Beaton house in West Vancouver embraces its rocky site. Photography: Yoshihiro Makino

As a teenager in 1940s Calgary, Arthur Mudry dreamed of being an aeroplane engineer. But a chance discovery of a book on gothic cathedrals caught his imagination, and changed his career trajectory to architecture. Perhaps this is why his work embodies a sense of both the sacred and the ethereal.

20世纪40年代，在卡尔加里十几岁的时候，亚瑟·穆德里梦想成为一名飞机工程师。但一本关于哥特式大教堂的书偶然被发现，吸引了他的想象力，改变了他的职业轨迹，转向了建筑学。也许这就是为什么他的作品体现了神圣和虚幻的感觉。

In the architectural cathedral that is West Vancouver’s coastal forest, as one approaches his 1965 Beaton residence from its steep cliffside entry that descends towards the Pacific waters of Garrow Bay, the house appears to hover over the landscape. There’s a feeling that the magnificent home, at one with its site, could take flight at any moment. In fact, feats of architectural levitation aside, the house is in danger of disappearing.

在西温哥华海岸森林的建筑大教堂中，他1965年的北东住宅从陡峭的悬崖边进入到加行湾的太平洋水域时，房子似乎悬浮在景观之上。有一种感觉，那个宏伟的家，在一个带着它的地方，随时都能乘坐飞机。事实上，建筑悬浮在一边，房子正处于消失的危险之中。

West Vancouver, Canada’s treasure trove of midcentury modernism, where Arthur Erickson, Ron Thom, Barry Downs, Fred Hollingsworth and other architects built some of their most sublime residences, has a rapidly rising real estate value. Erickson’s Graham House fell victim to lax preservation laws in 2007. Now other midcentury gems, such as the BC Binning house, are on deathwatch in a district where developers often triumph over heritage advocates.

西温哥华是加拿大本世纪中叶现代主义的瑰宝，亚瑟·埃里克森(Arthur Erickson)、罗恩·托姆(Ron Thom)、巴里·唐斯(Barry Down)、弗雷德·霍林斯沃思(Fred Hollingsworth)和其他建筑师在那里建造了一些最宏伟的住宅，埃里克森的格雷厄姆屋在2007年成为松懈的保护法律的受害者。现在，其他世纪中叶的宝石，如BC宾宁豪宅，在一个开发商往往胜于遗产倡导者的地区进行死亡观察。

A floating staircase hovers over natural bedrock that is incorporated into the interior. Surrounding greenery is seen through the southern glazing. Photography: Yoshihiro Makino

一个漂浮的楼梯悬浮在自然基岩之上，与室内结合在一起。从南面的玻璃上可以看到周围的绿色植物。摄影：Makino Yoshihiro Makino

So it is a rare privilege to spend time with Mudry revisiting one of his most beloved houses, one that, after the demise of its original owners last year, is listed at C$7.9m (£4.6m) – ‘lot value’, says a local developer whose company, like many others, now builds ‘monster homes’ on West Vancouver’s large lots, often ten times the size of the relatively modest midcentury footprints like that of the Beaton residence.

因此，与穆德利重访一所他最钟爱的房子是一种难得的特权。去年，莫德里的原主去世后，这栋房子以790万加元(合460万英镑)的价格上市-“地段价值”，一家当地开发商表示，他的公司和其他许多开发商一样，现在西温哥华的大片土地上建造了“怪物之家”。通常是相对温和的世纪中叶足迹的十倍，就像比顿住宅那样。

Rooted in bedrock, yet reaching for the sky, bound by sea and forest, the house is a device for viewing nature. A kind of rustic West Coast pavilion – a cousin perhaps to Arthur Erickson’s 1958 Filberg House – it is part Shinto temple, part paean to Pacific forest. A residential shrine, its architecture draws in the centrifugal force of the elements. It would seem no coincidence that Mudry’s subsequent project was a rough cedar-clad Baptist church in West Vancouver, shrouded by a grove of old-growth firs.

这座房子植根于基岩之中，但却又伸向天空，受海洋和森林的束缚，是一种观察自然的装置。一种乡村的西海岸展馆-也许是亚瑟·埃里克森1958年的菲尔伯格之家的表亲-它部分是神道寺，一部分是对太平洋森林的赞歌。作为一座住宅圣地，它的建筑吸引了各种元素的离心力。莫德里随后的项目是在西温哥华的一座铺着雪松的浸信会教堂，被一片古老的冷杉树林所笼罩，这似乎并不是巧合。

For Mudry, revisiting the house he built for Malcolm Beaton, a bookmaker, and his young family, is like rekindling an old romance. ‘The first time I saw it, I fell in love with this site,’ confesses the Frank Lloyd Wright afficionado. ‘This,’ he exclaims, opening his arms wide to embrace the ocean, forest and bedrock of what was once a camping site for his clients, ‘is so big! And if you don’t grasp that – then you’ve missed the essence of this place.’

对于穆干来说，重新审视他为MalcolmBeaton建造的房子，一个书匠，以及他的年轻家庭，就像重新点燃了一个古老的浪漫。“我第一次看到它，我就爱上了这个网站，”弗兰克·劳埃德·赖特(FrankLloydWrightAfficionado)承认。“这是他提出的，张开双臂拥抱大海，森林和基岩，曾经是他的客户露营的地点，“太大了！如果你不明白，那你就错过了这个地方的本质。”

‘Nature is sacrosanct,’ proclaims the now 85-year-old architect, ‘so I tried to tie the form of living into the crevices of the rocks and the spirit of the trees.’ Rather than blasting the bedrock, Mudry designed a meandering entranceway via a winding staircase that respects the contours of the site.

