总承建商约翰·丹尼斯(苏格兰)有限公司结构工程师SKM

Main Contractor John Dennis (Scotland) Ltd Structural Engineer SKM M&E Engineer KJ Tait QS CBA Landscape Architect rankinfraser landscape architecture CDMC Alexander project management Manufacturers Loading... More Specs Less Specs

 © David Grandorge

(David Grandorge)

架构师提供的文本描述。哈密顿家族、艾奇豪斯家族和后来的威尔森家族已经占据了Airdrie House和它的遗产500多年。这座房子和它的直接政策曾经是由石灰树带来定义和保护的。在这个绿色的栅栏里，一个有教养和开明的世界展现出来了。它的所有者总是与当地社区内的慈善工作密切相关。最终，约翰·威尔逊爵士在1919年将Airdrie的房屋及其土地遗赠给了Airdrie的人民，并随后成为一家妇产科医院。

Text description provided by the architects. Generations of Hamiltons, Aitchisons and latterly Wilsons occupied Airdrie House and its estate for over five hundred years. The house and its immediate policies were once defined and protected by a belt of lime tress. Inside this green stockade a cultured and enlightened world played out. Its owners were always closely identified with charitable work within the local community. Ultimately in 1919 Sir John Wilson bequeathed Airdrie house and its lands to the people of Airdrie and it subsequently became a maternity hospital.

 Floor Plan

1964年，Airdrie房屋被拆除，为蒙克兰地区总医院让路。新医院是当时的典型，是混凝土和玻璃的分层经济图。虽然树带在老房子被拆除后幸存了下来，但随着时间的推移，医院无法满足的停车需求蔓延开来，侵入了曾经郁郁葱葱的北缘，留下了侵蚀和脆弱的一面。马吉斯癌症护理中心位于北部停车场之一。

In 1964 Airdrie House was demolished to make way for the Monklands District General Hospital. The new hospital is typical of its time, a stratified economic diagram of concrete and glass. While the tree belt survived the demolition of the old house, over time the hospital’s insatiable car parking needs spread, invading the once verdant northern edge, leaving it eroded and vulnerable. The site for the Maggies Cancer Caring Centre is located on one of these Northern car park areas.

 © David Grandorge

(David Grandorge)

为了试图恢复医院庄园的边界概念，新的马吉斯(Maggies)将两棵独立的成熟石灰树和一堵精致的砖墙连接在一起，再次给这片北边带来了一种连续性和封闭感。

In a gesture that attempts to reinstate the idea of a boundary to the hospital estate, the new Maggies embraces two detached stands of mature lime trees with a finely articulated brick wall, once more bringing a sense of continuity and enclosure to this northern edge.

 © David Grandorge

(David Grandorge)

在它的核心，设计马吉斯中心在蒙克兰总医院，只是一个故事的封闭花园。花园是文明的地方，是文明的地方。“天堂”一词从法语天堂进入英语，继承自拉丁语Paradisus，来自希腊语Parádeisos，并最终来自古老的波斯语词根parri.da demza。“天堂”的字面意思是“围墙”-“环绕”和“-diz”，用来建造一堵墙。“花园”这个词也源于建造围墙的想法。古英语中的Geard这个词的意思是“围栏、花园、庭院”或“房子周围的一块土地”。

At its heart, the design of the Maggies Centre at Monklands General Hospital is simply a tale of enclosed gardens. A garden is a civilised place, a cultivated place. The word paradise entered the English language from the French paradis, inherited from the Latin paradisus, from Greek parádeisos and ultimately from an ancient Persian root, pairi.daêza. The literal meaning of paradise is a "walled enclosure" from pairi- "around" and -diz "to create a wall".The word garden also has its roots in the idea of making an enclosure. The Old English word geard means a "fenced enclosure, garden, court’’ or a "patch of ground around a house."

 © David Grandorge

(David Grandorge)

早期的花园围场只是编织的篱笆。新马吉斯的砖墙采纳了天堂、围墙和栅栏的想法。这块砖是丹麦手工制作的一块漂亮的砖，在它环绕场地的时刻，它打开形成了一个精致的穿孔格子。这堵墙的设计是为了在一定程度上与医院场地分离，但由于它的穿透性质，它的人类规模和它的有形性的触觉性质，这种突破是微妙的，在一些地方甚至是边缘的。

Early garden enclosures were simply woven fences. The brick walls of the new Maggies take up these ideas of paradise, enclosure and fence. The brick is a beautiful Danish hand-made brick that at moments in its peregrination around the site opens up to form a delicate perforated lattice. The wall is designed to offer a degree of separation from the hospital grounds but through its pierced nature, its human scale and the haptic quality of its materiality this break is subtle and in places even marginal.

