Introduction

位于布雷康灯塔的中间，这个位于Trallong村的线性的绿地，有一个南面的地方，并且对潘英帆有着很好的看法。丰富的当地方言启发了现代‘长屋’的概念，遵循土地的轮廓，埋入山坡，并响应当时的条件。我们花了两年的时间，通过现场访问，模型和原型来研究和开发这一设计。这个设计演变成了一个清晰的挤压，使用技术熟练的工匠来建造一座高科技建筑。这一时期被用来采购当地的材料，研究和发展我们的威尔士语适应。长屋的类型学倾向于被动的太阳计划，由于地形和场地的方面而得到加强。现代建筑技术提供了一种全新的现代化和高性能的建筑，它对景观做出了回应。整个设计都是由环境驱动的。被动式太阳能设计策略利用所有可用的天然能源，并辅之以日志锅炉等主动特性。

Situated in the midst of the Brecon Beacons, this linear Greenfield site in the village of Trallong has a southerly aspect and fine views towards Pen Y Fan. The rich local vernacular inspired the concept of a modern 'long house', following the contours of the land, embedding itself in the slope of the hill and responding to the prevailing conditions. We spent two years researching and developing this design through site visits, models and prototypes. The design evolved into a crisp extrusion using skilled craftsmen to deliver a high-tech building. This period was used to procure local materials, research and to develop our Welsh vernacular adaptation. The typology of the long house leant itself to a passive solar plan, enhanced by the topography and aspect of the site. Contemporary construction techniques have delivered a thoroughly modern and high performance building, which responds to the landscape. The design was environmentally driven throughout. The passive solar design strategy uses every natural energy source available, and is supplemented with active features such as the log boiler.

 © David Grandorge

(David Grandorge)

项目历史/背景

Project History/ Background

Ty Pren最初是由我们的客户Gavin和Vina Hogg在2005年构思的，他们是负责管理Penpont庄园的环保主义者(最近被授予林业委员会的“威尔士商业和可持续性”奖)，希望创造一个独特的环境建筑，强烈地借鉴威尔士方言。他们相信FildenFowles，一个年轻的设计团队，从第一部分开始我们的第一个主要项目。这一相互信任和善意的先例，以对可持续性和绿色设计的共同承诺为基础，整个设计和建设团队都证明了这一点。这使得建造了一座规模很小但野心很大的特殊建筑成为可能。作为施工经理的客户采取了全面的环境办法，有助于在预算紧张的情况下高效交付可持续建筑，并确保设计和交付都继续受到审查。材料所体现的能量仍在不断地审查之中，而且往往先于成本。

Ty Pren was first conceived in 2005 by our clients, Gavin and Vina Hogg, committed environmentalists responsible for managing the Penpont Estate (recently awarded the Forestry Commission’s ‘Wales Business and Sustainability’ award), with the desire to create a uniquely environmental building drawing strongly from the Welsh vernacular. They placed their faith in Feilden Fowles, a young design team straight out of Part 1 and embarking on our first major project. This precedent of mutual trust and good will, underpinned by a shared commitment to sustainability and green design, was shown by the entire design and construction team. This enabled the delivery of an exceptional building, small in scale but with huge ambitions. The client, acting as a construction manager, had a holistic environmental approach that facilitated the efficient delivery of a sustainable building within a tight budget, and ensured both the design and its delivery remained under continued scrutiny. The embodied energy of materials remained under constant review and often took precedent over cost.

 © David Grandorge

(David Grandorge)

Design Approach

由于位置特别敏感，位于布雷康灯塔国家公园的边缘，在设计的早期阶段，关于白话的讨论很多。在目前关于威尔士建筑的争论中，“空间感”和“地方身份”这样的短语非常丰富。MathewGriffith在“关于威尔士”一书中建议说.“场所”的概念位于一种新的做事方式的核心。我们需要更有效地处理这些地方的特点，以及人们对这些地方的重视和重视.‘。’fi‘。威尔士文化的真正力量和身份体现在他们朴素的教堂和乡间的乡土建筑中，逐渐得到了补充和阐述。我们热衷于从这些参考，同时避免简单地复制一个明确的版本的历史方言，这一方法将贬值的原始。相反，我们希望重新解释，不一定是通过模仿历史细节或使用真实材料，而是通过微妙地重新解释熟悉的形式和想法，同时对环境可持续性采取全面的办法。

Due to the particularly sensitive location, situated on the edge of the Brecon Beacons national park, discussions on the vernacular were numerous throughout the early stages of design. Phrases like ‘sense of space’ and ‘local identity’ are abundant in the current debate regarding Welsh Architecture. Mathew Griffith’s suggested in ‘About Wales’ that ‘...the concept of ‘place’ is located at the heart of a fresh way of doing things. We need to be more effective in defining both the character of places and the value and significance that people attach to them...’ The real strength and identity of the Welsh culture is found in their simple plain chapels and vernacular buildings embedded in the countryside, gradually added to and elaborated. We were keen to take reference from these while avoiding simply reproducing an explicit version of the historic vernacular, an approach that would devalue the original. Instead we hoped to reinterpret, not necessarily by imitating historic details or using authentic materials, but through a subtle reinterpretation of familiar forms and ideas coupled with an holistic approach to environmental sustainability.

