建筑师团队陈晨、Jean-Patrick Degrave、Katarina Dobrowolski、Patricia Fernandez、Laure Frachet、Sangmin Hyun、卡罗莱娜·奥利维拉、Pedro Rodriguez Dinis行刑员Jeanne Autran、Luisa Caprio、Alice DuFourmantelle、Jean San Pierre、Beryl Monnot

Architects Team Chen Chen, Jean-Patrick Degrave, Katarina Dobrowolski, Patricia Fernandez, Laure Frachet, Sangmin Hyun, Carolina Oliveira, Pedro Rodriguez Dinis Execution Jeanne Autran, Luisa Caprio, Alice Dufourmantelle, Jean Saint-Pierre, Beryl Monnot More Specs Less Specs

Architects Team Chen Chen, Jean-Patrick Degrave, Katarina Dobrowolski, Patricia Fernandez, Laure Frachet, Sangmin Hyun, Carolina Oliveira, Pedro Rodriguez Dinis Execution Jeanne Autran, Luisa Caprio, Alice Dufourmantelle, Jean Saint-Pierre, Beryl Monnot More Specs Less Specs

 © Stéphane ABOUDARAM | WE ARE CONTENT(S)

C.Stéphane ABOUDARAM=“我们是满意的”(S)

架构师提供的文本描述。大城市的中心附近有塔楼，以避免扩张过远，并限制每天的通勤。它们使用现有的服务基础设施和运输系统，自然使它们在这两个术语的所有意义上都是可持续的和城市化的。这一观测结果解释了由这些不同的塔楼所创造的高大轮廓的生长，在海边以及在欧洲́二头车́e发展的中心。

Text description provided by the architects. Large cities have towers close to their center in order to avoid expanding too far, and to limit daily commutes. They use existing service infrastructure and transportation systems, naturally making them sustainable and urban in all the senses of these two terms. This observation explains the growth, by the sea and in the heart of the Euroméditerranée development, of the family of tall silhouettes created by these various towers.

Text description provided by the architects. Large cities have towers close to their center in order to avoid expanding too far, and to limit daily commutes. They use existing service infrastructure and transportation systems, naturally making them sustainable and urban in all the senses of these two terms. This observation explains the growth, by the sea and in the heart of the Euroméditerranée development, of the family of tall silhouettes created by these various towers.

 © Michèle Clave

C.MICHLEGLECLAVE

年龄最大的已经很容易识别几年了-它是由ZahaHadid为CMA CGM设计的。在这第一个灯塔之后，另有三个轮廓突出。两个小妹妹，由让-巴普蒂斯特·皮埃特里和伊夫斯·莱昂设计。至于大姐姐，第三，她的抱负是提供在马赛天空工作的空间。我的工作，似乎是给她最好的基因！

The eldest has already been easily identifiable for several years – it was designed by Zaha Hadid for CMA CGM. In the wake of this first beacon, three other silhouettes stand out. Two little sisters, designed by Jean-Baptiste Pietri and Yves Lion, o er apartments with fine, uninterrupted views over the sea. As for the big sister, the third, her ambition is to provide space to work in the Marseille sky. My job, it seems, is to give her the best possible genes!

The eldest has already been easily identifiable for several years – it was designed by Zaha Hadid for CMA CGM. In the wake of this first beacon, three other silhouettes stand out. Two little sisters, designed by Jean-Baptiste Pietri and Yves Lion, o er apartments with fine, uninterrupted views over the sea. As for the big sister, the third, her ambition is to provide space to work in the Marseille sky. My job, it seems, is to give her the best possible genes!

世界各地的塔楼看起来太像了。它们通常看起来是可互换的-它们可以在任何地方存在。他们很少描述他们的城市。他们很高，但不知名。光滑的平行脚踏，它们在过于闪亮的幕墙后面反射了很多东西。

Towers all over the world look too alike. They often appear interchangeable – they could exist anywhere. Too rarely do they describe their city. They are tall, but anonymous. Sleek parallelepipeds, they reflect a great deal behind their too- shiny curtain walls.

Towers all over the world look too alike. They often appear interchangeable – they could exist anywhere. Too rarely do they describe their city. They are tall, but anonymous. Sleek parallelepipeds, they reflect a great deal behind their too- shiny curtain walls.

 © Stéphane ABOUDARAM | WE ARE CONTENT(S)

C.Stéphane ABOUDARAM=“我们是满意的”(S)

根据这一认识和这些关键的考虑，我的建议是一个奇异的塔。它的野心是明显地属于浓密的地中海空气。它显示了它与太阳一起玩耍的愿望，并在天空中绘制阴影……但是只有光影、简单的几何形状来创建复杂的数学游戏。而且，是的，总是简单和复杂……

Informed by this awareness and these critical considerations, my proposal is a tower that is singular. Its ambition is to belong clearly to the dense Mediterranean sea air. It displays its desire to play with the sun and draw shadows on the sky... But only light shadows, simple geometries to create complex mathematical games. And, yes, always simplicity and complexity...

Informed by this awareness and these critical considerations, my proposal is a tower that is singular. Its ambition is to belong clearly to the dense Mediterranean sea air. It displays its desire to play with the sun and draw shadows on the sky... But only light shadows, simple geometries to create complex mathematical games. And, yes, always simplicity and complexity...

