C.F.A.沃伊齊是20世紀建筑與設計方面現代主義運動(dòng)的先驅?zhuān)O計種類(lèi)從小村舍、旅社，到郊區別墅及鄉村宅邸。他的作品和出版的建筑圖紙深遠的影響了歐洲早期現代主義住宅建筑風(fēng)格以及20世紀早期的美國工藝美術(shù)建筑師。本書(shū)專(zhuān)注展現C.F.A.沃伊齊的建筑設計作品，尤其是水彩圖紙，囊括了他主要建筑作品，并精選英國皇家建筑師學(xué)會(huì )保存的70余幅他的最佳建筑圖紙。用和原圖同比例尺寸的新穎方式展示水彩圖和立面圖，力求保留原著(zhù)細節。正如他的存世建筑，這些圖紙也是英國乃至國際設計界的寶貴遺產(chǎn)。

大衛•科爾是一位居住在澳大利亞墨爾本的從業(yè)建筑師。他的職業(yè)生涯都在本部位于澳大利亞的國際建筑公司度過(guò)，專(zhuān)門(mén)從事大型商業(yè)和居住類(lèi)的項目設計。在近30年的職業(yè)生涯中，他的設計作品遍及澳大利亞、日本、泰國、阿聯(lián)酋和新西蘭。大衛對英國工藝美術(shù)運動(dòng)中的建筑學(xué)有濃厚的興趣和研究。

