加拿大福古岛

Fogo Island, Canada

 © Bent René Synnevåg

c.Bent ReéSynnev g

就像福古岛艺术公司的所有艺术工作室一样，布里奇工作室与传统的纽芬兰盐箱屋成对，这座房子位于后海湾，这是福古岛上人口150人的最小社区。

As with all the Fogo Island Arts Corporation’s Art Studios, Bridge Studio is paired with a tradi- tional Newfoundland Saltbox house, this one is located in Deep Bay, the smallest community on Fogo Island with a population of one hundred and fifty people.

 © Bent René Synnevåg

c.Bent ReéSynnev g

布里奇工作室的盐箱屋是一幅新漆，与几个月前的破败状况形成鲜明对比。一位当地的木匠正在对房子进行最后的装修，他指出了该项目的双挂木框架窗，这些窗户是由Shoreast基金会在当地的木店制作的，由Shoreast基金会发起和运营。

The Bridge Studio’s Saltbox House is a freshly painted, in sharp contrast to its dilapidated condition, only a few months previous. A local carpenter who is putting the finishing touches on the house, points out the project’s double-hung, wood frame windows that were crafted at the local woodshop, initiated and operated by the Shorefast Foundation.

 © Bent René Synnevåg

c.Bent ReéSynnev g

从后海湾大厦到大桥工作室的徒步旅行在地图上看起来很短。当然，在地面上是另一回事，因为地形进入方程，人们在这条美丽的海岸线上航行着地衣花岗岩露头的岩石景观，这是一家艺术工作室，由福古岛艺术公司(Fogo Island Arts Corporation)于2011年6月建成。

The trek to the Bridge Studio from the Deep Bay House looks short on a map. Of course, on the ground is a different matter as the topography enters the equation and one navigates the rocky landscape of the lichen clad granite outcroppings on this sublimely beautiful stretch of coastline leading to Bridge Studio, an art studio, completed in June 2011 by the Fogo Island Arts Corporation.

 © Bent René Synnevåg

c.Bent ReéSynnev g

在蜿蜒的小径上，你会遇到短时间的木楼梯和坡道，这些楼梯和坡道安装在关键位置，帮助游客爬上小径上一些陡峭的斜坡。步行大约二十分钟后，大桥工作室的第一个标志是安装在山顶上的一个孤立的太阳能电池板(和电池外壳)，以充分利用岛上有限的阳光。这些太阳能电池为附近的桥演播室提供电力，该工作室位于陡峭的山坡上，俯瞰内陆池塘平静的海水。

Along the winding path one encounters short runs of wooden stairs and ramps, installed in critical locations to help visitors ascend some of the trail’s steeper inclines. After walking about twenty minutes, the first sign of the Bridge Studio is an isolated solar panel (and battery enclosure) mounted on a hilltop to take full advantage of the Island’s limited sunshine. These solar cells generate electrical power for the near-by Bridge Studio, dramatically located on a steep hillside overlooking the calm waters of an inland pond.

 © Bent René Synnevåg

c.Bent ReéSynnev g

桥演播室的第一印象是它的抽象品质。从侧面的高度，它像一个无窗的木包平行四边形，悬停在景观之上，由四个桥墩支撑，由一座16英尺长的桥连接到相邻的山坡上。当一个靠近320平方英尺的工作室时，它变得更加透明-房间的另一端有一个宽敞的玻璃入口和一个大的方形窗户。

The first impression of the Bridge Studio is its abstract quality. From the side elevation, it ap- pears as a windowless wood-clad parallelogram, hovering above the landscape, propped up by four piers and connected by a sixteen-foot bridge to the adjacent hillside. As one approaches the three hundred and twenty square foot studio, it becomes more transparent – with a generous glass entry and a large square window at the other end of the room.

 elevations

从玻璃入口看，入口的天花板倾斜到房间另一端的一个大画窗的顶部。画窗的窗台上摆满了一张内置的桌子，这是一个书写和思考风景的好地方。为了反映倾斜的天花板，大桥工作室的地板由两层组成。

Viewed from the glass entry, the ceiling from the entry slopes up to the top of a large picture window at the opposite end of the room. The picture window’s sill is flush with a built-in desk, the perfect place to write and contemplate the view. To mirror the sloped ceiling, the floor of the Bridge Studio is composed of two levels.

 © Bent René Synnevåg

c.Bent ReéSynnev g

较低的区域，容纳一个入口区域，长计数器和木材燃烧的炉子是由一个短的楼梯从上面的区域划分出来的。从入口，透视方面的项目是增强了对齐的四英寸油漆云杉板线天花板，墙壁和地板。

The lower area, that accommodates an entry area, long counter and wood-burning stove is divided from the upper area by a short run of stairs. From the entry, the perspectival aspect of the project is augmented by alignment of the four-inch painted spruce planks that line the ceiling, the walls and floor.

从空中拍摄的照片来看，大桥工作室的隔离变得明显起来，一个高度克制，轻微扭曲，拉长的盒子坐落在岩石露头上，俯瞰着一个隐蔽的水池。这一形式虽然坚决地反映了当代纽芬兰的一个传统捕鱼阶段(在当地名称中)-一个木制的乡土建筑，这是该省与鳕鱼渔业有关的传统建筑的典型。

From the aerial photographs, the isolation of the Bridge Studio becomes apparent, a highly restrained, slightly distorted, elongated box sited on an outcropping of rock, overlooking a sheltered pond of water. The form, although resolutely contemporary recalls a traditional Newfoundland fishing stage (in the local nomenclature) a wooden vernacular building, typical of traditional buildings associated with the cod fishery in the province.

 © Bent René Synnevåg

c.Bent ReéSynnev g

正是在这几个捕鱼阶段，渔民们才会把曾经分布在世界各地的大量鳕鱼进行清洁和腌制。桥演播室(Bridge Studio)模仿这种方言形式，这是一个有趣的转折，曾经在纽芬兰的任何一个外埠都是典型的发现。捕鱼阶段和鳕鱼让位于工作室和艺术生产。福古岛艺术公司创造了一个机会，让一群有成就的艺术家创作艺术作品，这反过来又丰富了当代艺术的国际舞台。

It was in these fishing stages, equipped with cutting tables, that fishermen would clean and salt the once plentiful codfish that was distributed worldwide. It is an interesting twist that the Bridge Studio echoes this vernacular form, once a typical sighting in any Newfoundland outport. The fishing stage and the cod give way to the studio and the production of art. The Fogo Island Arts Corporation creating an opportunity for a ros- ter of accomplished artists to generate works of art that in turn enrich the international scene of contemporary art.