© Bent René Synnevåg

c.Bent ReéSynnev g

塔楼工作室位于纽芬兰福古岛浅滩湾的一段岩石海岸线上。工作室的雕塑轮廓是向后倾斜的，因为它是向上扭曲的.对于岛上的普通游客来说，这座没有窗户的黑塔，往往会引起人们的疑问，并提出一个令人羡慕的问题：“那是什么？”

The Tower Studio is dramatically situated on a stretch of rocky coastline in Shoal Bay, Fogo Island, Newfoundland. The studio’s sculptural silhouette leans both for- ward and backward as it twists upward. For the average visitor to the island, this windowless black tower, more often than not, provokes a quizzical response and the enviable question, “What’s that?”

 © Bent René Synnevåg

c.Bent ReéSynnev g

对当地人来说，他们知道这个建筑是福古岛艺术公司(Fogo Island Arts Corporation)的一个项目-一家艺术工作室于2011年6月开业。塔楼演播室的正式开幕是最喜庆的节日之一，其中包括：轰鸣的篝火，从屋顶露台射出的耀斑，以及作为背景音乐的当地鲸鱼的声音。

For the locals, they know that this structure is a project of the Fogo Island Arts Corporation – an art studio opened in June 2011. The Tower Studio’s official opening was one of the most festive and included: a roaring bonfire, flares dramatically shot from its rooftop terrace and the recorded sounds of local whales as a background score.

 © Bent René Synnevåg

c.Bent ReéSynnev g

它坐落在一段岩石状的海岸线上，没有通往塔楼工作室的道路，只能从邻近社区沿海岸徒步旅行，或者走在一条狭窄的木板路上，这些木板由风化的木板组成，稍高于沼泽地，沼泽地上有丰富的云浆果，当地人称之为“烤苹果”。

Perched on a rocky stretch of shoreline, there are no roads to the Tower Studio, it can only be reached by hiking along the shore from the adjacent community or walking on a narrow wooden boardwalk consisting of weathered planks that hover just slightly above a bog that features an abundance of cloudberries, known locally as bakeapples.

 © Bent René Synnevåg

c.Bent ReéSynnev g

从远处看，木板路看上去就像一条系绳带，把搁浅的塔楼工作室与繁忙道路的生命线连接起来。这条仅有12英寸宽的木板路是塔楼工作室的重要组成部分，它为车轮推车提供了一个均匀的轨道，可以将建筑用品带到施工现场，而不会干扰纽芬兰沼泽脆弱的生态系统和长在岩石露头上的地衣。

From a distance the wooden boardwalk reads like a tether strap, linking the stranded Tower Studio to the lifeline of a busy stretch of road. The boardwalk, a mere twelve inches wide, is a vital component to the story of the Tower Studio, it provided an even track for wheel barrows to bring building supplies to the construction site without disturbing the delicate eco-system of the Newfoundland bog and the lichens that grow on outcroppings of rock.

 © Bent René Synnevåg

c.Bent ReéSynnev g

木板路是全面思考的证明，这是Shoreast基金会思维模式的一部分，它将宏观和微观层面的经济、文化和生态可持续性联系在一起。现在，它的目的已经过去了，木板路将很快消失，以尽量减少对周围景观的影响塔演播室的建设。

The boardwalk is a testimony to the holistic thinking that is part of the Shorefast Foundation mindset that connects the dots of economic, cultural and ecological sustainability at both the macro and the micro level. Now that its purpose has past, the boardwalk will soon disappear in order to minimize the impact on the surrounding landscape of the Tower Studio’s construction.

 © Bent René Synnevåg

c.Bent ReéSynnev g

当一个人接近演播室时，它的南面入口区域向后倾斜了30度.在头顶上，一段三角形的墙向前倾斜，以遮住下面的双层玻璃门。露水和有角的入口都是白色的，它们都是披着马来色的云杉板，与建筑物其余的没有窗户的垂直板壁板形成鲜明对比，墙板上涂着板岩黑色。

As one approaches the studio, its south-facing entry area is angled back thirty degrees. Overhead a triangulated section of wall leans forward to shelter the double glass doors below. Both the soffit and the angled entryway, clad in hori- zontal boards of spruce are stained white in sharp contrast to remainder of the building’s windowless exterior of vertical plank siding painted slate black.

