斯帕斯基堡垒和教堂公共广场的翻新

公司：	Studio AER	Type：	景观
Area：	乌克兰	Label：	广场空间 \| 教堂

贝雷斯托夫的救世主教堂历史悠久，其历史可以追溯到十二世纪，我们的任务是为了周围地区设计新景观。佩切尔斯克要塞（十八世纪）的堡垒位于小巷的后方，将其与附近的公园隔开，也就是说，只有知道它的人才能找到它；教堂与堡垒在当初的设计上非常不合理，堡垒的雨水经常淹没教堂。因此设计师们旨在解决这场长达300年的不合理性。

Our task was to design new landscape for the area around the Church of the Savior on Berestove that dates back to the XII century. It is separated from the neighboring park by the earthen bastion of the Pechersk fortress (XVIII century) and stands in the back of the alley. That is, it is located in such a way that only someone who already knows about it could find it. The vicinity of two architectural monuments - the church and the bastion - was quite controversial. Rainwater from the bastion regularly flooded the church. In return the archaeological research of the church has dug up a considerable section of the earthen rampart. The new landscape was supposed to resolve this three-hundred-year confrontation.

©Ivan Avdeenko

对于堡垒顶部的遗址，有必要提供多个通道，以便游客可以从四面八方进入。同时我们提供了垂直方向上的流线链接，这样游客就不会去破坏遗址的外观。我们设计了三个斜坡上的楼梯，它们位于相互连接，在流线中可以享受不同角度的景观。

For the site at the top of the bastion, it was necessary to provide access from all sides from which visitors could come. It was necessary to arrange vertical connections so that they did not spoil the appearance of the rampant. We designed three stairs carved into the slope. They are located in such a way that all parts of the new landscape are in transit with no dead ends.

©Ivan Avdeenko

对于所有的新加入的设计元素，我们都使用了中性颜色的材料。从堡垒主体上“切割”出来的平台是个例外。他们使用的是合金钢，与之形成鲜明对比的是氧化铁。土墙的轮廓不同于仅仅是一座小山，因为它上面有一堵墙。

For all the new elements we used materials of neutral colors. The planes "cut" from the body of the bastion were an exception. For them, alloy steel, contrasting due to iron oxide, was used. The silhouette of the earthen rampart differs from just a hill by the presence on it of a wall on which the cannonry was placed - a breastwork. We have built a parapet on the edge of the bastion, but guns will never be put on it.

©Ivan Avdeenko

教堂周围的广场除了几个朝圣者外没有参观者，与之相反，堡垒是一个相当受欢迎的旅游景点，游客们主要会选择开车参观。但是土制的堡垒完全不适合在上面驾驶汽车，因此土墙受到了很大的破坏，还有许多人爬上堡垒陡峭的斜坡，从被践踏的小路上可以看出这一点。

The square around the church had no visitors except a few pilgrims. Bastion, on the other hand, was a quite popular sightseeing platform visited mostly by car. Being completely unsuitable for driving cars on it, the earthen rampart suffered very much from this. Many people climbed up the steep slopes of the bastion, as evidenced by trodden paths.

©Ivan Avdeenko

在没有被充分保护的情况下，堡垒因为被人们长期的践踏失去了原有结构的轮廓，与基辅的丘陵自然景观几乎无法区分。由于紧急情况而关闭的教堂，在我们刚开始设计时就已经在重建。

In the absence of proper care, the earthen rampart of the fortress lost the outline of the anthropomorphic structure and became almost indistinguishable from the natural landscape of the Kyiv hills. The church, which was closed due to the emergency condition, was already being reconstructed when we just started designing.

▼设计分析

©Ivan Avdeenko

事实上，设计师门常常会面临这样一个事实，即他的工作对象永远不会被用于其原始目的。在基辅以及全世界来看，堡垒的防御工程都是非常大型的项目，无法整体上作为博物馆，因此，堡垒的重建可以做的是赋予建筑物新的功能，同时保留位置记忆。

An architect working on the reconstruction of earthen fortifications is faced with the fact that the object of his work will never be used for its original purpose. In Kyiv, and around the world, earthen ramparts are very large-scale structures that cannot be turned into a museum as a whole. What reconstruction of the fortress can do is give the structure a new function, while preserving the memory of the place.

©Ivan Avdeenko

晚上在广场上，主要的光源是教堂本身。所有的照明都对准它，并且从它的墙壁反射到广场上。从楼梯的墙壁突出显示了堡垒的内部。堡垒顶上的公园被低杆照亮。沿整个堡垒延伸的外墙线被突出显示，以强调黑暗中的轮廓。

At night in the square, the main source of light is the church itself. All the lighting is directed at it, and from its walls it is reflected on the square. The interior of the stairs to the bastion is highlighted from the walls of the stairs. The park on top of the bastion is lit from low poles. The parapet line running along the entire bastion is highlighted to emphasize the contour of the rampant in the dark.