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艺术与文化中心/Kengo Kuma和他的同事/Cite des Arts et de la Culture ......第1张图片

建筑师:Kengo Kuma和他的同事
位置:法国,Besancon
主要负责人:Kengo Kuma
项目经理:Sarah Markert
面积:11389.0平方米
摄影:Nicolas Waltefaugle
Architects: Kengo Kuma & Associates
Location: Besancon, France
Principal: Kengo Kuma
Project Manager: Sarah Markert
Area: 11389.0 sqm
Photographs: Nicolas Waltefaugle


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助理:Elise Fauquembergue
外墙和屋顶研究:Jun Shibata
项目指导:Yuki Ikeguchi
建筑师助理:Archidev
架构和Mep工程师:Egis
园艺师:L’Anton
声学工程师:Lamoureux
舞台设计: Changement a Vu
工料测量师:Cabinet Cholley
可持续工程师:Alto
Assistant: Elise Fauquembergue
Facade And Roof Study: Jun Shibata
Project Director: Yuki Ikeguchi
Architect Associate: Archidev
Structure And Mep Engineer: Egis
Landscaper: L’Anton
Acoustic Engineer: Lamoureux
Scenographer: Changement a Vu
Quantity Surveyor: Cabinet Cholley
Sustainable Engineer: Alto


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该项目是历史与建筑,水与光,城市与自然之间结合的结果。我们希望,贝桑松艺术文化中心通过阅读的不同规模的融合,可以与环境引起共鸣,从细节到整个项目,通过模糊了内部与外部之间的界限,来创建一个能够与环境引起共鸣的建筑,这种环境包括:丘陵,河流和贝桑松市。屋顶创建了建筑与环境之间的联系,并使这个项目显露出来。半透明的屋顶标志着建筑与非建筑之间的融合,并且当人们从高空的西塔代勒俯瞰它的时候,它可以作为一种掩饰。这是一种邀请,将公民聚集在它的保护之下。它标志着城市与自然,公民与河岸,公众与文化之间的相遇。
This project is the result of the union between history and architecture, water and light, city and nature. We wish that the Besancon Art and Culture Center strike a chord with the environment by the fusion of the different scale of reading, from the details to the entire project, by blurring the limit between interior and exterior, to create a building able to enter in resonance with his environment: the hills, the river and the city of Besancon. The roof creates the link between the building and his environment and makes the project blatant. Semi-transparent, the roof symbolizes the fusion between built and not-built and act as camouflage when people discover it from the Citadelle which is height overlooking. It is an invitation to the citizen to gather below his protection. It symbolized the encounter between the city and the nature, the citizen and the riverbank, the public and the culture.

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这个地点本身就拥有着它自己的历史和城市的历史。河岸通常是一种保护或是一个屏障。这个项目是这段历史的延续,它纵向的形状是由沃邦,仓库和旧的木头储存的方向决定的,在建筑的丰富性上进行保持并参与。贝桑松艺术文化中心延续了保护的概念,但是可以理解为这是城市与河流,优秀的客体与城市和河流统一的标志之间一扇具有纪念意义的大门。这是一个里程碑,它朴素的设计和物质性是可以识别的。我们希望通过一个强大的、清晰可辨的建筑来增强这个地方的特色,但是仍然尊重现有的建筑,河流和城市之间的关系。
The site brings with itself both its own history and the history of the city. The riverbank always has been either a protection or a barrier. The project is a continuity of this history, his longitudinal geometry is following the orientation given by Vauban, the warehouse, old storage of wood, is kept and participate in the richness of the building. The Besancon Art and Culture Center perpetuate the notion of protection, but can be read as well as a monumental gate between the city and the river, outstanding object and symbol of the unification of the city and his river. It is a landmark, recognizable by a sober design and the quality of his materiality. We wish to reinforce the genius loci of the site trough a strong and clearly identifiable building, but still respecting the relationship with the existing bastion, the river and the city.

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这两个功能被统一在大屋顶下,它们是通过由木板和钢板组成的外墙图案的细微差别而被识别的。图案尺寸水平方向为5000 X 2500,然而垂直方向为1625 X半楼的高度。这种FRAC部分位于旧红砖仓库建筑中。取出两个现有的楼板后,所创造出来的空隙包含在主要的展览室中。FRAC宽敞的大堂尽可能是透明的,对“艺术通道”及城市边缘开放。由于屋顶上随机定位的玻璃板,自然顶光扩散开来,以达到沟通站立在树冠地下感觉的效果,在这里,通过树叶掉落到地上而使灯光轻轻地照射过来。RCC是一个更加封闭的空间,除了它14米高的大堂,大部分都是透明的。FRAC的大堂和RCC通过屋顶连接在一起,创造了一个半室外的空间,“艺术通道”,通过半透明的屋顶,自然光可以照射到这里。这个通道是一个大空隙,在结构上是一个整体的建筑:它是一个门,同时又是一个庇护地,它聚集了这两种不同的功能,强调了这个项目的特殊性。
Unified below the large roof, the two functions are identifiable by subtle differences in the patterns of the façade composed by wood panels and steel panels. The pattern dimensions are for the FRAC: 5000 X 2500 Horizontal while for the CRR 1625 X half floor height vertically. The Frac is partially located in the old brick warehouse building. After taking out two of the existing slabs, the void created is containing the main exhibition room. The large lobby of the FRAC is as much as possible transparent, open to both “art passage” and city side. The natural top light is diffused thanks to the random positioned glass panels of the roof, in order to achieve to communicate the feeling of being below a canopy of tree, where the light gently come through leaves down to the ground. The CRR is more an introverted space, except for his lobby which is 14 m height and largely transparent. Both lobby of FRAC and CRR are connected by the roof, creating a semi-outdoor space, the “art passage”, which is flooded of natural light through the semi-transparent roof. This passage, a large void, is structuring the overall buildings: it acts simultaneously as a gate and a shelter; it emphasizes the particularity of this project witch gathering two different functions.