 © Bent René Synnevåg

c.Bent ReéSynnev g

塔楼工作室由三层楼组成，整体高度为三十二英尺.它的入口处配备了一个小厨房、一个堆肥厕所和一个烧木头的壁炉。它的第二层是一个工作室，白天照亮一个慷慨的天窗，面向北。一个阁楼，突出到工作室的双高音量。

The Tower Studio is comprised of three levels with an overall height of thirty-two feet. Its entry area is equipped with a kitchenette, a compost toilet and wood- burning fireplace. Its second level is a studio, day lit by a generous skylight that faces northward. A mezzanine overhead, juts into the double height volume of the studio.

 © Bent René Synnevåg

c.Bent ReéSynnev g

除了空间的几何复杂性之外，第二个增加了迷失感的特征是消除了建筑细节，而所有垂直、水平和倾斜的表面，在光滑的胶合板中，都被涂成了明亮的白色。从赤裸裸的内部唯一的解脱是通过工作室唯一的天窗可以看到外部的一小块。一个略微倾斜的墙面，与天窗平行，提供了完美的俯瞰面，身体可以在上面仰卧，欣赏风景。

Aside from the geometric complexity of the space, the second feature that adds to a sense of disorientation is the elimination of architectural detail and the fact that all vertical, horizontal and inclined surfaces, clad in smooth plywood, are painted a brilliant white. The only relief from the stark interior is a sliver of the exterior visible through the studio’s sole skylight. A slightly angled wall oppo- site and parallel to the skylight provides the perfect viewing surface upon which a body can recline and enjoy the view.

 © Bent René Synnevåg

c.Bent ReéSynnev g

人们可以想象，在一个月光下的夜晚，伴随着北大西洋的轰鸣声和风对着暴露的塔面的力量，靠在这个表面上休息会产生什么神奇的效果。从演播室的水平，一个狭窄的梯子(也涂成白色)引导通过阁楼水平到屋顶舱口的底部。当一个人穿过水平开口，站在顶上甲板上时，可以看到海景和被风吹过的岩石地形是壮观的。

One can imagine the magical effect of resting against this surface during a moonlit evening with the audible roar of the North Atlantic and force of the wind against the exposed surface of the tower. From the studio level, a narrow ladder (also painted white) leads past the mezzanine level to the underside of a roof hatch. As one passes through the horizontal opening and stands on the roof- top deck, the view of the ocean and the rocky wind-swept terrain is spectacular.

 © Bent René Synnevåg

c.Bent ReéSynnev g

从最近完成的工作室名册上，人们普遍认为，由当地木匠组成的塔楼工作室的建造是最具挑战性的工作之一。虽然塔的几何学的基本前提是一个简单的前提-这个计划从一百八十度旋转到屋顶计划-但表面形状的构造被证明是稍微复杂一些的。为求出框架图，构造了一系列木结构模型。最终，一个大规模的模型被制造成迷你米兹任何现场混乱。

From the roster of studios recently completed, it is generally agreed that the building of the Tower Studio by the local crew of carpenters was one of the most challenging. Although the basic premise of the Tower’s geometry is a simple one – the plan rotates one hundred and eighty de- grees to the roof plan – the construction of the facetted form proved to be a little more complex. In order to figure out the framing diagram, a series of wooden models were constructed. Ultimately a large-scale model was fabricated to mini- mize any on-site confusion.

