© Martin Argyroglo

马丁·阿陀罗

架构师提供的文本描述。电影院和剧院：在设计新的景观空间时，到处都提到了̀ne。从巴塔哥尼亚开始，五个“生物地带”沿着四公里的跟踪镜头相互继承，然后进入苏丹萨赫勒、欧洲、圭亚那和马达加斯加。

Text description provided by the architects. Cinema and theater: the reference to mise en scène is everywhere in the design of the new landscaped spaces. Five “biozones” succeed one another along a four-kilometer tracking shot, starting with Patagonia, then on to the Sudanese Sahel, Europe, Guyana and Madagascar.

 © Martin Argyroglo

马丁·阿陀罗

从屏幕上到屏幕外，从翅膀，前景和背景的场景，眼睛被引导，观点是无限后退，在构图和框架中精心书写。继续这个比喻，Atelier创造了连续的视觉框架，扩大了人类和动物之间的维度和距离。时间作为第四维已经被添加到2D和3D。随着季节和年代的变化，人们对动物园的看法也随之发生了永久性的变化。最后，想象作为第五个维度，其中暗示完成了精神景观，并展开了这个多尺度的构图。

From on- to off-screen, scenes from the wings, foreground and background, the eye is guided, and the views are infinitely receding, scripted meticulously in composition and framing. Continuing this metaphor, Atelier has created successive visual frames that enlarge the dimensions and break down distances between humans and animals. Time as a fourth dimension has been added to 2D and 3D. It becomes a part of how one perceives the zoo with permanently changing landscapes as we move through the seasons and years. And lastly, imagination acts as a fifth dimension where suggestion completes the mental landscape and rounds out this multi- scale composition.

 © Martin Argyroglo

马丁·阿陀罗

交替的整体视图和完全沉浸，电路展开就像一条丝带，沿途形成鲜明对比的景观互相继承。

Alternating overall views and total immersion, the circuit rolls out like a ribbon along which contrasting landscapes succeed each other.

 Master Plan

动物园重新激活了一些传统的园林艺术中使用的景观设施，以减少界限、设置视图和隐藏某些元素。拓朴被用作基本的杠杆，引导游客从惊讶到惊讶，而不透露赛道的下一个阶段。这也是一个工具，加强大岩石，放大其65米与一个无与伦比的低角度拍摄。

The zoo reactivates several landscaping devices that are traditionally used in garden art to reduce boundaries, frame views and hide certain elements. Topography is used as basic leverage to lead visitors from surprise to surprise without revealing the circuit’s next stage. It is also a tool for enhancing the Great Rock, magnifying its 65 meters with an unparalleled low-angle shot.

 © Claud Cieutat

c.克劳德·齐埃塔特

Neither here nor there

这些生物地带不仅仅是对理想化自然的模仿，而是转移到巴黎的中心地带。

The biozones are not mere mimicry of idealized nature transposed to the heart of Paris.

工作室致力于建议，发挥视觉参考-颜色，物质，水平和表面-陡峭的游客在适当的气氛。景观已经被完全发明，原址的基本特征和浮雕被建议。因此，萨赫勒和空旷的巴塔哥尼亚平原的面积是通过折叠地面和根据马达加斯加植物生命的密度和高度来部署马达加斯加每个地方的特定颜色和物质引起的。这种对轨道的歪曲导致了通过它们的景观、空间和多样性来设计独特的地方。来访者既不是“这里”，也不是“那里”，而是处在一个中间世界，造成令人不安的迷失方向。

Atelier worked on suggestion, playing visual references—colors, matter, levels and surfaces —to steep visitors in the appropriate atmosphere. Landscapes have been completely invented with the original sites’ essential features and relief being suggested. Thus the expanses of the Sahel and the empty plains of Patagonia are evoked by folding the ground and deploying the colors and matter specific to each place, the forests of Madagascar by the density and heights of its plant life. This dissimulation of tracks has led to the design of unique places through their landscapes, their spaces and their diversity. Visitors are neither “here” nor “there” but in an in-between world that generates a troubling disorientation.

