联合国教科文组织世界遗产修道院

联合国教科文组织世界遗产修道院
UNESCO World Heritage Site Abbey Lorsch

托波泰克1：古代经典经文几乎都丢失了。我们对《圣经天堂》或希罗多德的史学的了解主要来自中世纪修道院抄本。这种文化记忆重编的最重要的中心之一是莱茵河附近德国洛施的本笃会修道院。1557年作为修道院解散，1991年被联合国教科文组织确认为世界文化遗产，该遗址与古代经文的命运相同：几乎没有留下任何原始内容。旧托哈勒门（建于9世纪）和教堂建筑是现在已不复存在的修道院仅存的遗迹，在整个遗址的结构和背景理解上造成了空白。这座古老的教堂本身就是一座历史的集合体，包含了从8世纪到18世纪的建筑实践痕迹，是莱茵河以东决定性的加洛林王朝时期保存最重要的建筑之一。
TOPOTEK 1: The classic scriptures of antiquity are almost all lost. We know about the biblical paradise or Herodotus’ historiography mainly from transcripts that were created in the medieval scriptoria of monasteries. One of the most important centres of such re-edition of cultural memory was the Benedictine Abbey in Lorsch, Germany near the river Rhine. Dissolved as a monastery in 1557, and acknowledged as a UNESCO World Heritage Site in 1991, the site shares the destiny of the antique scriptures: little is left of its original substance. The old Torhalle gate, from the 9th century, and the church building were the only left remnants of the now gone monastery, creating a void in the structural and contextual understanding of the site as a whole. The old church in itself is a conglomerate of history, containing traces of construction practices from the 8th to the 18th century, being one of the most important preserved buildings of the decisive Carolingian Era, east of the River Rhine.

UNESCO World Heritage Site Abbey Lorsch

公元767年以前，僧侣们住在Weschnitz河旁边的一座修道院，离现在的Lorsch遗址不远，修道院被重新安置在现有的被城墙包围的小山上。两个站点之间存在视觉连接。该设计通过将入口和停车通道从前修道院重新定位，极大地改变了前游客的入口体验，因此游客可以按时间顺序追溯历史，从而全面了解更大的历史背景。
Prior to 767 A.D., the monks lived in a monastery sited next to the Weschnitz River, not far from the current Lorsch site, the monastery was relocated over the existing small hill encompassed by wall. A visual connection existed between the two sites. The design dramatically altered the former visitor entrance experience by relocating the entrance and parking approach from the former abbey, as such the visitor traces history chronologically, thus providing a comprehensive understanding of the larger historical context.

这条新的连接道路蜿蜒穿过开阔的田野，游客在那里会遇到一系列的文化检查站，例如旧的烟草制造大楼，现在变成了博物馆，或者是开阔的田野博物馆，它展示了一系列的建筑和车间，这些都是加洛林时代的独特部分。景观空间故意保持开放，以便游客可以轻松地建立一个关于整个地区过去如何运作的想法。
The new connecting path meanders through open fields where visitors are met with a series of cultural checkpoints, such as the old tobacco manufacturing building, now turned into a museum, or the open field museum, which displays a series of buildings and workshops which are unique pieces of the Carolingian era. The landscape space is purposely left open, so that the visitor can effortlessly build an idea of how the whole area worked in the past.

古老的托尔哈勒曾经是一个独立的城市入口，通过设计将城市空间的硬表面与寺院的软绿色交织在一起，并通过石头和草的条纹梯度与城市组织相结合。该坡度将很快并入相邻的Benediktiner Platz，完成断开连接。
The ancient Torhalle, which was standing alone, once an entrance to the city, through design is integrated and connected to the urban tissue through interweaving hard surfaces of the urban space with the soft greens of the monastery by way of a striped gradient of stone and grass. This gradient will be soon incorporated to the adjacent Benediktiner Platz, completing the lost connection.

历史悠久的洛施修道院边界内的中心设计理念是将历史作为景观空间呈现出来，旨在使修道院的遗迹和以前的存在再次清晰可见。在这座历史悠久的洛施修道院的遗址上，大部分历史都被抹去了，这座历史悠久的修道院事实上已经失去了修道院。留下的是一片历史的空白，一片虚无，优雅、有力、引人注目。我们的目的是举例说明和强调这种空虚，通过固有的和严峻的虚无来表达存在和历史。
The central design idea within the boundaries of the historic Lorsch Abbey, is to render history visible as landscape space, aiming to make the remnants and former existence of the monastery legible again. At the site of this historic Lorsch abbey most of history had been wiped clean, the historic monastery is in fact missing the monastery. What was left is a void of history, a nothingness strikingly elegant, powerful and compelling. Our aim was to exemplify and emphasis this emptiness, to express presence and history through the sites inherent and austere nothingness.

与前者不同的是，新的设计是基于地面语言的，前者通常具有历史决定性的可视化效果。今天可以被安全地认为是衰落的修道院的真实范围的东西是通过地形姿态重现的。为了恢复历史的有形性，人们在景观中描绘并蚀刻了失散院落的足迹和修道院的中轴线。教堂、有围墙的入口庭院和带回廊的秘密会议的轮廓由略微突出的地形确定和表示。一个大约35厘米高的陡坡形成了一个失落的建筑体量的印记，在空间中产生了清晰可见的缺失。
Unlike former, often historicising visualizations, the new design is based on the language of the ground. What today can safely be considered the true extent of the waned monastery is retold through topographic gestures. To resurrect historical tangibility, the footprint of the lost compound and the central axis of the monastery were traced and etched into the landscape. The outlines of the church, the walled entrance court and the conclave with its cloister are defined and represented by slightly protruding terrain. A sharply drawn raised slope, some thirty-five centimetres high creates an imprint of lost architectural volume generating absence legible in space.

