Rendering of the project. Image Courtesy of Alberto Campo Baeza

项目的渲染。阿尔贝托·坎波·巴扎的形象礼貌

 Interior rendering. Image Courtesy of Alberto Campo Baeza

内部渲染阿尔贝托·坎波·巴扎的形象礼貌

卢浮宫李文(Louvre Liévin)的比赛是在萨那(Sanaa)的卢浮宫透镜(Louvre Lens)获得成功的推动下举行的，这促使该博物馆调查另一个前哨的选择，以保存和保存博物馆藏品中坐落在离伦斯非常近的地方，李文曾经的矿业景观部分地激发了这个计划的低沉而沉闷的存在，阿尔贝托·坎波·贝扎(Alberto Campo Baeza)将其描述为“一座能够安全守护这些宝藏的堡垒”。

The Louvre Liévin competition was spurred by the success of SANAA's Louvre Lens, prompting the museum to investigate options for another outpost to hold and preserve around 250,000 artworks from the museum's collection. Sited very close to Lens, the former mining landscape of Liévin partly inspired the low-slung, brooding presence of the proposal, described by Alberto Campo Baeza as "a fortress capable of securely guarding those treasures."

 Building model. Image Courtesy of Alberto Campo Baeza

建筑模型。阿尔贝托·坎波·巴扎的形象礼貌

 Sectional model of the building. Image Courtesy of Alberto Campo Baeza

建筑物的截面模型。阿尔贝托·坎波·巴扎的形象礼貌

这一提案被建筑师们命名为“勒堡伊芙尔”(醉船)，它的灵感来源于亚瑟·林波1871年的同名诗，它以清脆的形式呼应了这首诗严格的A/B/A/B结构，并唤起人们对船形的记忆。在长而低的讲台上，设计融合了所有的保护工场区域和服务，建筑的画廊部分在船的“烟囱”中占据了突出的位置。

Named "Le bateau ivre" (The Drunken Boat) by the architects, the proposal was also inspired by Arthur Rimbaud's 1871 poem of the same name, echoing the poem's strict A/B/A/B structure in its crisp shape, and calling to mind the shape of a boat in its form. In the long, low podium, the design incorporated all of the conservation workshop areas and services, with the gallery portion of the building taking a prominent position in the emerging "chimney" of the boat.

 Plan and longitudinal section. Image Courtesy of Alberto Campo Baeza

平面和纵断面。阿尔贝托·坎波·巴扎的形象礼貌

为了进一步加强建筑与它所居住和保护的艺术品之间的关系，Campo Baeza和Gabrion还制作了三张明信片图像，将他们的设计插入卢浮宫的一些最珍贵的作品中。其中一座建筑被插入“小米的天使”(The Angelus)的背景中；在另一部中，这座建筑的模型被替换为让·巴普蒂斯特·西梅恩·夏丁(Jean-Baptiste-Siméon Chardin‘s Boy)的“旋转的顶端”(The Topy)的焦点；最后，这座建筑在莫奈的“太阳

To further strengthen the relationship of the building with the artwork it houses and protects, Campo Baeza and Gabrion also produced three postcard images, inserting their design into some of the Louvre's most prized works. In one, the building is inserted into the background of Millet’s The Angelus; in another, a model of the building is substituted as the focus of Jean-Baptiste-Siméon Chardin's Boy with a Spinning Top; finally, the building shimmers on the horizon in Monet's Soleil Levant.

 The design inserted into Millet's "The Angelus". Image Courtesy of Alberto Campo Baeza

这个设计插入了小米的“天使”。阿尔贝托·坎波·巴扎的形象礼貌

 A "model" of the design inserted into Chardin's "Boy with a Spinning Top". Image Courtesy of Alberto Campo Baeza

一个“模型”的设计插入夏丁的“男孩与一个旋转的顶部”。阿尔贝托·坎波·巴扎的形象礼貌

 The design inserted into Monet's "Soleil Levant". Image Courtesy of Alberto Campo Baeza

这个设计被插入莫奈的“太阳之夜”中。阿尔贝托·坎波·巴扎的形象礼貌

建筑师Alberto Campo Baeza、Rapha l Gabrion Location Liévin、Alberto Campo Baeza、Elena Jiménez、Tommaso Campiotti、María Pérez de Camino、Imanol Iparraguirre新增合作者Ignacio Aguirre和Alejandro Cer比利亚项目2015年

Architects Alberto Campo Baeza, Raphaël Gabrion Location Liévin, France Category Preservation Site Design Team at Alberto Campo Baeza Alberto Campo Baeza, Elena Jiménez, Tommaso Campiotti, María Pérez de Camino, Imanol Iparraguirre Additional Collaborators Ignacio Aguirre and Alejandro Cervilla Project Year 2015