在使用20年之后，澳大利亚企业总部需要扩展其分散在地理位置上的活动，并提供展览空间以及公共和接待空间。新校园不仅仅是一个工作空间，它通过提供与自然接触的生活水准来反映品牌的文化。该项目的效率建立在计划的基础上，该计划除了空间的简单分布外，还与滚动景观进行对话。

Extension of the Quiksilver Napali campus, Saint Jean-de-Luz After twenty years of use, the headquarters of the Australian business needs an extension in order to regroup their geographically scattered activities and to offer exhibition spaces, as well as communal and reception spaces. More than just a workspace, the new campus reflects the brand’s culture by offering a standard of living that is in contact with nature. The project’s efficiency is based on the plan which, beyond the simple distribution of spaces, is also in dialogue with the rolling landscape.

Extension of the Quiksilver Napali campus, Saint Jean-de-Luz After twenty years of use, the headquarters of the Australian business needs an extension in order to regroup their geographically scattered activities and to offer exhibition spaces, as well as communal and reception spaces. More than just a workspace, the new campus reflects the brand’s culture by offering a standard of living that is in contact with nature. The project’s efficiency is based on the plan which, beyond the simple distribution of spaces, is also in dialogue with the rolling landscape.

 © Vincent Monthiers

C.文森特·蒙蒂尔

 © Vincent Monthiers

C.文森特·蒙蒂尔

这座建筑是一个可以思考和漫游的对象，但它也是人与自然之间的一种中介，从而证明了一种让植物在空隙中绽放的成分是正当的。从东向西延伸，延伸中心突出在一个直角从旧的重新配置的建筑物，并允许进入一个弯曲的玻璃结构在地面水平，作为基础的悬垂卫星舱。

The building is an object to contemplate and to roam around but it is also a mediation between man and nature, thus justifying a composition which leaves vegetation to bloom in the gaps. Stretching from east to west, the heart of the extension juts off at a right angle from the old reconfigured building and gives access to a curved glass structure at ground level which acts as a foundation for the overhanging satellite-cabins.

The building is an object to contemplate and to roam around but it is also a mediation between man and nature, thus justifying a composition which leaves vegetation to bloom in the gaps. Stretching from east to west, the heart of the extension juts off at a right angle from the old reconfigured building and gives access to a curved glass structure at ground level which acts as a foundation for the overhanging satellite-cabins.

 © Vincent Monthiers

C.文森特·蒙蒂尔

这座名为Agora的中央大楼是经理办公室和自助餐厅的所在地。这是一个广阔的空间，打开了景观，它的建筑揭示了每一个建筑细节：一个建筑，真正的总和一个工匠的工作。这是一个建筑，提供了几个不同的叙事结构，所有有利于沉思。为此，弯曲的玻璃被设置在滚动的景观向东；一个窗口的丝带展开，从内部，给人的印象是沉浸在森林中。

The central building, named Agora, houses the managers’ offices and the cafeteria. It is a vast space that opens out onto the landscape, its architecture revealing each of the construction details: a building that really is the sum of an artisan’s work. It is an architecture that offers several different narrative structures, all favouring contemplation. To this effect, the curved glass is set into the rolling landscape to the east; a windowed ribbon unfurling which, from the inside, gives the impression of being immersed in the forest.

The central building, named Agora, houses the managers’ offices and the cafeteria. It is a vast space that opens out onto the landscape, its architecture revealing each of the construction details: a building that really is the sum of an artisan’s work. It is an architecture that offers several different narrative structures, all favouring contemplation. To this effect, the curved glass is set into the rolling landscape to the east; a windowed ribbon unfurling which, from the inside, gives the impression of being immersed in the forest.

 © Mathieu Choiselat

(c)MathieuChoiselat

小木屋是这种感觉的延续；它们是在对角线高跷上升起的，看起来像一个沐浴在光线中的舞台，向一个自然的剧院敞开。它们是完全相同的，但每一个都是由一个特定的生产部门个性化的。通过从停车场启动的走道，让我们有机会从一个新的角度看到这个网站：事实上，他们躺在绿色场地上的石灰石丝带在绿色的场地上起伏，提供了各种不同的观点。由于高性能的窗户，这些空中木制和玻璃卷被保护不受侵略性的阳光照射，遮阳和悬垂从屋顶或阳台。

The cabins are a continuation of this sensation; they are raised up on diagonal stilts and appear as a stage bathed in light, opening out towards a natural theatre. They are identically formed but each one is individualised by a particular production department. The access, via walkways which launch from the parking area, gives the opportunity to see the site from a new perspective: in fact, the ribbon of limestone that they lie on undulates on the green site and offers a variety of different viewpoints. These aerial wooden and glass volumes are protected from the aggressive sunlight thanks to high-performance windows, with shades and overhangs from the roof or from balconies.

The cabins are a continuation of this sensation; they are raised up on diagonal stilts and appear as a stage bathed in light, opening out towards a natural theatre. They are identically formed but each one is individualised by a particular production department. The access, via walkways which launch from the parking area, gives the opportunity to see the site from a new perspective: in fact, the ribbon of limestone that they lie on undulates on the green site and offers a variety of different viewpoints. These aerial wooden and glass volumes are protected from the aggressive sunlight thanks to high-performance windows, with shades and overhangs from the roof or from balconies.

 © Vincent Monthiers

C.文森特·蒙蒂尔

 Section 04

Section 04

 © Vincent Monthiers

C.文森特·蒙蒂尔

无论是建构主义和有机的，这种建筑，发挥节奏和宽度，并使用原材料和干物质过程，最终使办公室环境神秘莫测。在里面，服务空间已经扩展到了会议室和放松的地方，将运动的行为转变为一种愉快、交流和愉快的行为。

Both constructivist and organic, this architecture, playing on rhythms and widths and using raw materials and dry matter process serves, in the end, to demystify the office environment. Inside, the service spaces have been expanded to house meeting rooms and places to relax, transforming the act of movement into one of pleasure, exchange and conviviality.

Both constructivist and organic, this architecture, playing on rhythms and widths and using raw materials and dry matter process serves, in the end, to demystify the office environment. Inside, the service spaces have been expanded to house meeting rooms and places to relax, transforming the act of movement into one of pleasure, exchange and conviviality.

 © Vincent Monthiers

C.文森特·蒙蒂尔

 Section 02

Section 02

 © Vincent Monthiers

C.文森特·蒙蒂尔