 © Stéphane ABOUDARAM | WE ARE CONTENT(S)

C.Stéphane ABOUDARAM=“我们是满意的”(S)

我想这座塔。我说过了。我叫它马赛亚。不过，请放心，它没有任何侵略性。是的，它是混凝土，但这是解除武装的混凝土-轻混凝土，纤维混凝土-轻如未完成的建筑图纸.可以在电脑屏幕上看到的那种，只显示笔画和线条.一个无忧无虑的建筑师的工作，他不知道如何完成它！

I imagine this tower. I speak of it. I call it La Marseillaise. Be assured, however, that there is nothing aggressive about it. Yes, it is concrete, but this is disarmed concrete – lightweight concrete, fiber concrete – as light as an unfinished architectural drawing... The kind that can be seen on computer screens, showing only strokes and lines... The work of a carefree architect who doesn’t know how to finish it off!

I imagine this tower. I speak of it. I call it La Marseillaise. Be assured, however, that there is nothing aggressive about it. Yes, it is concrete, but this is disarmed concrete – lightweight concrete, fiber concrete – as light as an unfinished architectural drawing... The kind that can be seen on computer screens, showing only strokes and lines... The work of a carefree architect who doesn’t know how to finish it off!

 © Stéphane ABOUDARAM | WE ARE CONTENT(S)

C.Stéphane ABOUDARAM=“我们是满意的”(S)

是的，素描的美，留下一些画布的画的美.一种缺席，成为想象的另一种境界。La Marseillaise号称是一首对光的赞歌-一曲步行曲，一条楼梯，一条通向天空或天空的走道的攀登。

And yes, the beauty of the sketch, of the painting that leaves some of the canvas on show... An absence that becomes another realm of the imagination. La Marseillaise claims to be an anthem to the light – a march in step, a stairway, an ascent to walkways towards or in the sky.

And yes, the beauty of the sketch, of the painting that leaves some of the canvas on show... An absence that becomes another realm of the imagination. La Marseillaise claims to be an anthem to the light – a march in step, a stairway, an ascent to walkways towards or in the sky.

塔的乐趣是一个美丽的望望和一种归属感。无论是在里面还是外面……在雾中，在雨中，在阴天的夜晚……当玻璃消失的时候，剩下的东西都是一个数学轮廓，用阴影和光线的线条打断，遮阳篷混合到天花板上，同样的颜色从内部到外面，以更好地混合和抹去玻璃的透明物理极限。灯光和颜色会干扰，而LaMarseillaise将真正成为蓝白色的，它将取代法国的蓝色，天空蓝，皇家白色，白色的地平线或偶尔的云，血红色与周围的屋顶和墙壁中存在的Ocher和Brick红色。从外面看，它的目的是在马赛天空中压印线，混合透明和反射，栖息在这片天空中，有苍白的阴影和珍珠的灯光，树木和数字，它们的存在我们从来没有确定过，因为它们在天堂。

The pleasures of towers are those of a beautiful lookout and a feeling of belonging to the atmosphere... Of being both inside and outside... Inside in mists, in the rain or in the cloudy night... Outside when the glass disappears and all that remains is a mathematical outline punctuated with lines of shadow and light, the awning blending into the ceiling, the same colors passing, inside to out, to better blend and erase the transparent physical limits of the glass. Lights and colors interfere, and while La Marseillaise will truly be blue-white- red, it will replace France's blue with sky blue, royal white with the impure white of the horizon or the occasional cloud, and blood red with the ocher and brick reds present in the surrounding roofs and walls. Seen from the outside, it aims to imprint its lines on the Marseille sky, blend transparencies and reflections, inhabit this piece of sky checkered with pale shadows and pearly lights, trees and figures, of whose existence we are never certain, as they are in the heavens.

The pleasures of towers are those of a beautiful lookout and a feeling of belonging to the atmosphere... Of being both inside and outside... Inside in mists, in the rain or in the cloudy night... Outside when the glass disappears and all that remains is a mathematical outline punctuated with lines of shadow and light, the awning blending into the ceiling, the same colors passing, inside to out, to better blend and erase the transparent physical limits of the glass. Lights and colors interfere, and while La Marseillaise will truly be blue-white- red, it will replace France's blue with sky blue, royal white with the impure white of the horizon or the occasional cloud, and blood red with the ocher and brick reds present in the surrounding roofs and walls. Seen from the outside, it aims to imprint its lines on the Marseille sky, blend transparencies and reflections, inhabit this piece of sky checkered with pale shadows and pearly lights, trees and figures, of whose existence we are never certain, as they are in the heavens.

 © Stéphane ABOUDARAM | WE ARE CONTENT(S)

C.Stéphane ABOUDARAM=“我们是满意的”(S)

Architects Ateliers Jean Nouvel

Location 2 Boulevard Euromediterranée Quai d'Arenc, 13002 Marseille, France

Client Constructa

Project Leader Vincent Delfaud, Nathalie Sasso

Area 46767.0 m2

Project Year 2018

Photographs Stéphane ABOUDARAM | WE ARE CONTENT(S), Michèle Clave

Category Office Buildings

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