 Views Perspective

视图透视

这种迷茫是由于花园外偶尔看到的风景而加剧的，例如杜米斯尼尔大道的边缘建筑，以及博伊斯德芬森湖等。另一方面，他们的外表加强了一种感觉，在一个独特的地方，在一个珠宝箱，在城市的中心。至于其他方面，所有对城市环境的提及都已消失。没有街道或人行道来阻碍一个人的流浪。

This disorientation is augmented by occasional views outside the Gardens, i.e. the fringe of buildings lining Avenue Daumesnil, the lake in the Bois de Vincennes, etc. On the other hand their appearance reinforces the feeling of being in a singular place, inside a jewel box in the heart of the city. As for the rest, all references to an urban milieu have vanished. There are no streets or sidewalks to hinder one’s wanderings.

 © Martin Argyroglo

马丁·阿陀罗

在这里，动物园恢复了伟大的欧洲动物园(尤其是柏林的蒂尔加滕或伦敦动物园)的“地面”感觉，在高密度建筑中扮演着绿色飞地的角色。作为动物园的标志性象征，大石头是历史上巴黎南北走廊上的一个里程碑。

Here the zoo recovers the “above-ground” feeling of the great European zoos (Berlin’s Tiergarten or the London zoo in particular), playing the same role of a green enclave in a context of high-density building. As the zoo’s iconic symbol, the Great rock is a milestone on the historical Parisian north-south corridor.

 © Martin Argyroglo

马丁·阿陀罗

用一项全新的提案挫败怀旧情绪

Thwarting nostalgia with a radically new proposal

Vincennes动物园是巴黎集体记忆的一部分。工作室的建议包括保留象征元素，以抵消怀旧的诱惑。这座动物园是围绕着花园的旗舰地标-“大岩”组织起来的。这是简报的特点之一，也是Atelier建议的一个强项。在20世纪90年代翻修后，它可以像其他一些孤立的岩石、池塘和树木一样保留下来。另一方面，Atelier建议彻底改造景观空间，而不是“坚持过去”。

The Vincennes Zoo is part and parcel of Parisian collective memory. Atelier’s proposal consists in preserving the symbolic elements to counteract any temptation for nostalgia. The zoo has been organized around the Gardens’ flagship landmark, the Great Rock. This was one of the brief’s specificities and a strong point in Atelier’s proposal. Renovated in the 1990s, it could be preserved as such, like certain other isolated rocks, ponds and trees. On the other hand, rather than “sticking to the past”, Atelier suggested a total remake of the landscaped spaces.

动物园是一个独特的实体。相对于更传统的公园，一般公众可以分成明确的用户群体(儿童、家庭、年轻人、老年人等)，动物园里的每个空间都是一个独特的群体，有着特制的处理方式。工作室能够受益于它所获得的经验，在设计在里昂的Tête-d‘Or公园的非洲平原部分。特别是，该机构发展了造假景观的原则，这是隐藏和可见之间的二分法，特别注意野生动物。Atelier团队与NMNH紧密合作，通过尊重每个物种的生活方式来促进他们的福祉，同时为公众提供尽可能多的环境变化。

A zoo is a singular entity. In contrast to more traditional parks where the general public breaks down into well defined user groups (children, families, young people, the elderly, etc), each space in a zoo constitutes a distinct group with tailor- made treatment. Atelier was able to benefit from the experience it had garnered when designing the African plain segment of the Tête-d’Or park in Lyons. In particular the agency developed the principle of fabricated landscapes, a dichotomy between the hidden and the visible, with specific attention paid to the wild animals. The Atelier team worked in close collaboration with the NMNH to foster the well-being of each species by respecting their style of life while offering the public as much a change of scenery as possible.

 © Martin Argyroglo

马丁·阿陀罗

五个生物带

Five Biozones

巴黎动物园现在是由生物区组成的，这些生物区使来访的公众完全沉浸其中。

Paris’s Zoo Gardens are now composed of biozones that completely immerse the visiting public.

这些动物不再与它们的自然栖息地脱节，而是作为整体不可分割的一部分被展示出来。在所有当代动物园中，这一原则只是该机构简介中的一个组成部分。游客被要求去发现一种强化的景观，其中视觉，声音和嗅觉环境增加了整个风景变化的感觉。

The animals are no longer disconnected from their natural habitats but are shown as an integral part of the whole. Used in all contemporary zoos, this principle was but one component in the agency’s brief. Visitors are called upon to discover an enhanced landscape in which the visual, sound and olfactory surroundings increase the sense of a total change of scenery.