 © David Grandorge

(David Grandorge)

汤姆·德·保尔(Tom De Paor)在比约尔哈根(Bjorkhagen)撰写的汤姆·德·保尔(Tom De Paor)写的是西格尔德·莱韦伦茨(Sigerd Lewerentz)在比约尔哈根(Bjorkhagen)写的那座崇高教堂的砖墙，因此“狂野的结合”让这堵墙看上去像是一砖是一种新的土地，比黏土坚硬，密度比土壤高，但却像泥土一样温暖。它在空荡荡的、无法描述的环境中创造了牢固的公民秩序。我们也以这种接地感和丰富的材料质量为目标，用不规则的手工砖块、图案和厚重的灰泥缝制作花园墙壁。

Tom De Paor writing of the sublime church in Bjorkhagen by Sigurd Lewerentz talks of its brick walls thus''the wild bond makes the wall seem like a thick textile, weaved and supplely stretched, renouncing rigidity while enhancing solidity.  The format was vocabulary, the language articulate in its soft birch meadow. Brick is the new ground, harder than clay and denser than soil, but warm as earth.  It creates firm civic order in an empty nondescript setting.'' We too aimed for this sense of groundedness and rich material quality in the making of the garden walls with their irregular handmade brick, patterned coursing and thick mortar joints.

 © David Grandorge

(David Grandorge)

在爱丁堡附近的克莱顿城堡里，有一个重要的、反复出现的关于我们实践的想法，在那里，古老的城墙包围着一个铺好的庭院。宫廷两旁是一个令人惊讶的文艺复兴时期的钉头造型的石材外观。外表对内在的奇观毫无头绪。发现一些东西的想法，只有通过跨越门槛才能被揭示出来的想法，对我们来说是有吸引力的。

An important and recurring idea for our practice lies embedded in Crichton Castle near Edinburgh whererough ancient walls enclose a paved court. The court is lined with an astonishing Renaissance nailhead moulded stone façade. The exterior gives no clue to the wonders that lie within. The idea of something discovered, something only revealed through crossing a threshold appeals to us.

 © David Grandorge

(David Grandorge)

新马吉斯的花园墙壁遮住了一座朴素的低矮建筑，聚集了一系列内部和外部的住宅空间。外部庭院捕捉阳光，创造出隐蔽的坐在外面的地方，静坐。

The garden walls of the new Maggiesconceal a modest low building that gathers together a sequence of domestic scaled spaces, both internal and external.The external courts catch sunlight, creating sheltered sitting out places, sitooteries.

 Section AA

AA节

游客进入一个安静而简单的空间，一个由砖墙和两棵石灰树组成的到达庭院。顿时有一种尊严和平静的感觉。一条细长的小溪，一个弹簧，用流水的声音，一个清新的源头，一个暗示着开始的声音，使空间充满活力。诗人托马斯·克拉克(ThomasA.Clark)把一篇简单的文本，所有的字句，都是小小的烧伤，扔进了小溪里，增强了宁静和反思的感觉。一个简单的长凳提供了暂停的机会。

Visitors enter a quiet simple space, an arrival court, defined by brick walls and two lime trees. At once there is a sense of dignity and calm. A linear rill, a spring, animates the space with the sound of running water, a refreshing source and an intimation of beginnings. A simple piece of text, allt beag, little burn,has been cast into the rill by poet Thomas A Clark heightening the sense of tranquility and reflection. A simple bench offers the opportunity of a pause.

 © David Grandorge

(David Grandorge)

建筑图上有四个小的庇护所。位于大楼中心的两个中央法院被两个高度抛光的黄金穿孔金属捕光器激活。他们在两个中央庭院上空盘旋，将阳光反射到法院的地板上。

The building plan is perforated with four small sheltered courts. The two central courts at the very heart of the building are animated by two highly polished gold perforated metal light catchers. They hover over the two central courtyards reflecting sunlight onto the floor of the courts.

 © David Grandorge

(David Grandorge)

一个简单的钢框架结构规范了计划，定义并创造了一个亲密的尺度。该计划，配置和木材分区的详细设计允许更多的私人空间和房间，要么打开中央的公共空间序列，或关闭创造机密时刻。钢框架是用木料填充的.整体材料调色板是静音和柔软，金色芬兰桦树到墙壁，石灰橡木地板和白色染色松树到天花板。

A simple steel framed structure disciplines the plan, defining and creating an intimate scale. The plan configuration and the detailed design of the timber partitions allows more private spaces and rooms to either open up to the central sequence of public rooms or close down to create confidential moments. The steel frame is in-filled in timber. The overall material palette is muted and soft, blonde Finnish birch to walls, limed oak to floors and white stained pine to ceilings.