 © David Grandorge

(David Grandorge)

Ty Pren字面上翻译为“木屋”，因为木材驱动了整个设计策略。这座建筑是用落叶松覆盖的，从两英里外的客户的地产上挖来和砍伐，随后在现场进行了碾磨。未经处理的覆层预计寿命为25年；在客户的财产上已种植了8棵落叶松树，以便在必要时取代它。拆除的包层将被烧毁以加热房子。从废弃建筑中回收的威尔士石板覆盖着屋顶和暴露的北墙。东部、南部和西部的“太阳高地”包含了一种更细长的落叶松皮。结构绝缘板(SIPS)的使用，加上高性能的窗户，已经导致了一个超级密闭的建筑。二次绝缘(热绝缘)由羊的羊毛混合物，以达到U值为0.15W/m2K在墙壁上。内部本地来源的橡木被用于装修，整个北墙是由可持续来源的桦木面胶合板建造的。石灰基抹灰和涂料从泰毛尔石灰一直使用。这些天然材料无毒，具有低的能量。

Ty Pren translates literally as 'House of Wood', as timber drove the design strategy throughout. The building was clad in larch, sourced and felled from the client’s estate two miles away, and subsequently milled on site. The untreated cladding has a predicted life of 25 years; eight larch trees have been planted on the client’s estate to replace this when necessary. The removed cladding will be burnt to heat the house. Recycled welsh slates from derelict buildings on the estate wrap over the roof and down the exposed north wall. The east, south and west ‘Solar Elevations’ incorporate a more filigree larch skin. The use of Structural Insulated Panels (SIPs) coupled with the high performing windows has resulted in a super airtight building. Secondary insulation (Thermafleece) made from a sheep’s wool blend was used to reach a U-Value of 0.15W/m2K in the walls. Internally locally sourced oak was used on the fit-out, and the entire north wall constructed from sustainably sourced birch-faced plywood. Lime based plasters and paints from Ty Mawr lime were used throughout. These natural materials are non-toxic and have a low embodied energy.

 © Fergus Feilden

费格斯·菲尔登

落叶松的低能量、灵活性和特性非常适合这个环保的房子；特别是考虑到这位树农的客户能够从他的林地里获得大量的木材。落叶松在两英里外被砍伐，并在现场用移动锯木厂锯。它是绿色的，以自然的天气为银灰色，补充了沼泽地的背景。当最初的覆层被砍伐时，在客户的林地内种植了新的树木，开始了25年的滚动木材生命周期。废弃的包层将被烧毁，以加热房子，利用其最后的能源。

The low embodied energy, flexibility and character of larch lent itself perfectly to this environmental house; particularly given that the client, an arboriculturalist, was able to source much of the timber from within his woodlands. The larch was felled just two miles away and sawn on site with a mobile sawmill. It was fitted green in order to naturally weather to a silver-grey, complementing the moorland backdrop. New trees were planted within the client’s woodland when the original cladding was felled, starting a rolling 25-year timber life cycle. The discarded cladding will then be burnt to heat the house, harnessing the last of its energy.

 © Edmund Fowles

埃德蒙·福尔斯(Edmund Fowles)

太阳正面包括深设置的窗户显示，以防止过度的太阳能增益，而滑动百叶窗避免过热到第一层空间。落叶松是锯成倒角的巴托，安装10毫米的间隔，并出发在100毫米的垂直螺柱。这改善了通风，产生了细丝外观的雨幕包层，并纳入了平齐屋檐的细节，强调了清脆的‘长屋’类型。落叶松板被插入到窗口中，覆盖窗框，突出穿孔的开口。

The solar facades include deep-set window reveals that prevent excessive solar gain, while sliding shutters avoid overheating to the first floor spaces. The larch was sawn into chamfered battens, mounted 10mm apart and set out on 100mm vertical studs. This improves ventilation, produces a filigree appearance to the rain screen cladding and incorporates flush eaves details that emphasise the crisp 'long house' typology. Larch boards are inserted into the window reveals, covering the window frames and highlighting the punched openings. 

该计划在简单性上是现代主义的，由标准的SIP面板和板材材料尺寸驱动，位于120万个网格上。接连的桦树面铺设北墙包括所有的服务和公用事业，包括浴室，楼梯，储藏室，储存和太阳能热储存。这堵墙是由土生土长的橡木钉连接起来的，其影子缝隙沿着房屋的基准线延伸。弹出适合的门提供了一个无缝和微妙的墙，结构的空间。楼梯被凹进后墙的深处，出现在观景台上，可以直接看到北、西、东，南边是画笔扇。威尔士橡木地板运行的长度上画廊和整个底层表达线性设计。

The plan is modernist in its simplicity, set out on a 1.2m grid, driven by the standard SIP panel and sheet material size. The continuous birch-faced ply north wall incorporates all the services and utilities, including bathrooms, stairs, pantry, storage and solar thermal store. This wall is articulated by home-grown oak studs with shadow gaps running along the datum lines of the house. The pop fit doors deliver a seamless and subtle wall, structuring the space. The stair is recessed into the depth of the back wall, emerging on the viewing gallery with direct views north, west, east and framing Pen Y Fan to the south. Welsh oak floorboards run the length of the upper gallery and throughout the lower ground floor expressing the linear design.