架构师提供的文本描述。阿历克斯门罗工作室，斯诺菲尔德是一个新的珠宝工作室，坐落在一个石头的碎片在伯蒙齐保护区，为亚历克斯不断增长的国际业务提供了一个展示。

Text description provided by the architects. The Alex Monroe Studio, Snowsfields is a new jewellery studio, sited within a stone’s throw of The Shard in the Bermondsey Conservation Area, providing a showcase for Alex’s growing international business.

 © Dennis Gilbert

C.丹尼斯·吉尔伯特

该建筑包括一个手工制作的3层楼，加上一个现有的爱德华式单层店面，提供车间和工作室空间，旁边是一家精品店，上层有会议和餐饮空间，还有一个屋顶露台，可以看到伦敦桥的景色。

Consisting of a handcrafted 3-storey addition to an existing Edwardian single-storey shop front, the building provides workshop and studio space, alongside a boutique store, with meeting and dining spaces on the upper levels as well as a roof terrace with views towards London Bridge.

 © Dennis Gilbert

C.丹尼斯·吉尔伯特

新建筑作为一个定制的“书签”到原来的露台，创造了一个强大的前部，完成了街道的正面。该设计保持了店面的连续性，而额外的地板形成一个单独的金属包层体积，轻坐在上方。

The new building operates as a bespoke ‘bookend’ to the original terrace, creating a strong prow that completes the street frontage. The design maintains the continuity of the shop fronts, whilst the additional floors form a separate metal clad volume that sits lightly above.

 © Dennis Gilbert

C.丹尼斯·吉尔伯特

正如亚历克斯以前在伦敦南部艾利夫工厂(DSDHA总部所在地)的工作室一样，与外界的联系对于提供良好的工作环境至关重要，因此，每一个与大自然联系的机会都被抓住了。推拉门的车间打开了街道，并允许与世界互动，提供了一个地方，以扩大一个人的看法作为一个对立面的重点工作的珠宝商在里面。三楼的阳台延伸了餐厅/会议室的开放感，各种视野的窗户被精心放置，以最大限度地参与城市景观。在每一层举办的个人活动都由一个宽敞的“社交”楼梯连接起来，该楼梯被称为额外的展览空间和偶遇地点，减轻了实际上是一座铅笔建筑的挑战(这个词在日本被发明，用来描述狭小场地上狭窄的建筑物的特点)。

As in Alex’s previous studio in Iliffe Yard, South London (where DSDHA are based) connections with the outside world are critical to providing good working conditions, and every opportunity to connect with nature was therefore seized. Sliding doors to the workshop open onto the street and allow for interaction with the world, providing a place to extend one’s view as a counterpoint to the focused work of the jewellers within. A balcony at the third floor extends the sense of openness in the dining/meeting room, and windows with a variety of outlooks are carefully placed to maximize engagement with the urban landscape. Individual activities hosted on each floor are connected by a spacious ‘social’ staircase, claimed as an additional exhibition space and place of chance encounter, mitigating the challenge of what is, in effect, a Pencil Building (a term coined in Japan to characterize narrow buildings on tiny sites.

 Section Diagram

剖面图

外观是珍贵的，精确的，精心制作的；它的设计是为了庆祝‘制作的艺术’。具有轻微的深灰色-青铜色调，正面有光泽的结束，微妙地抓住周围的建筑物和他们的不同的色调和颜色，并在一天的时间内的光度变化)。

The facade is precious, precise and carefully made; it is designed to celebrate the ‘art of making’. Featuring a slightly dark grey-bronze tonality the facade has a lustrous finish that subtly picks up on the surrounding buildings and their diverse tones and colours, and change in luminosity over the duration of the day).

 © Dennis Gilbert

C.丹尼斯·吉尔伯特

立面上垂直“鳍”的间距在窗户前有选择地移动，以使建筑物内外的立面和控制视图生动活泼，在街道上引入动力，并在碎片塔和盖伊塔的陪同下，将建筑物降为微型塔。立面的节奏更加突出，南立面上有一个双层玻璃区域，横跨车间和会议室，为周围地区提供畅通无阻的视野。水平细节直接关系到相邻的平台来引用，而不是模仿上下文。

The spacing of the vertical ‘fins’ on the elevation shifts selectively in front of windows to animate the facade and control views in and out of the building, introducing dynamism in the street, and de-scaling the building as a micro-tower in the company of both the Shard and Guy’s Tower. The rhythm of the facade is accentuated with a double height glazed area on the south elevation, across the workshop and meeting room levels, offering unobstructed views to the surrounding area. The horizontal detail relates directly to the neighbouring terrace to reference, but not mimic, the context.

 Extended Elevation

延伸高程

该建筑结构完全由预制结构木材板建造，其使用已使大气中的二氧化碳减少了27.1吨。在内部，这个简单的结构是可见的。这种未加工的饰面为工作室提供了一个坚固的环境，所有的内置家具都是用相同的木材制造的，特别是在珠宝制作过程的每一部分。随着时间的推移，木材将显示出一片使用，记录日常生活。

The building structure is constructed entirely from prefabricated structural timber panels, the use of which has removed 27.1 tonnes of CO2 from the atmosphere. Internally this simple structure is left visible. This raw finish provides a robust setting for the studio where all the built-in furniture has been made from the same timber specifically for each part of the jewellery making process. Over time the timber will reveal a patina of use, recording day-to-day life.