Edwin Lutyens (1869–1944), perhaps the greatest British architect of the twentieth century, was introduced by garden designer Gertrude Jekyll, his celebrated collaborator, to Edward Hudson, the founder of the great British magazine Country Life , in 1889. Hudson thereafter did all he could to promote the work of a man he admired without reservation, commissioning Lutyens to design the magazine’s of?ces in Covent Garden in 1904, as well as three country houses. Country Life published articles about virtually all his buildings shortly after their completion, recording them as the architect intended, creating an unparalleled visual archive which is the source for this selection of outstanding photographs of Lutyens’s domestic architecture.
Gavin Stamp’s authoritative introduction places Lutyens ?rmly among the giants of architecture: ‘an architect of rare genius and humanity.’ His selection of twenty-two houses, representative of all the phases of Lutyens’s career, illustrates the architect’s dual achievements as a renewer of both vernacular tradition and of the Classical language of architecture. Debate continues about Lutyens’s place in modern architecture, but his legacy of some of the most inventive and romantic examples of British domestic architecture is unquestionable.
There are superb examples of his Surrey vernacular style (with its gables, timber, and sweeping planes of tiled roof), such as Fulbrook House—one of his earliest masterpieces; Deanery Garden, designed with the garden in mind for Hudson; early Arts and Crafts houses, such as Goddards and Little Thakeham; his carefully composed Classical houses, such as Heathcote, and his grandest country house of all, Middleton Park, built between the two World Wars. Here, too, are examples of his brilliant enlargements and alterations to existing buildings, such as Lindisfarne Castle, and his creation of the epitome of castle style: Castle Drogo. This pictorial survey culminates in Lutyens’s most famous creation: Viceroy’s House in New Delhi, one of the greatest buildings in the world.
Founded in 1897, Country Life from the outset published remarkable photographs, and the huge in?uence the magazine exerted was nowhere more apparent than in its unprecedented championship of Edwin Lutyens, whose buildings it promoted for almost ?fty years. For this book, two hundred photographs have been beautifully reproduced from the Country Life archive and, combined with Gavin Stamp’s illuminating essay, provide a unique survey of one of Britain’s foremost architects.
Gavin Stamp, born in Bromley four years after Lutyens’s death, is an architectural historian and writer. He taught at the Mackintosh School of Architecture, Glasgow School of Art from 1990 until 2003 and is now an independent scholar. He was one of the organizers of the Lutyens Exhibition held at the Hayward Gallery in 1981–82, and served as Chairman of the Twentieth Century Society, where he is now a trustee. Among other writings, his books include The Changing Metropolis: Earliest Photographs of London 1839–1879, The English House 1860–1914, Alexander ‘Greek’ Thomson, and Telephone Boxes.
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这本图册简直是建筑爱好者的福音,它不仅仅是展示了Lutyens的作品,更像是一次穿越时空的深度对话。我特别欣赏编排的巧妙之处,那些黑白照片和彩色照片的穿插使用,让不同年代的设计语言得以清晰地对比。比如,早期那些带着浓厚本土气息的乡村别墅,那种厚重、坚实的石材运用和对光线的把握,与后期更加流畅、甚至带有一丝新古典主义影响的设计,形成了鲜明的张力。书中对建筑细节的捕捉极其到位,无论是门廊的比例、窗户的开合方式,还是烟囱的处理,都体现了Lutyens对“英格兰精神”的深刻理解。阅读过程中,我仿佛能闻到湿润草地的气味,感受到壁炉里噼啪作响的火焰。那些手绘草图和平面图的加入,更是提供了宝贵的内部视角,让我们得以窥见这位大师在构思阶段是如何权衡美学与实用性的。它不是那种只停留在宏大叙事的建筑书,而是真正深入到材料、光影和居住体验的层面,让我对“乡村别墅”这一概念有了全新的认识,远超我预期的收获。
评分坦白说,市面上关于Lutyens的书籍并不少见,但大多聚焦于他那些更为人熟知的公共建筑,或者只是简单罗列一些室内装饰的精美图片。然而,这一本的视角明显更为聚焦和深入,它明确地将镜头对准了那些“乡村之家”,并且做得非常彻底。我尤其赞赏书中对于“地方感”(Sense of Place)的强调。作者没有将这些建筑视为孤立的艺术品,而是深入挖掘了每一栋别墅背后的家族故事、选址的考量,乃至当地工匠的技艺。这种叙事策略极大地丰富了我们对建筑的理解维度。例如,书中对某一栋别墅庭院中水景布局的分析,不仅仅停留在几何形状上,还结合了当地的降雨模式和光照角度进行了推演,这种严谨而又富含人文关怀的分析角度,是我在其他同类出版物中鲜少见到的。它提供了一种全新的、更具批判性和更具历史纵深感的阅读体验。
评分当我翻开这本书时,首先被那种沉静而优雅的排版所吸引。它没有采用时下流行的那种过于张扬或炫技的展示方式,而是用一种近乎虔诚的态度来呈现Lutyens的作品。文字部分的处理尤为精彩,它没有陷入冗长乏味的学术术语泥淖,而是以一种散文诗般的笔触,描绘了这些建筑与它们所处的自然环境是如何“共生”的。我特别注意到作者对于Lutyens如何巧妙地处理地块坡度,如何让建筑如同自然生长般融入景观的论述,这部分描写真是入木三分。通过书中的描述,我开始理解为什么Lutyens的许多作品看起来那么“对”,那种恰到好处的平衡感并非偶然,而是对地域性、气候特点以及贵族生活方式有着极高敏感度的结果。这本书成功地将冰冷的砖石结构,转化为有生命力的居住空间叙事,让人在阅读时产生一种强烈的代入感,仿佛正沿着一条被精心规划过的砾石小径,走向一栋宁静的、属于20世纪初的英格兰庄园。
评分这是一本读起来需要耐心的书,但它给予的回报是极其丰厚的。它的魅力在于那种不动声色的深度。不像那些追求速度和视觉冲击力的出版物,这本书要求读者慢下来,去品味每一个章节间的过渡,去琢磨那些略带晦涩但信息量巨大的脚注。我最欣赏它在技术分析和情感表达之间达成的微妙平衡。一方面,它展示了Lutyens在结构创新上的大胆尝试,比如对拱券和承重墙的精妙处理;另一方面,它又细腻地描绘了这些家庭在这些空间中生活的场景——壁炉边的下午茶,被阳光照亮的图书馆。这种将“技术骨架”与“生活血肉”完美结合的展示方式,使得这本书不仅仅是一本建筑史料集,更像是一部关于“美好生活哲学”的指南。它教会了我,真正的伟大设计,是那些既能屹立百年,又能让居住者感到由衷舒适的作品。
评分如果你期望在其中看到华丽的、堆砌式的装饰品展示,那你可能会略感失望。这本书的“华丽”是内敛的,是藏在结构逻辑和空间序列中的。它更像是一部深度学术研究与私人回忆录的完美结合体。我个人对书中收录的那些Lutyens与其合作者之间的通信片段尤其感兴趣,这些零星的文字片段,揭示了设计过程中那些充满妥协、争论与最终灵光乍现的瞬间。正是这些“幕后花絮”,让这位伟大的建筑师形象更加立体、可亲近。书中对材料选择的探讨也极其细致入微,比如不同产地石灰石在不同光照下颜色的细微变化,以及木材纹理如何引导视线走向。这种对细节的痴迷,正是Lutyens风格的精髓所在,而这本书完美地捕捉并传达了这一点,它不是一本用来快速浏览的画册,而是一部值得反复研读的经典文献。
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