C.F.A.沃伊齐是20世纪建筑与设计方面现代主义运动的先驱，设计种类从小村舍、旅社，到郊区别墅及乡村宅邸。他的作品和出版的建筑图纸深远的影响了欧洲早期现代主义住宅建筑风格以及20世纪早期的美国工艺美术建筑师。本书专注展现C.F.A.沃伊齐的建筑设计作品，尤其是水彩图纸，囊括了他主要建筑作品，并精选英国皇家建筑师学会保存的70余幅他的最佳建筑图纸。用和原图同比例尺寸的新颖方式展示水彩图和立面图，力求保留原著细节。正如他的存世建筑，这些图纸也是英国乃至国际设计界的宝贵遗产。

大卫•科尔是一位居住在澳大利亚墨尔本的从业建筑师。他的职业生涯都在本部位于澳大利亚的国际建筑公司度过，专门从事大型商业和居住类的项目设计。在近30年的职业生涯中，他的设计作品遍及澳大利亚、日本、泰国、阿联酋和新西兰。大卫对英国工艺美术运动中的建筑学有浓厚的兴趣和研究。

2 INTRODUCTION 前言

12 C.F.A. VOYSEY – ENGLISH

PIONEER MODERNIST

ARCHITECT & DESIGNER

C.F.A.沃伊齐的艺术作品集锦

英国先锋现代主义建筑师与设计师

12 EARLY YEARS 1857–1880 早年1857–1880

14 ESTABLISHING A PRACTICE 1880–1890 实践经历1880–1890

16 SUCCESSFUL YEARS 1890–1905 名声显露1890–1905

22 CHANGING TIMES 1905–1915 改变时代1905–1915

24 CHALLENGING TIMES 1915–1930 挑战时代1915–1930

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

28 INFLUENCE & LEGACY 影响力&功绩

32 THE ART OF C.F.A. VOYSEY C.F.A.沃伊齐的艺术作品集锦

32 TECHNIQUE & COMPOSITION 技法与作品

36 ELEVATIONS 立面图

36 12, 14 & 16 HANS ROAD, KNIGHTSBRIDGE 1892 12, 14 & 16汉斯路的骑士桥别墅1892

38 PERRYCROFT 1893 大丽花屋1893

42 NORNEY GRANGE 1897 诺恩农庄1897

44 THE HILL 1897 山丘小屋1897

46 BROADLEYS 1898 临湖别院1898

50 MOOR CRAG 1898荒原小屋1898

52 HOUSE AT WESTMESTON 1898 西米斯顿住宅1898

54 SPADE HOUSE 1899 铁锹小屋1899

56 OAKHURST 1899 郝斯特住宅1899

58 HOUSE AT COLNBROOK 1899 科恩布鲁克住宅1899

60 GORDON DENE 1900 戈登沙地住宅1900

62 VODIN 1902 沃汀别墅1902

64 TOWER HOUSE AT BOGNOR REGIS 1903博格诺里吉斯钟塔房1903

66 HOLLYBANK 1903 霍利河岸别墅1903

68 HIGHAM 1904海厄姆别墅1904

70 HOUSES & INSTITUTE AT WHITWOOD 1905惠特伍德住宅&学院1905

72 WOODBROOK 1905伍德布鲁克住宅1905

76 WHITE HORSE INN & STABLES 1905白马旅店1905

78 HOLLYMOUNT 1905霍利山别墅1905

78 LITTLEHOLME, GUILDFORD 1906 吉尔福德郡别墅1906

82 HOUSE AT FRINTON-ON-SEA 1907 弗里敦海岸别墅1907

86 LITTLEHOLME, KENDAL 1909肯德尔镇别墅1909

88 HOUSE AT BIGWOOD ROAD 1909 大林路住宅1909

88 LODGE STYLE 1909 山间小屋1909

92 HOME AT PASTURE WOOD 1910 牧场别墅1910

96 HOUSE AT MALONE ROAD 1911 马龙路别墅1911

98 COTTAGE AT AMPTHILL 1913 安特希尔村舍1913

100 HIGH GAUT 1914 高屋1914

101 HOUSE AT THATCHAM 1914 萨切姆别墅1914

104 HOUSE AT ASHMANSWORTH 1914 艾诗曼沃斯别墅1914

108 HOUSE AT HILLINGDON 1926 希灵顿住宅1926

