Architect Thomas Randall-Page has renovated and updated an agricultural barn in Devon, England, to create a studio and archive space for his father, the sculptor Peter Randall-Page.

Peter Randall-Page purchased the barn in 2011 and commissioned his son Thomas’s studio to oversee its conversion into a storage space and archive for his work, which includes stone sculptures, drawings and prints inspired by the geometric forms found in nature.

The building, named Art Barn, is located in the countryside on the edge of the Dartmoor National Park. The project brief called for the barn’s appearance to remain largely unchanged and for its new functions to be accommodated within the existing envelope.

建築師托馬斯·蘭德爾·佩奇(Thomas Randall-Page)對英格蘭德文郡的一個農業穀倉進行了翻新和更新,為其父親雕刻家彼得·蘭德爾·佩奇(Peter Randall-Page)創建了工作室和檔案室。

彼得·蘭德爾·佩奇(Peter Randall-Page)於2011年購買了穀倉,並委託兒子托馬斯(Thomas)的工作室監督其改建為儲藏空間和檔案館的工作,其中包括石雕,素描和受自然界幾何形狀啟發的版畫。

這座名為Art Barn的建築位於達特穆爾國家公園(Dartmoor National Park)邊緣的鄉村。 該項目簡介要求穀倉的外觀在很大程度上保持不變,並在現有圍護結構內容納其新功能。

Thomas Randall-Page transforms Devon barn into light-filled artist’s studio

“From the outside, I wanted the finished building to appear as a hermetically sealed box,” said Peter Randall-Page, “retaining the character of its agricultural origins and blending in with the contemporary vernacular.”

“At the same time,” he added, “I wanted the interior space to be full of natural light, with large apertures which, when opened, blur the boundary between the interior space and the surrounding landscape.”

彼得·蘭德爾·佩奇(Peter Randall-Page)表示:“從外面,我希望成品建築像一個密封的盒子一樣出現,保留其農業起源的特徵,並與當代白話融為一體。”


Art Barn features a simple gabled form covered with vertical cedar cladding that overlaps a galvanised-steel skirt used to protect the wood from rain splashes.

To meet the requirements for ample natural light and views from within the building, a series of shutters and doors are incorporated into the timber facades.

Art Barn的特點是簡單的山牆形式,上面覆蓋著垂直的雪松木覆蓋層,與鍍鋅鋼裙邊重疊,用於保護木材免受雨水飛濺。


Sliding doors on either side of the barn can be pulled aside to open the space up to the outdoors. Large glazed doors positioned inside the shutters shield the interior from the elements.

A folding balcony on one side of the building can be operated by hand, thanks to a system of counterweights that enable it to disappear into the cladding when not in use.

可以將穀倉兩側的滑動門拉到一邊,以打開戶外空間。 百葉窗內的大玻璃門將內部與元素隔離開來。


Inside Art Barn, the floor plan is divided into three distinct zones to meet the varied environmental requirements of the archive, storage and studio spaces.

The highly insulated and airtight archive to the north is concealed behind a solid wall and accessed through doors at either end. A sensor-controlled dehumidification system is used to protect the precious artworks and documents.

在Art Barn內部,平面圖分為三個不同的區域,以滿足檔案,存儲和工作室空間的各種環境要求。

北部高度絕緣且不透氣的檔案隱藏在堅固的牆壁後面,可通過任一端的門進入。 傳感器控制的除濕系統用於保護珍貴的藝術品和文件。

The rest of the interior is left largely open, providing a simple, unheated storage and display area for Peter’s sculptures. A freestanding structure called the “winter studio” provides a cosy space for working throughout the year.

The studio is elevated on timber supports connected to sculpted stone feet. The space underneath provides a lounge area with a wood-burning stove as its facial point.

內部的其餘部分基本上保持開放狀態,為彼得的雕塑提供了一個簡單,未經加熱的存儲和展示區域。 獨立的結構稱為“冬季工作室”,為全年工作提供了舒適的空間。

該工作室位於連接到雕刻石腳的木材支撐上。 下方的空間提供了一個休息區,以燃木爐灶為面部。

Another stove inside the studio heats this space, which is wrapped in cork panels to insulate it. Carefully positioned openings fill the interior with an even natural light.

A retaining wall was constructed to mitigate the site’s slope and create two terraces. The wall, crafted from local stone by masons that Peter usually works with, extends into the building and wraps around the space beneath the studio, emphasising the different levels.

工作室內的另一個爐子加熱了這個空間,並用軟木板包裹起來以使其隔熱。 精心定位的開口使室內光線均勻自然。

修建了擋土牆以減輕場地的坡度並創建兩個露台。 這堵牆是由彼得通常與之配合的泥瓦匠用當地的石頭製成的,延伸到建築物中並環繞工作室下方的空間,強調了不同的層次。

“The three split levels provide novel perspectives of the work,” explained Thomas Randall-Page, “altering perceptions of scale and revealing the subtlety with which they touch the ground.”

The building was designed with its whole-life carbon efficiency in mind, using local materials where possible and reusing much of the existing barn’s softwood frame, roof and cladding.

托馬斯·蘭德爾·佩奇(Thomas Randall-Page)解釋說:“三個不同的層次為作品提供了新穎的視角,改變了人們對規模的看法,並揭示了它們與地面接觸的微妙之處。”


Other materials used in the project are chosen to complement the original agricultural construction, including hot-dipped galvanised steel used for the stairs, bannisters, window frames and doors.

The project developed and evolved gradually over a period of nine years. Most of the contractors were Peter’s own studio team, which informed the choice of materials and the way the building was constructed.


該項目在九年的時間裡逐步發展和演變。 大部分承包商都是彼得自己的工作室團隊,他們會告知材料的選擇和建築物的建造方式。

Thomas Randall-Page founded his architectural studio in Hackney in north London in 2014, following spells working for Heatherwick Studio and 6A Architects.

Randall-Page’s previous projects include the design of a manually operated rolling bridge for a dock in east London, and an inflatable arts pavilion that popped up on a London canal.

Peter Randall-Page is known for his large-scale sculptures informed by a study of natural phenomena. He was elected to London’s Royal Academy in 2015 and worked on the design team for the Education Resource Centre at the Eden Project in Cornwall, England, which contains one of his granite sculptures called “Seed”.

Photography and video are by Jim Stephenson.

在為Heatherwick Studio和6A Architects工作之後,Thomas Randall-Page於2014年在倫敦北部的Hackney建立了他的建築工作室。


彼得·蘭德爾·佩奇(Peter Randall-Page)以對自然現象的研究為基礎的大型雕塑而聞名。 他於2015年當選為倫敦皇家學院(Royal Academy of Royal)的成員,並在英格蘭康沃爾郡的伊甸園項目(Eden Project)的教育資源中心設計團隊工作,該項目中包含他的一件花崗岩雕塑“種子”。

攝影和錄像由吉姆·斯蒂芬森(Jim Stephenson)提供。



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