2 INTRODUCTION 前言

12 C.F.A. VOYSEY – ENGLISH

PIONEER MODERNIST

ARCHITECT & DESIGNER

C.F.A.沃伊齊的藝術(shù)作品集錦

英國先鋒現代主義建筑師與設計師

12 EARLY YEARS 1857–1880 早年1857–1880

14 ESTABLISHING A PRACTICE 1880–1890 實(shí)踐經(jīng)歷1880–1890

16 SUCCESSFUL YEARS 1890–1905 名聲顯露1890–1905

22 CHANGING TIMES 1905–1915 改變時(shí)代1905–1915

24 CHALLENGING TIMES 1915–1930 挑戰時(shí)代1915–1930

26 FINAL RECOGNITION 1930–1941 功成名就1930–1941

28 INFLUENCE & LEGACY 影響力&功績(jì)

32 THE ART OF C.F.A. VOYSEY C.F.A.沃伊齊的藝術(shù)作品集錦

32 TECHNIQUE & COMPOSITION 技法與作品

36 ELEVATIONS 立面圖

36 12, 14 & 16 HANS ROAD, KNIGHTSBRIDGE 1892 12, 14 & 16漢斯路的騎士橋別墅1892

38 PERRYCROFT 1893 大麗花屋1893

42 NORNEY GRANGE 1897 諾恩農莊1897

44 THE HILL 1897 山丘小屋1897

46 BROADLEYS 1898 臨湖別院1898

50 MOOR CRAG 1898荒原小屋1898

52 HOUSE AT WESTMESTON 1898 西米斯頓住宅1898

54 SPADE HOUSE 1899 鐵鍬小屋1899

56 OAKHURST 1899 郝斯特住宅1899

58 HOUSE AT COLNBROOK 1899 科恩布魯克住宅1899

60 GORDON DENE 1900 戈登沙地住宅1900

62 VODIN 1902 沃汀別墅1902

64 TOWER HOUSE AT BOGNOR REGIS 1903博格諾里吉斯鐘塔房1903

66 HOLLYBANK 1903 霍利河岸別墅1903

68 HIGHAM 1904海厄姆別墅1904

70 HOUSES & INSTITUTE AT WHITWOOD 1905惠特伍德住宅&學(xué)院1905

72 WOODBROOK 1905伍德布魯克住宅1905

76 WHITE HORSE INN & STABLES 1905白馬旅店1905

78 HOLLYMOUNT 1905霍利山別墅1905

78 LITTLEHOLME, GUILDFORD 1906 吉爾福德郡別墅1906

82 HOUSE AT FRINTON-ON-SEA 1907 弗里敦海岸別墅1907

86 LITTLEHOLME, KENDAL 1909肯德?tīng)栨倓e墅1909

88 HOUSE AT BIGWOOD ROAD 1909 大林路住宅1909

88 LODGE STYLE 1909 山間小屋1909

92 HOME AT PASTURE WOOD 1910 牧場(chǎng)別墅1910

96 HOUSE AT MALONE ROAD 1911 馬龍路別墅1911

98 COTTAGE AT AMPTHILL 1913 安特希爾村舍1913

100 HIGH GAUT 1914 高屋1914

101 HOUSE AT THATCHAM 1914 薩切姆別墅1914

104 HOUSE AT ASHMANSWORTH 1914 艾詩(shī)曼沃斯別墅1914

108 HOUSE AT HILLINGDON 1926 希靈頓住宅1926

110 PERSPECTIVES 透視圖

110 LOWICKS 1894 羅伊科斯住宅1894

112 ANNESLEY LODGE 1895 安斯利小屋1895

114 HILL CLOSE 1896 山崗小屋1896

116 GREYFRIARS 1896格雷夫萊爾斯別墅1896

118 NORNEY GRANGE 1897諾恩農莊1897

120 NEW PLACE 1897 新地住宅1897

124 BROADLEYS 1898臨湖別院1898

126 MOOR CRAG 1898 荒原小屋1898

128 HOUSE AT GLASSONBY 1898 格拉斯比住宅1898

130 VODIN 1902沃汀別墅1902

132 HIGHAM 1904海厄姆別墅1904

136 HOUSE AT BRACKNELL GARDENS 1904布拉克內爾花園別墅1904

137 HOUSES & INSTITUTE AT WHITWOOD 1905惠特伍德住宅&學(xué)院1905

140 HOUSE AT STOKE POGES 1906斯托克波吉斯住宅1906

142 BROOK END 1909 布魯克別墅1909

144 LODGE STYLE 1909山間小屋1909

146 DETAIL DRAWINGS & INTERIORS 細部圖&室內設計

146 PERRYCROFT 1893梨酒農莊1893

148 GREYFRIARS 1896 格雷夫萊爾斯別墅1896

150 BROADLEYS 1898臨湖別院1898

152 MOOR CRAG 1898荒原小屋1898

153 BUILT WORKS 建成作品

154 THE COTTAGE 1888 農舍小屋1888

156 STUDIO HOUSES BEDFORD PARK 1891 貝德福德公園工作室1891

157 12, 14 & 16 HANS ROAD, KNIGHTSBRIDGE 1892 12, 14 & 16漢斯路的騎士橋住宅1892

158 PERRYCROFT 1893梨酒農莊1893

162 LOWICKS 1894 羅伊科斯別墅1894

164 ANNESLEY LODGE 1895安斯利小屋1895

168 HILL CLOSE 1896山崗小屋1896

170 NORNEY GRANGE 1897諾恩農莊1897

180 BROADLEYS 1898臨湖別院1898

194 MOOR CRAG 1898荒原小屋1898

200 SPADE HOUSE 1899鐵鍬小屋1899

202 THE ORCHARD 1899果園農舍1899

204 OAKHURST 1899赫斯特別墅1899

206 PRIOR’S FIELD 1900 先鋒牧場(chǎng)住宅1900

207 OAKHILL 1899奧克希爾住宅1899

208 VODIN 1902沃汀別墅1902

210 WHITE COTTAGE 1903 白色別墅1903

214 TILEHURST 1903 林中屋1903

216 HOLLYBANK 1903 霍利河岸別墅1903

218 WHITE HORSE INN & STABLES 1905白馬旅社1905

220 HOLLYMOUNT 1905霍利山別墅1905

224 THE HOMESTEAD 1905 家宅1903

232 LITTLEHOLME, GUILDFORD 1906吉爾福德郡別墅1906

234 BROOK END 1909布魯克別墅1909

238 LODGE STYLE 1909山間小屋1909

242 HIGH GAUT 1914 高屋1914

244 NOTES 注釋

248 BIBLIOGRAPHY 參考文獻

249 INDEX 數據

250 LIST OF EXTANT BUILDINGS 現存建筑表

250 ACKNOWLEDGEMENTS 致謝

1、英國畫(huà)家建筑師學(xué)會(huì )珍藏沃伊齊最佳設計圖紙及26座沃伊齊現存建筑的實(shí)景圖首度出版。

2、原圖同比例尺寸方式展示沃伊齊的水彩圖和立面圖，保留原著(zhù)細節。

3、C.F.A.沃伊齊是20世紀建筑與設計方面現代主義運動(dòng)的先驅?zhuān)瑢ΜF代主義設計風(fēng)格影響深遠。

C.F.A.沃伊齊是20世紀建筑與設計方面現代主義運動(dòng)的先驅?zhuān)钊肓私馄湓O計理念和特點(diǎn)十分必要。