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屋顶是这个项目中具有象征性及统一性的元素。用随机的方式将不同的元素组合在一起,如玻璃,太阳能电池板,植被和有着不同颜色光洁度的金属板,自然光振动在它的表面上,这取决于组成它的不同元素的吸收和反射。它创建了一个像素化层,在这里,“像素”的明显的偶然状况被定义为一个独特的形象,与环境色调结合在一起来看,它是抽象的、令人困惑的。透明度是通过下面这些项目的必要性而被部分定义的:房间屋顶不透明的有教室,行政办公室或展览室。当它位于大堂的顶部或者是当它覆盖着外部空间时,它会变得更加透明。木制框架被挂立起来,这个由透明和不透明的变化所组成的第五立面代表了一个独特及创新的设计,薄薄的像素化层漂浮在杜河的上空,在晚上,变成了吸引人们进入城市的地标。从屋顶出现的唯一元素是旧仓库变成了展览馆,会使人们想起这个地方的工业化时期。
The roof is the emblematic and unifying element of the project. Composed in a random way with different element such as glass, solar panel, vegetation and metal panels with different color finish, the natural light vibrates on its surface, depending of the absorption and reflection of the different elements composing it. It creates a pixelized layer where the apparent aleatory position of the “ pixels” define a unique image, abstract and confounded with the environment hue. The transparency is partially defined by the necessity of the program below: opaque on top of the rooms such as classroom, administration, or exhibition room. It gets more transparent when it is on top of the lobby or when it is covering the outdoor spaces. Suspended by a wood framework, this fifth façade made of variation of transparency and opacity represent a unique and innovative design, a thin pixelized layer floating on top of the Doubs river and becoming at night a landmark reinforcing the entrance of the city. The only element emerging from the roof is the old ware house converted in exhibition gallery, reminding the industrial period of the site.

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景观设计参与了沿河的人行道设计:它延伸并连接了现有的滨海长廊。这个地方的主要限制是具有水灾风险。我们加固了堤岸,并建于提防的顶部。这就是建筑物被安装在基座的顶部的原因。人们可以通过走在“艺术通道”半户外空间之下,来对底座进行物理试验,它垂悬于街道,由一个大台阶连接到河边。RCC围绕着花园建造,叫做“和谐花园”,潮湿的花园中有苔藓和低矮的树木。沿着FRAC,连接着“艺术通道”的是一个池塘,这个池塘有着过滤的功能,在城市和建筑之间创造了一种柔和的过渡。影子和光线部分覆盖在半透明的屋顶上,它们的变化随着反射池塘上的反射而交织在一起。
The landscape design takes part in the pedestrian path along the river: it extend and connect the existing promenade. The main constrain of the site is the flood risk. We have reinforced the embankment and built on top of that dike. This is the reason why the building is installed on top of a pedestal. This pedestal can be physically experimented walking below the “art passage” semi-outdoor space, overhanging the street and connected to the river by a large stair. The CRR is organized around a garden, called « harmony garden », a wet garden combining moss and low trees. In continuity with the “art passage”, along the FRAC, a water pond planted with filtering rush is creating the soft transition between the city and the building. Partially covered by the semi-transparent roof, the shadow and light variations interweaves with the reflections on the reflection pond.

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内部设计主要是幕墙和屋顶模式的建造,过滤自然光线。木材,玻璃或金属网微妙地结合在一起,以产生一种宁静轻松的气氛。木制框架支撑着屋顶,这种现象出现在大堂,露台以及最后的楼层上,这加强了屋顶的存在感。外部的景色很精确的在框架中显现出来,有水池塘,河流和为了提供不同的空间体验而建造的两倍或三倍的高度空间。
The interior design is mainly structured by the façade and roof patterns, filtering the natural light. Wood, glass, or metal meshes are combined with subtleties in order to generate a peaceful and relaxing atmosphere. The wood frameworks supporting the roofing appear in the lobbies, terraces and in the last floors witch intensify the presence of the roof. The views to the exterior are precisely framed either to the water pond, the river, the double or triple height spaces manage to offer different space experiences.

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对于市民来说,这个地方一直被视为一个物理屏障(无论是设防或是工业区)。我们打算建造一个开放的、受欢迎的文化中心,城市与河流之间的门户及屋顶,与环境和谐共存。
This place witch always has been perceived as a physical barrier for the citizens (either fortification or industrial area) we propose to generate an open and welcoming cultural centre, a gate and a roof between the river and the city, in harmony with the environment.

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Plan平面图
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Site Plan总平面图
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Elevation立视图
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Section局部图
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 匿名

  • 易@水~長瑬
  • 2013.07.15 16:49
    帖子发重了吧--前面有个隈研吾的贝桑松艺术馆了吧
    • 0
  • 封印
  • 2013.06.29 21:04
    能否贴一下原网址?
    • 0
    没有了...
    评论加载中,请稍后!

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