架构师提供的文本描述。当艺术家詹妮弗·巴特利特(Jennifer Bartlett)决定离开她在纽约格林威治村的长期工作室去布鲁克林时，她在历史悠久的克林顿山区找到了一座老工业建筑。19世纪的砌体结构最近被改造成日托中心-作为Medgar EversHeadstart儿童发展中心-但在此之前，它是一个工会总部，是糖果的所在地。

Text description provided by the architects. When the artist Jennifer Bartlett decided to leave her longtime studio in New York’s Greenwich Village for Brooklyn, she found an old industrial building in the historic Clinton Hill District. The 19th century masonry structure most recently had been converted into a day care center—as the Medgar Evers Headstart Child Development Center—but before that it was a union headquarters, home to the Candy & Confectioners Workers Local 452, whose name remained carved above the front door.

 © David Berridge

(大卫·贝里奇

这座5，200平方英尺的两层建筑有着独特的特色，它有一个宽敞的满是树的后院和一个22英尺宽的侧院落，在原本密集的城市景观中，它在建筑物的三面提供了丰富的自然光。

The 5,200-square-foot two-story building had a unique character, with a generous tree-filled rear yard and a 22-foot-wide side yard that provided abundant natural light on three sides of the building in an otherwise dense urban cityscape.

 © Adam Friedberg

亚当·弗里德伯格

上面的楼层被分割成许多小房间，拆除后发现了一个宽敞的阁楼，上面有各种各样的旧天窗，而底层的排水沟则发现了一个独特设计的工会会议厅，它的钢梁横跨45英尺。

The demolition of the upper floor, which had been carved up into many small rooms, revealed an expansive loft with an assortment of old skylights, while the gutting of the ground floor uncovered what had been the uniquely-engineered union meeting hall, with a steel beam spanning 45 feet.

 © Adam Friedberg

亚当·弗里德伯格

巴特利特的生活和创造性生活交织在一起，工作/家庭之间没有任何区别。这个想法指导了从接待/管理到画廊/工作室、烹饪/饮食、睡觉/洗澡的空间的创造，所有这些都打开了一个由艺术家设计的具有水和岩石特征的花园。两个30英尺宽35英尺开放的画廊/工作室，每层一个中心，允许在整个建筑中创建和观看艺术品。

Bartlett’s living and creative life are so entwined that there is no distinction between work/home. That idea governed the creation of spaces that flow from reception/administration to gallery/studio,  cooking/eating, sleeping/bathing, all opening onto a garden designed by the artist, with water and rock features. Two 30-foot by 35-foot open galleries/work studios, one centered on each floor, permit artwork to be created and viewed throughout the entire building.

 © Adam Friedberg

亚当·弗里德伯格

建筑师贝里奇与巴特利特密切合作，在建筑的设计和翻新中采用了一种看似简单的画廊美学，几乎不想引起不应有的注意。但是有一个特别的细节，让人想起巴特利特的一些著名作品，那就是在每个潮湿地区的墙上都加入了墨西哥瓷砖，使用了15种不同的定制颜色，特别是艺术家为每个空间安排的颜色。

Working closely with Bartlett, architect Berridge employed a deceptively simple gallery aesthetic in his design and renovation of the building, with little desire to provoke undue attention. But one particular detail, evoking some of Bartlett’s well-known work, was the incorporation of Mexican tiles on the wall of each wet area, using 15 different custom colors, particularly arranged by the artist for each space.

 © Adam Friedberg

亚当·弗里德伯格

另一个值得注意的口音是一个37英尺长的实心核桃计数器在厨房的不锈钢橱柜顶部。它将餐厅、烹饪和社交空间结合在一起，这些空间与上一层前立面的长度保持一致。家具包括霍夫曼餐椅和自定义胶合板沙发巴特利特为她以前的家设计。她以前在格林威治村的工作室，泳池在睡区，还有她曾经风格各异的巴黎公寓，经常被拍照和出版。这是这位艺术家创造的最新住宅的第一次展示，这次是新西兰出生的纽约建筑师大卫·贝里奇。

Another accent of note is a 37- foot- long solid walnut counter on top of stainless steel cabinets in the kitchen area. This unites the dining, cooking and social spaces that run the length of the front façade on the upper floor. Furnishings include Hoffman dining chairs and the custom plywood sofa Bartlett designed for her previous home. Her former studio in Greenwich Village, with its pool in the sleeping area, and her onetime stylish Paris apartment, were frequently photographed and published. Here is the first look at the latest home the artist has created, this time with the New Zealand-born New York architect David Berridge.

 Floor Plan