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编辑导读:出于对原遗迹的尊重,新建的游客中心为了达到消隐的目的,完全采用混凝土来包裹表皮,这样模糊了沙滩与院落的边界,同时作为过渡空间,扮演着通往花园的门户的角色。(经典值评价:6.7)
项目概况:
建筑设计:Titan
地点:法国(Saint-Vincent-sur-Jard, France)
建筑面积:125.0 m2
完工时间:2017
照片版权:Julien Lanoo 
 
项目简介:
作为一个政治家和一名新闻记者,乔治·克列孟梭是少数人之一,而他对艺术与文化的理解在今天依然令人颇受启迪。他在一生中的最后几年间,住在一栋位于圣文森特苏尔(Saint-Vincent-sur-Jard)的滨海小屋,这栋小屋后来被改为国家名胜区。不过,它在2010年时被旋风辛西亚损毁。现在这个为了修复小屋而设计的游客中心正处于在建中。
 
其中一个主要的建筑物是在旧结构的框架内创造两个并置的体量。在这一片优美的风景中,克列孟梭与克劳德·莫奈(Claude Monet)一起设计的一个花园成为了该项目的焦点。
 
我们对游客中心的提案是一个不与滨海小屋关联的的矩形体块,温和地将其与环境融为一体。保持对遗迹的尊重,新加建的部分扮演着通往花园的门户的角色。我们将结构想象为一个从地面生长出来的混凝土的巨大的体量。完全以混凝土制成的表皮模糊了与沙滩、沙丘和院落的边界,同时清晰地形成了一条从开敞的公共空间到亲切的克列孟梭花园的通途。
 
新项目环绕在一个中心,即一个扮演“过渡结构”的凉亭周围,承担接待游客、博物馆商店及教育空间的职能,同时连接着两个加建的为了技术设施和员工使用的体块。
 
根据体量的不同,建筑的外部以两种不同的方式建构。游客中心完全由光滑的砂砾色的混凝土制成,而另两个体块,同样是混凝土,存在感却要强烈得多。法律带来的重重限制转变为该项目营造优质空间的有利条件,供游客使用。
 
团队建筑师、客户与建设公司之间的友好的合作与开放的态度,使得项目有了更多的可能。有着斜坡混凝土顶的凉亭采取了多样的混凝土材料技术,带来了新潜力与新发现,表现了混凝土材料敏感性。
 
花园突显出与自然的关系的重要性,并促使访客在这里成为敏锐的观察者。



Text description provided by the architects. A politician and journalist, Georges Clemenceau was one of those rare personalities with many qualities, and his understanding of arts and culture continue to inspire us today. He spent the last years of his life in a house, located at the edge of the ocean, in Saint-Vincent-sur-Jard, transformed later into a National Monument. Demolished by Xynthia in 2010, the welcome pavilion is now being rebuilt to acquire visitors and reinstate the National Monument. One of the main site’s premises is to create within the massing of the old structure composed of two juxtaposed volumes. In these beautiful landscape scenery, Clemenceau designed together with painter Claude Monet a garden which is a focal point in the project.
 
 
Our proposal for the new entrance pavilion is a discrete rectangular volume, gently embedded into its surroundings. Respecting the site’s heritage, the new addition is acting as a gateway to the gardens. We imagined the structure as a concrete monolithic volume emerging from the ground. Its hull, entirely built of concrete, blurs with the beach, the dunes and the courtyard, while clearly de ning a passage from the open public space to the intimate gardens of Clemenceau. Working with the site constraints, the new project revolves around a central nave - a pavilion acting as a ‘‘transition structure’’, accommodating reception, museum shop and educational space, and simultaneously connecting two additional volumes for technical facilities and the personnel. Combining minimalism with ecology, our concept imposes durability and integrity, and creates presence, but remains humble.
 
 
The outer body is constructed in two different ways according to the volumes. The welcome pavilion is entirely made of smooth sand-coloured concrete, while the other two volumes, also of concrete, are robust. The constraint of rebuilding in the exact massing of the old building and following law restrictions after the storm Xynthia is turned into a program’s advantage to provide optimized space, allowing simple visitor ow.
 
 
The collaborative work and openness between the team of architects, the client and the execution company, facilitated a project with extended meditation. The pavilion, with its sloped concrete roof, with the different implemented techniques of using concrete, and the challenges of constructing on site under Monuments Protection lead to new potentials and discovery, expressing the sensitive aspect of concrete and its visionary implications.
 
 
Combining minimalism with ecology, our concept imposes durability and integrity, and creates presence, but remains humble. The gardens accentuate the importance of the relationship with nature, inviting the visitor to become an observer.
 
 
The welcome pavilion is entirely made of smooth sand- coloured concrete, while the other two volumes, also of concrete, are robust. The constraint of rebuilding in the exact massing of the old building and following law restrictions after the storm Xynthia is turned into a program’s advantage to provide optimized space without any corridors, allowing simple visitor ow. The pavilion, with its sloped concrete roof, with the different implemented techniques of using concrete and its textures, and the challenges of constructing on site under Monuments Protection lead to new potentials and discovery, expressing the sensitive aspect of concrete and its visionary implications.

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