开阔的草坪地形和被草覆盖的足迹实质上是无缝统一的。就像盲文的触觉书写系统一样，风景起伏，带有渴望被阅读的物理符号。穿过空旷的田野，昔日建筑足迹的锐角突出到阿加贝地形中，在郁郁葱葱的绿色景观中创造出富有挑衅性的建筑形式。通过风景和凸起的几何形状的并置，一种安静而富有戏剧性的诗意诞生了。这些图形印记被解读为历史的幽灵，印在历史的开阔景观上。虽然起初可能被视为偶然的标志，但当观众走开时，通过凸起的轮廓，完整的形式就诞生了。形状变得可识别，建筑印记清晰可辨，建筑体量也变得可想象。
The open lawn terrain and grass-covered traced footprints are materially seamlessly unified. Like the tactile writing system of braille, the landscape undulates with physical symbols craving to be read. Across the open field the sharp angles of the former architectural footprints jut out into the agape terrain, creating provocative architectonic forms across the lush green landscape. Through the juxtaposition of the scenic landscape and the raised geometric forms a quiet yet dramatic poeticism is born. These graphical imprints read as the ghosts of history stamped on the historical open landscape. While at first perhaps perceived as incidental insignia, as the viewer steps away full forms are born through the raised outlines. Shapes become recognizable, building imprints legible and architectural volumes imagined.

浮雕的设计语言将历史呈现为有形的、开放的，与考古遗址相关的实践（如有限的通道和有围墙的基础设施）背道而驰。在这里，设计师展示了你脚下的历史。从缺失的地方演变而来，修道院的规模和遗址的结构组成得以复兴。历史是可以走过的。
The design language in relief poses history tangible and openly accessible, defying practices associated with archaeological sites such as limited access and walled infrastructure. Here the designers show history beneath your feet. Evolved from what is missing the dimensions of the monastery and the structural composition of the site are resurrected. History can be walked through.

洛施修道院被遗忘的药草花园在森切恩教堂后面的一座小山上重建，沿袭现有地形，形成了一系列优雅的条纹，由干石墙构成，可以用作直线座椅。该种植基于《洛施药典》，写于公元795年，2013年被联合国教科文组织注册为世界记忆。这是保存最早的中世纪早期修道院草药书籍。根据四幽默学说，描述了几种食谱和治疗方法。此外，该花园也为该场地做出了贡献，为该区域创造了一个由花卉、气味和颜色组成的具有美学吸引力的植物组合。在修道院的墙壁内，新增加的遗址包含在最近的挖掘中发现的考古物品，以及一个博物馆，游客可以在那里了解该遗址丰富的历史。
The Lorsch Abbey’s forgotten herb garden has been recreated behind the Zehntscheune on a small hill, following the existing topography creating a series of elegant stripes, contained by dry stone walls, which can be used as linear seating. The planting is based on the “Lorsch Pharmacopoeia”, written in the year 795 A.D., which was named a UNESCO registered Memory of the World in 2013. It is the oldest preserved book about monastery medicinal herbs of the early Middle Ages. Several recipes and treatments are described, based on the Four Humours doctrine. In addition, the garden contributes to the site, creating an aesthetically appealing plant combination of flowers, smells and colours to the area. Within the monastery walls, newer additions to the site contain archaeological objects on display, discovered in recent diggings, as well as a museum where the visitors can learn about the rich history of the site.

今天洛施修道院所代表的是我们目前对该遗址的了解。开放考古遗址，以便未来挖掘。如果发现了新的结构形式，可以改变轮廓的足迹以匹配发现。因此，对前修道院的地形描述是对过去的一种表现，但着眼于未来，使其形式可根据所获得的历史知识进行调整。
What today is represented at the Lorsch Abbey is what we know about the site at present. Left open, the site purposefully remains accessible for future archaeological digs to make new discoveries. If something new of the structural form is discovered, the outlined footprints can be altered to match the findings. The topographic description of the former monastery is thus a representation of the past but looks to the future, offering its form to be malleable to the gained knowledge of history.

当从事修复项目的设计师面临着重塑和再创造的任务时，这本质上是一种重建历史的行为。在这里，我们选择不恢复修道院失去的现实，而是将过去与现在联系起来。开放的草坪为遗址提供了一个纹理背景，并允许整体自由进入：游客在这里体验联合国教科文组织遗址作为一个不间断的公园，可以在其中解读历史。洛施修道院的遗产就像一个失落文明的古老标记一样，成为了一份地形记录。这座失去了几个世纪的实体修道院变得显而易见，其历史意义也被赋予了相当的尊严。在制作历史浮雕时，没有进行挖掘，作为该平面图的一个重要方面，历史地层保持完整。
When engaged in projects of restoration designers are confronted with the task of remaking and reinventing, it is essentially an act of reconstructing history. Here we chose not to resuscitate the lost reality of the Abbey but instead to link the past with the present. The open lawn provides a textural backdrop to the site and allows for overall free access: the visitor here experiences the UNESCO site as an uninterrupted park in which one can interpret history. Read like ancient markings of a lost civilization, the legacy of Lorsch Abbey becomes a topographic transcript. The physical abbey, lost for centuries, becomes palpable and the historical significance of the site given quite dignity. In creating the historical reliefs there was no excavation, as an essential facet of the plan, the strata of history remained intact.

Data

面积：6公顷
Project: UNESCO World Heritage Site Abbey Lorsch
Site: Lorsch (Hesse), Germany
Client: Administration of State Palaces and Gardens Hesse / City of Lorsch
Project Team: TOPOTEK 1 with hg merz Architekten
Competition: 1st Prize, 2010
Planning and Realization: 2010–2014
Size: 6 ha