本書(shū)是第一本以真比例尺展示沃伊齊的著(zhù)名水彩建筑圖紙的圖書(shū)，其中包括大量英國皇家建筑師協(xié)會(huì )收藏的從未出版過(guò)的沃伊齊藝術(shù)珍品以及26座沃伊齊現存建筑的實(shí)景照片，有很強的參考價(jià)值。

The documented recollections of John Brandon Jones and the correspondence of Voysey’s son, Charles Cowles Voysey, have provided insights into Voysey’s design and drawing methods.

Voysey conducted all the design work and the drawing of his watercolour plans, elevations and sections personally.1 In an unpublished letter to The Architects’ Journal on 22 February,

1941,2 C. Cowles Voysey recalled that his father drew and designed with extraordinary speed and assurance, rarely using an eraser (which is quite evident in the drawings in the RIBA Collection), and would produce a set of 1/8-inch scale plans, sections and elevations of a house, designed and drawn in 3H pencil and watercoloured, in a weekend.3 Voysey’s drawings from his first days of practice featured a distinctive lettering style of his own design.

Drawings were generally of three types: sheets of plans, elevations and sections, sheets of detail drawings, and perspective sheets, which featured inset plans and were normally mounted on cardboard. Plans and elevations followed a conventional drafting layout, with the floor plans located at the bottom of the sheet and the elevations above. Voysey’s detail sheets were works of art in themselves, with the individual drawings composed and collaged artfully across the sheet.

Almost all of Voysey’s watercolour perspective drawings were prepared by the artist Howard Gaye, with whom Voysey had a long professional relationship, commencing with their first collaboration on Walnut Tree Farm in Castlemorton in 1890 and carrying through to their last on Lodge Style in 1909.

Perspective sheets almost always incorporated inset floor plans – typically integrated into the landscape-and-sky background of the illustration – to ensure the drawing was informative as well as attractive. The inset floor plans show Voysey’s inimitable lettering, confirming they would have been prepared jointly between Gaye and Voysey. The dates of the various drawing sheets and entries in Voysey’s ‘white book’ of expenses indicate that the perspective drawings were typically prepared only after at least one design scheme had been presented to the client in plan and elevation only. Following this, by which time Voysey was satisfied the design was set, the perspective would be produced and presented, and working drawings would then generally proceed.

Evidently Voysey placed a high value on his drawings, given his decision to retain them within his office, and eventually arrange for their donation to the RIBA for posterity. In Voysey’s handwriting, on the back of a number of drawings in the RIBA Collection is the note, ‘This drawing must be returned to C.F.A. Voysey Architect’, with his office addresswritten below. His project specifications also contained a standard clause that all drawings were his property, and must be returned to him at the completion of the project.

Allowing for some degree of discolouration over time, the range of colours Voysey used in his watercolour elevations was quite consistent, with little variation in the grey-green slate roofs and only minor disparities in the stone dressings. The reds of the tile roofs, chimney pots and brick-on-edge detailing were also generally uniform.There appear to be distinct variances from project to project in the greens Voysey would adopt for the guttering, doors and gates. These ranged from bottle and forest greens to much bluer greens and deep teals. Voysey may have wanted to harmonise his individual designs with the prevailing greens of the landscape of the respective context.