 © David Grandorge

(David Grandorge)

穿过这座建筑的旅程出现在一个向东倾斜的有围墙的大花园里；宽敞的梯田让位于一个种植得很好的花园，这个花园迟早会为安静的思考或交谈创造出自己的空间。

The journey through the building emerges out into a large walled garden that slopes down to the east; generous terraces give way to a richly planted garden that in time will create its own pockets of space for quiet reflection or conversation.

 Section BB

BB节

马吉斯的中心总是被艺术美化。当精心挑选的家具增加舒适时，艺术为裸露的建筑电枢增添了文化。在设计建筑时，我们总是沉浸在艺术家朋友的思想中。三位艺术家特别影响了玛姬的拉纳克郡的设计。他们不仅对新建筑作出了贡献，而且从根本上影响了建筑物的设计。这些工程是独立于最后的建筑物。然而，我们从他们身上看到了我们的设计背后的根本动机。

Maggies centres are always graced by fine art. While the carefully selected furnishings add comfort, the art adds culture to the bare architecture armature. In designing the building we are have always been immersed in the ideas of our artist friends. Three artists particularly have influenced the design of Maggie’s Lanarkshire. They have not only contributed works to the new building they have influenced the design of the building at a fundamental level. The works are autonomous from the final building. We, however, see in them the fundamental motives behind our design.

 © David Grandorge

(David Grandorge)

艾伦·约翰斯顿是我们多年来最亲密的合作者，他把一件作品送给了图书馆，这是一幅在生麻布上画石膏、木炭和蜂蜡的重要作品。艾伦的作品总是与建筑空间有关，构图是对比例和线条的反应，是坚实而空洞的。白色的石膏线描述了一种暗示花园墙壁或钢框架的框架，而黑色木炭和未加工的亚麻布也许是相对于花园空隙而言的建筑质量。艾伦作品所用的材料在本质上是基本的，它们具有基本的性质。

Alan Johnston, our closest collaborator over many years, has gifted a piece to the library, a major drawing in gesso, charcoal and beeswax on raw linen. Alan’s work always sits in relation to architectural space, the composition a response to proportion and line, solid and void. The white gesso lines describe a kind of framing suggestive of the garden walls or the steel frame while the black charcoal and the raw linen perhaps speak of the building mass in relation to the garden void. The materials that Alan works with are fundamental in their nature, they have an elemental quality.

 © David Grandorge

(David Grandorge)

史蒂文·阿尔德斯(StevenAalders)是一位荷兰艺术家，总部位于阿姆斯特丹。他的作品可以直接回到蒙德里安。史蒂文的作品乍一看是极其严谨、细致的，但与艾伦的作品一样，经过仔细检查，艺术家的手在画布上留下的印记的个性中显露出来。再一次，史蒂文给了一幅重要的作品，一幅油画，最后一幅画，作为入口处的门廊。这幅画中的三个带可以看出与建筑图则中的三个区域有关。白色的面板传达了在艾伦的纪律钢架和彩件意味着庭院带来了颜色，运动和光进入内部。

Steven Aalders is a Dutch artist based in Amsterdam. His work can be seen to make a direct line back to Mondrian. Steven’s work is at first glance extremely rigorous, meticulous but, like Alan’s, on close inspection the hand of the artist is revealed in the personality of the marks made on the canvas. Again Steven has gifted a major work, an oil painting, Ultima Thule, for the entrance porch. The three bands within the painting can be seen to relate to the three zones within the building plan. The white panels convey as in Alan's the discipline of the steel frame and the colour pieces signify the courtyards that bring colour, movement and light into the interior.

 © David Grandorge

(David Grandorge)

托马斯·克拉克是个诗人。他的工作是反思的，安静的，有尊严的。他关心的是置身于一片风景之中。他最著名的赞扬步行的作品之一，从一开始就很有影响力，那就是花园是一个独立的地方，一个开明的空间，欢迎并支持所有人。最后，汤姆的建议只有一部分在最后的大楼里实现了。我们已经包含了托马斯·A·克拉克为马吉斯提出的完整建议。

Thomas A Clark is a poet. His work is reflective, quiet, dignified. He is concerned with being in a landscape. One of his best known works In Praise of Walking was influential from the beginning, the very idea of a garden as a place apart, an enlightened space that would welcome and lend support to all. In the end only one part of Tom’s proposal was realized in the final building. We have included the full proposal for Maggies by Thomas A Clark.

Architects Reiach and Hall Architects

Location Monklands Hospital, Monkscourt Avenue, Airdrie, Airdrie, North Lanarkshire ML6 0JS, UK

Category Healthcare Architecture

Area 300.0 m2

Project Year 2014

Photographs David Grandorge

Manufacturers Loading...