“大自然是神圣不可侵犯的，”这位现年85岁的建筑师宣称，“所以我试着把生活的形式绑在岩石的裂缝和树的精神上。”而不是爆破基岩，穆德利设计了一个蜿蜒的入口，通过一个蜿蜒的楼梯，尊重网站的轮廓。

‘There should be joy in how you walk to the entrance – but also awareness of the environment. It’s not that easy,’ he laughs, ‘to get to the front door.’ Inspired by the surrounding trees, Mudry conceived the form of the house as one supported by a series of hyperbolic paraboloid posts that open up like parasols, creating a sense of interior forest canopy. ‘I wanted this house to be rooted into the ground,’ Mudry explains, ‘and then to grow vertically like a tree that opens up, creating the ceiling.’

“你走到入口处时应该感到高兴，但同时也要注意到环境。”他笑着说：“到前门去可不容易。”受到周围树木的启发，穆德利设想了房子的形式，由一系列双曲线抛物面柱支撑，像阳伞一样打开，创造了一种内部森林冠层的感觉。“我想让这座房子扎根在地上，”穆德利解释道，“然后像一棵树一样垂直生长，打开天花板。”

It’s a design that ultimately enhances rather than detracts from the environment. ‘One of the sins of our time,’ rails the architect, ‘is that when we find beauty in nature, we never know how to live with it in the right relationship.’ ‘But this house,’ he continues, ‘adopted the people that inhabited it, giving them shelter and protection.’

“这是一个最终增强而不是远离环境的设计。”“我们时代的罪恶之一”，“Rails建筑师”，就是当我们在本质上发现美的时候，我们永远不知道如何以正确的关系与它一起生活。“但是这个房子，”他继续说，“通过居住的人们，给他们提供住所和保护。”

The entrance, with its Frank Lloyd Wright-and-Japanese-inspired elements, offers both a sense of auspicious arrival and a friendly welcome home. Photography: Yoshihiro Makino

入口，它的弗兰克劳埃德赖特和日本启发的元素，提供了吉祥的到来和友好的欢迎回家的感觉。摄影：Makino Yoshihiro Makino

As one enters the house, he says, ‘it’s like stepping into nature’. And indeed, once past the heavy timber Japanese-style door and welcoming lanterns, the westward view of ocean provides an instant embrace.

当一个人走进房子时，他说，“这就像踏进大自然。”事实上，一旦经过沉重的木材日本式的门和欢迎的灯笼，西面的海景提供了一个瞬间的拥抱。

Arriving upstairs in the master bedroom, sheltered to the east by a Japanese-style lattice and etched-glass window that create a double screening effect, the whole bay seems to envelope the space. Standing at the main entrance downstairs, the tip of the ceiling is visible through the south-facing glazing. The eye follows its line to reveal a cedar post supporting the umbrella-like vaulted ceiling, with no cross beams to distract from the arc of the protective forest-like canopy.

来到楼上的主卧室，东面被日式格子和蚀刻玻璃窗遮住，形成双重屏蔽效果，整个海湾似乎包围了整个空间。站在楼下的正门，透过南面的玻璃可以看到天花板的顶端。这只眼睛跟随着它的线条，露出一根雪松柱，支撑着伞状拱形天花板，没有横梁从防护林状树冠的弧形上分散注意力。

From the great hall-like living space – a mini-cathedral in the woods – ocean, islands and mountains sing their hymns. The master bedroom upstairs observes it all as if from a choir loft. The house is a canvas for the elements; a tabula rasa reinvented every day by shifting light and tides. At night, its western façade becomes a jewel-like Japanese lantern. But it’s the sunset that makes Mudry – who is clearly concerned about the fate of the building – most emotional. ‘You should see it!’ he enthuses, his eyes alive with memories. ‘When the sun reaches the horizon and hits the interior, suddenly everything’s on fire!’ §

从大厅般的客厅----------------------------------------------------楼上的主卧室把它看作是来自唱诗班的阁楼。房子是元素的画布；每天都是通过改变光线和潮水来重新装修的。在晚上，它的西方法宝变成了一颗宝石般的日本灯笼。但这是使穆干的落日，他清楚地关注建筑物的命运----最情绪化的。“你应该看到它！”他激动地说，他的眼睛充满了回忆。“当太阳到达地平线并击中内部时，一切都在火上！”

As originally featured in the October 2018 issue of Wallpaper* (W*235)

如2018年10月号“壁纸”*(W*235)

比顿屋的悬崖边入口是围绕着陡峭的坡地的轮廓而设计的。拱形天花板内创造了一个树状的天篷，悬崖入口的比顿屋是设计围绕轮廓陡峭的倾斜点。里面的拱形天花板创造了一个像树一样的树冠。

光填充的双高生活空间光填充的双高生活空间

阁楼样的主卧室提供了加行海湾的景色，阁楼样的主卧室提供了加列湾的景观

内建的搁板流线将通道延伸至两个相邻的卧室，并可看到海湾的景致；内建的搁板将通道流过两个相邻的卧室，可以看到海湾的景色。