项目简述 | Simplified Brief


The brief for this project was to create a sculpture storage space and archival facilities for my artwork, within the envelope of an existing modern agricultural barn on the edge of Dartmoor in rural Devon. From the outside, I wanted the finished building to appear as a hermetically sealed box, retaining the character of its agricultural origins and blending in with the contemporary vernacular. At the same time 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. (Peter Randall-Page – Client)

▼项目概览,General view © Jim Stephenson

▼场地环境,Context © Jim Stephenson


来自建筑师的描述 | Architect’s statement 


▼谷仓原貌,the original barn © TR-P

The exterior was designed to follow the straightforward and utilitarian approach farmers have always taken to building barns. The large, low-pitched volume is simply wrapped in vertical cedar boards. This skin gives way, at a horizontal datum to a galvanised steel skirt, amplifying the natural gradient of the land and protecting the timber from rain splash. Camouflaged in these metal and timber facades are a series of industrial scale shutters, playfully folding and sliding to reveal generous areas of glazing.

▼由金属和木材构成的立面上隐藏着工业尺度的百叶窗系统 © Jim Stephenson
Camouflaged in these metal and timber facades are a series of industrial scale shutters

▼入口立面,Entrance facade © Jim Stephenson


▼轴测示意,Overall Axo © Thomas Randall-Page

The project’s programmatic mix of archive, storage, and studio, with the fragmented pattern of use, led me to divide it into three distinct environmental zones. Highly insulated, airtight and linear, the archive itself, with its sensor controlled dehumidification system, acts as a wall to the north. Most of the rest of the volume, housing the robust sculptures and hosting seasonal or active uses, remains unheated.

▼主体空间,可用于存放大型雕塑,Gallery/sculpture store © Jim Stephenson

▼空间细节,Interior view © Jim Stephenson


Inside, a freestanding ‘creature’ known as the ‘Winter Studio’ stands on stone hooves. Wearing a dark coat of natural cork and warmed by its own stove, this room-within-a-room is the project’s nerve centre. Beyond its door, a balcony offers long views out through the tree canopy and across the valley.

▼“冬季工作室”,The ‘Winter Studio’ © Jim Stephenson

The studio wears a dark coat of natural cork © Jim Stephenson

▼工作室内部,Studio interior view © Jim Stephenson

The elevated volume creates a sheltered open space beneath © Jim Stephenson


A major design move was the formalising of this sloping site into two terraces with a retaining wall. Starting in the landscape this element enters the building from the west and once inside turns back on its self to enclose the lower level and form part of the stair. The three split-levels provide novel perspectives of the work, altering perceptions of scale and revealing the subtlety with which they touch the ground.

A retaining wall enters the building starting in the landscape © Jim Stephenson

▼建筑外观,Exterior view © Jim Stephenson


设计细节 | Working details


The Art Barn’s detailed design is guided in large part by the chosen materials. Firstly elements of the existing barn were retained where possible, including the softwood primary frame, roof covering and the repurposing of some cladding within the build-up. Then local, low carbon or carbon negative materials are prioritised. Locally grown and sawn timber (cedar, Douglas fir and oak) provides the majority of the structure and some of the floors.

▼室内细节,Details © Jim Stephenson


▼细节轴测,Detail Axo © Thomas Randall-Page

Dartmoor granite was sourced from spoil heaps at the now disused Blackingstone Quarry some two miles away, where Lutyens procured much of the stone for Castle Drogo. This stone with its distinctively large feldspar crystals was expertly worked and laid by some of Peter’s team of masons. Particular pleasure was taken in how materials met one another, the pad stones of the ‘Winter Studio’ with a radius derived from the cutting disk, or the hand carved scarfing of timber to stone, where the frame meets the wall.

▼框架和墙体的交接处,Where the frame meets the wall © Jim Stephenson

▼楼梯细节,Staircase detailed view © Jim Stephenson


Periodically, there are simple but bespoke steel elements, fabricated from sheet and standard sections. A delicate space-frame stair, hand made windows and doors with their integrated locks and handles, a minimal handrail, and a grillage floor, all unified by hot-dip galvanisation, a ubiquitous finish for agricultural equipment.

▼立体框架楼梯和极简的护栏,The delicate space-frame stair and the minimal handrail © Jim Stephenson


The folding balcony was the result of much design development, head scratching and experimentation. The ambition for the shutter to be hand-powered, and to disappear seamlessly into the cladding was achieved using three counterweights, and a pivoting one of solid granite, and a pair of massive 50mm diameter sash type weights. (Thomas Randall-Page – Architect)

▼可折叠的阳台,The folding balcony © Jim Stephenson


来自业主的描述 | Client’s Statement


Never having commissioned an architectural project before, I was unaware until after its recent completion, quite how unusual the process turned out to be, for several reasons. Firstly, I was very fortunate to be working with an architect who, having grown up around my work and studio, understands my modus operandi intimately. Secondly, the contractors were, for the most part, my own studio team using a limited vocabulary of mainly locally-sourced materials. And thirdly, although I had a budget for the project, we had the luxury of no specific deadline for completion, so Tom could evolve the design as an ongoing process over several years.

▼树林掩映下的艺术谷仓,Art Barn sheltered by the forest © Jim Stephenson


The constraints were that everything must be within the original volume of the existing building. I wanted the exterior appearance when closed to be very much within the architectural vocabulary of the numerous other large agricultural sheds in the area.  A high priority was the whole life carbon efficiency of the building, and being off grid presented its own challenges, particularly as part of the building needed to be suitable for the storage of a perishable archive.

▼闭合状态下的立面,The exterior appearance when closed © Jim Stephenson


Watching the building take shape has given me far more pleasure than I could ever have imagined and the finished product has exceeded all my expectations. It is only in seeing people’s reactions to the completed building that I have realised quite how unusual and special it is. (Peter Randall-Page – Client)

▼夜景,Night view © Jim Stephenson

▼位置示意,Location map © Thomas Randall-Page

▼底层平面图,Lower ground plan © Thomas Randall-Page

▼上层平面图,Upper ground plan © Thomas Randall-Page

▼剖面图,Section © Thomas Randall-Page

▼局部剖面,Detail section © Thomas Randall-Page

Start on site: 01/17
Completion: 09/20
Gross internal floor area: 240 m2
Construction cost: £ 200,000
Construction cost: £ 800 £/m2
Architect: Thomas Randall-Page
Client: Peter Randall-Page
Executive architect: n//a
Structural engineer: Spencer House
M&E consultant: Richard Power
Project manager: PJ Dove
Main contractor: Peter Randall-Page Studio
CAD software used: Rhinoceros
Annual CO2 emissions: 0 kgCO2/m2
Other specialist consultants (list below)
Site foreman: PJ Dove (the floating workshop)
Bespoke steel work: Earp engineering
Flooring specialist: Devon Micro Cement
Stonework specialist: Jeremy Greaves stonework