它们永久修复。音乐是建筑的终极抽象。然而，同时，它具有独特的能力来加强底层的建筑叙事，创造一种新的时空体验。

The Flint House was conceived as a larger project, a ‘Gesamtkunstwerk’, where the initial architectural concept could be explored and expanded through collaboration with other media, to create a synthesis of the arts as a ‘total artwork’. The architects and client invited artists working with photography to create alternate readings and recordings of the architecture as it developed and was constructed, thereby questioning conventional architectural representation. The responses varied from engaging directly with the materiality of the building, to recording the individuals who constructed it, to reflecting on the client and the commission itself by restaging artworks from the Rothschild collection at Waddesdon. These responses transformed the ephemeral moments of the process of making architecture that are otherwise lost, and fixed them forever. Music is the ultimate abstraction of architecture. Yet at the same time, it is uniquely capable of reinforcing the underlying architectural narrative and creating a new spatial and temporal experience.

 © James Morris

(詹姆斯·莫里斯)