架构师提供的文本描述。重建二级家庭农场谷仓、西利特尔顿农场和波德画廊进入谷仓，我们的客户希望恢复家庭农场谷仓的全部辉煌，并消除过去的干预措施，这有助于驯化这一大胆的历史结构。

Text description provided by the architects. The restoration of the Grade II Listed Home Farm Barn, West Littleton and the intervention of a Pod Gallery into the Barn.Our client wished to restore Home Farm Barn to its full glory and remove past interventions within it, which served to domesticate what is a bold historic structure.

 © Craig Auckland

C.克雷格·奥克兰

他们还想敏感和创造性地管理众议院和谷仓之间的接口。目前，这条线是模糊的，两者并不成功地相互关联。

They also wanted to sensitively and creatively manage the interface between the House and the Barn. Currently this line is blurred, and the two do not relate to each other successfully.

 Ground Floor Plan

有机会从房子里看到谷仓的内部，并庆祝谷仓内坚固的轴向空间感。

There is an opportunity to view the interior of the Barn from the House, and celebrate the tough, axial sense of space within the Barn.

我们的客户需要在谷仓内的空间，这是温暖，干燥，轻和密闭，可以用来存放个人收藏水彩画。

Our client required a space within the Barn, which was warm, dry, light and airtight, and which can be used to house a personal collection of watercolour paintings.

 © Craig Auckland

C.克雷格·奥克兰

为了回应我们客户的简短要求，我们在谷仓里建立了一个干预措施，这个谷仓被设想为一个波德画廊。

In response to our Client’s brief requirements we have created an intervention in the Barn which is conceived as a Pod Gallery.

波德画廊是一个轻型木材结构，其概念是“可逆”干预-即。它“轻轻地”坐在谷仓里。

The Pod Gallery is a lightweight timber structure, which in its concept is a “reversible” intervention - ie. it “sits lightly” within the Barn.

 © Craig Auckland

C.克雷格·奥克兰

波德画廊只触及谷仓，它坐落在现有的提高谷仓！奥尔，正上方的地窖下面。它悬挑在这上面！奥尔，给人的印象是！奥尔，波德画廊的墙壁和屋顶都离谷仓很远。屋顶在现有的谷仓桁架周围起伏，形成了一个负空间的模型。

The Pod Gallery only touches the Barn where it sits on the existing raised Barn !oor, directly above the cellar below. It cantilevers over this !oor, giving the impression of !oating, The Walls and Roof of the Pod Gallery sit away from the Barn. The roof undulates around the existing Barn trusses, creating a cast of the negative space.

 Section AA

AA节

谷仓现有的家庭门窗被拆除，开口得到改善。所有开箭头的窗口都被恢复。密封的，有釉的开口是在画旁边介绍的-这两幅画是从温暖的谷仓中一起看到的。

The existing domestic doors and windows in the Barn are removed and the openings made good. All arrow-slit window openings are reinstated. Sealed, glazed openings are introduced alongside the paintings - the two being viewed together from the warmth of the Barn.

 © Craig Auckland

C.克雷格·奥克兰

全高度的玻璃被提供给面对谷仓的Pod画廊的山墙。通过这种方式，从波德画廊的舒适中，展现了谷仓的全部辉煌。

Full height glazing is provided to the gable of the Pod Gallery which faces the Barn. In this way, the full splendor of the Barn is revealed from the comfort of the Pod Gallery.

 © Craig Auckland

C.克雷格·奥克兰

木盆画廊的柔软而温暖的品质与石棚的冷酷结构形成了鲜明的对比。

The soft warm qualities of the timber Pod Gallery contrast with the hard cold structure of the stone Barn.

 © Craig Auckland

C.克雷格·奥克兰

“地球上人类的现在生活.就像一只麻雀穿过你在冬天吃晚饭的房子.当“重新燃烧.但是冬天的风暴.正在国外肆虐。麻雀.当他在里面的时候，不受寒风的侵袭.所以人类的这种生活出现了一段时间，但是我们所要追随的，或者在我们一无所知之前所发生的事情。

“The present life of man upon earth... is like to the swift !ight of a sparrow through the house wherein you sit at supper in winter... while the "re blazes... but the wintry storms... are raging abroad. The sparrow...whilst he is within, is safe from the wintry tempest... So this life of man appears for a little while, but of what is to follow or what went before we know nothing at all.”

贝德的传道史(对这个项目的启示)。

Bede's Ecclesiastical History (Inspiration for the project).

Architects Stonewood Design

Location Chippenham SN14, United Kingdom

Category Adaptive Reuse

Project Year 2015

Photographs Craig Auckland