110 PERSPECTIVES 透视图

110 LOWICKS 1894 罗伊科斯住宅1894

112 ANNESLEY LODGE 1895 安斯利小屋1895

114 HILL CLOSE 1896 山岗小屋1896

116 GREYFRIARS 1896格雷夫莱尔斯别墅1896

118 NORNEY GRANGE 1897诺恩农庄1897

120 NEW PLACE 1897 新地住宅1897

124 BROADLEYS 1898临湖别院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沃汀别墅1902

132 HIGHAM 1904海厄姆别墅1904

136 HOUSE AT BRACKNELL GARDENS 1904布拉克内尔花园别墅1904

137 HOUSES & INSTITUTE AT WHITWOOD 1905惠特伍德住宅&学院1905

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

142 BROOK END 1909 布鲁克别墅1909

144 LODGE STYLE 1909山间小屋1909

146 DETAIL DRAWINGS & INTERIORS 细部图&室内设计

146 PERRYCROFT 1893梨酒农庄1893

148 GREYFRIARS 1896 格雷夫莱尔斯别墅1896

150 BROADLEYS 1898临湖别院1898

152 MOOR CRAG 1898荒原小屋1898

153 BUILT WORKS 建成作品

154 THE COTTAGE 1888 农舍小屋1888

156 STUDIO HOUSES BEDFORD PARK 1891 贝德福德公园工作室1891

157 12, 14 & 16 HANS ROAD, KNIGHTSBRIDGE 1892 12, 14 & 16汉斯路的骑士桥住宅1892

158 PERRYCROFT 1893梨酒农庄1893

162 LOWICKS 1894 罗伊科斯别墅1894

164 ANNESLEY LODGE 1895安斯利小屋1895

168 HILL CLOSE 1896山岗小屋1896

170 NORNEY GRANGE 1897诺恩农庄1897

180 BROADLEYS 1898临湖别院1898

194 MOOR CRAG 1898荒原小屋1898

200 SPADE HOUSE 1899铁锹小屋1899

202 THE ORCHARD 1899果园农舍1899

204 OAKHURST 1899赫斯特别墅1899

206 PRIOR’S FIELD 1900 先锋牧场住宅1900

207 OAKHILL 1899奥克希尔住宅1899

208 VODIN 1902沃汀别墅1902

210 WHITE COTTAGE 1903 白色别墅1903

214 TILEHURST 1903 林中屋1903

216 HOLLYBANK 1903 霍利河岸别墅1903

218 WHITE HORSE INN & STABLES 1905白马旅社1905

220 HOLLYMOUNT 1905霍利山别墅1905

224 THE HOMESTEAD 1905 家宅1903

232 LITTLEHOLME, GUILDFORD 1906吉尔福德郡别墅1906

234 BROOK END 1909布鲁克别墅1909

238 LODGE STYLE 1909山间小屋1909

242 HIGH GAUT 1914 高屋1914

244 NOTES 注释

248 BIBLIOGRAPHY 参考文献

249 INDEX 数据

250 LIST OF EXTANT BUILDINGS 现存建筑表

250 ACKNOWLEDGEMENTS 致谢

1、英国画家建筑师学会珍藏沃伊齐最佳设计图纸及26座沃伊齐现存建筑的实景图首度出版。

2、原图同比例尺寸方式展示沃伊齐的水彩图和立面图，保留原著细节。

3、C.F.A.沃伊齐是20世纪建筑与设计方面现代主义运动的先驱，对现代主义设计风格影响深远。

C.F.A.沃伊齐是20世纪建筑与设计方面现代主义运动的先驱，深入了解其设计理念和特点十分必要。

本书是第一本以真比例尺展示沃伊齐的著名水彩建筑图纸的图书，其中包括大量英国皇家建筑师协会收藏的从未出版过的沃伊齐艺术珍品以及26座沃伊齐现存建筑的实景照片，有很强的参考价值。

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.