 © Bent René Synnevåg

c.Bent ReéSynnev g

塔楼工作室的故事如果没有引用支持它的两个结构，是不完整的。第一个是“独立”的太阳能电池板阵列，位于工作室主入口以西约50英尺处。由于所有的演播室都位于孤立的地点，没有电力、水和下水道的公用设施，它们配备了光伏电池板、堆肥厕所和水箱。

The story of the Tower Studio is not complete without referencing two structures that support it. The first one is a ‘standalone’ array of solar panels situated about fifty feet to the west of the studio’s main entrance. Because all the studios are located on isolated sites without access to the utilities of electricity, water and sewer, they are equipped with photovoltaic panels, compost toilets and water cisterns.

 floor plans

楼面布置图

塔楼工作室成功的另一个必要结构是它的“兄弟会双胞胎”-这是艺术家不在工作室工作时住在附近村庄的一栋修复过的传统房屋。福古岛的所有工作室都遵循同样的模式，即工作室与传统的新发现土地房屋Saltbox配对，艺术家不专注于他/她最近的艺术项目时就住在那里。

The other structure necessary for the Tower Studio’s success is its ‘fraternal twin’ – a restored traditional house in the nearby village where the artist lives while he/she is not working in the studio. All the Fogo Island studios follow the same model in which the studio is paired with a Saltbox – a traditional Newfound- land house, where the artist abides when not fixated on his/her most recent art project.

 © Bent René Synnevåg

c.Bent ReéSynnev g

传统盐箱屋的修复和建筑风格上挑衅性工作室的新建造，创造了一种有趣的动态，使当地的乡土建筑与当代文化的多元表达面对面。正如建筑师托德·桑德斯(ToddSaunders)所解释的那样，翻修后的房屋是当地建筑方式的一部分，这一事实增加了分配给工作室的建筑实验水平。

The restoration of the traditional Saltbox house and the new construction of the architecturally provocative studios has created an interesting dynamic that brings the local vernacular architecture face-to-face with the multifaceted expressions of contemporary culture. As the architect, Todd Saunders, has explained, the fact that the renovated houses were part of a vernacular way of building increased the level of architectural experimentation allotted to the studios.

 hatchway detail

舱口细节

与位于村庄中间的翻新房屋不同，工作室位于村庄周边大约15分钟的步行处。艺术家们既能感受到邻居的热情款待，也能感受到工作室的凉爽庇护。因为工作室在当地村庄之外，他们的建筑风格看起来既熟悉又奇怪。从某种意义上说，制片厂“适合”，但更重要的是，它们脱颖而出。

In contrast to the renovated houses, located in the middle of the villages, the studios are situated about a fifteen minutes walk on the villages’ periphery. The artists experience both the warm hospitality of their neighbours, as well as, the cool refuge of their studios. Because the studios are outside the local villages, their architectural character is both seemingly familiar and uncannily ‘strange’. In some sense the studios ‘fit in’, but more importantly they stand out.

 © Bent René Synnevåg

c.Bent ReéSynnev g

有时，粉刷成黑色和/或白色的工作室的鲜明抽象形式似乎消失在雾蒙蒙的天气中，这在福古岛是典型的。消失可能是桑德斯建筑作品词汇中的一个有趣的补充，它集中在有趣的几何图形上，这些几何图形产生了奇怪的熟悉的动态形式。

At times, the stark abstract forms of the studios painted black and/or white seem to disappear into the foggy weather, typical on Fogo Island. Disappearance may be an interesting addition to the lexicon of Saunders’s architectural production that focuses on playful geometries that generate dynamic forms that are strangely familiar.

 © Bent René Synnevåg

c.Bent ReéSynnev g

福古岛的这一系列建筑项目确实包含了新建筑作品中的乡土风格。更重要的是，它形成了一种当代情感，它对任何传统文化的重构、重新定位和复兴至关重要，以便它能够迎接二十一世纪的机遇和挑战。

This series of architectural projects on Fogo Island does encompass the vernacular within the production of the new. More importantly, it forms a contemporary sensibility that is vital to reframe, re-situate and rejuvenate any traditional culture, in order for it to meet the opportunities and challenges of the twenty-first century – head on.