 Exploded Axonometric

爆炸轴测

因此，新的Vincennes动物园由五个生物区组成：巴塔哥尼亚、苏丹萨赫勒、欧洲、圭亚那和马达加斯加，第六个生物区是赤道非洲，将在晚些时候完成。这并不意味着外来地区的自然空间仅仅是模仿的，因为游客和动物流经的风景都是这样的。为了制作这些全景图，Atelier使用了各种各样的参考资料，例如旅行描述和记述、动物、材料、植物和色彩，以及老动物园的故事，这些都植根于20岁以上的人们的记忆和心灵。在开发“模拟”植物标本室的过程中，Atelier选择了与动物区域特有植物相似的植物。这并不意味着在另一个景观的基础上创造一个景观，而是想象一个特定于文森斯动物园的中间世界。为了使Atelier的观点与动物的需要相一致，工作人员、现有的植物生命和新的特征必须不断地加以调整和调整。

The new Vincennes Zoo is thus composed of five biozones: Patagonia, the Sudanese Sahel, Europe, Guyana and Madagascar with a sixth, Equatorial Africa, to be completed at a later date. This doesn’t mean that the natural spaces of an exotic region are merely imitated, for the landscapes through which visitors and animals circulate are suggested. To make these panoramas Atelier used diverse references, e.g. travel descriptions and accounts, animals, materials, plants and color and tales of the old zoo, always grounded in the memory and hearts of people older than twenty. In developing a “mimetic” herbarium, Atelier selected plants similar to those endemic to the animals’ regions. This didn’t mean creating one landscape based on another but imagining an in-between world specific to the Vincennes Zoo. To reconcile Atelier’s viewpoint with the animals’ needs, the staff, the existing plant-life and the new features had to be constantly adapted and adjusted.

 © Martin Argyroglo

马丁·阿陀罗

带状电路

A ribbon-like circuit

由于种植面积增加了40%，动物园现在完全配得上动物园的称号。结合可见的和隐藏的空间，这个密集的绿色块体显示在4公里的线路上，为游客提供多种视角。

With a 40% increase in the planted area, the zoo now fully deserves its title as a zoological park. Incorporating visible and hidden spaces, this dense green mass is revealed over the 4-km circuit that offers visitors multiple points of view.

 Project Vegetation

工程植被

主要的类似丝带的电路使人们能够穿越所有的生物区，对花园进行全面的观察，而旁路使他们能够加深对他们的经验和发现的理解，所有这些都是令人惊讶的。游客有时会发现自己深埋在茂密的植被中，有时甚至可以俯瞰平原。地形使人们能够通过隐藏线路的某些区域来强调空间的对比感。这条线路就像电影的全景或跟踪镜头，在那里视点和风景会遇到游客。

The main, ribbon-like circuit enables people to move through all the biozones for an overall view of the gardens, while byways allow them to deepen their understanding of their experience and discoveries, all of which are there to surprise. Visitors sometimes find themselves deep in dense vegetation and sometimes overlooking plains., the topography makes it possible to accentuate the feeling of space through stressing its contrasts by hiding certain areas of the circuit. The circuit is like a movie panorama or tracking shot where viewpoints and landscape come to meet visitors.

 © Martin Argyroglo

马丁·阿陀罗

巴塔哥尼亚：巨大的微型

PATAGONIA: VASTNESS IN MINIATURE

巴塔哥尼亚位于南美洲最南端，以其广阔的平原(潘帕斯)、冰川和安第斯森林而闻名。因此，Atelier不得不找到一种方法，在有限的动物园空间中重新创造这种巨大的感觉。首先要摆脱边界，特别是垂直元素。视线延伸到道姆斯尼尔湖。地面是一个主要的杠杆，把游客安置在一个特定的氛围中与葡萄酒颜色的火山灰，建议红色的刚玉(岩石植物)和黑色的砾石和沙子，其不同的粒度，以适合每种动物的蹄子和他们的生活方式的敏感性。就像岩石海岸的自然景观一样，池塘的岩石堆积在黑色的层里，底部是黑色的，顶部是光亮的，就像被风吹得很光滑一样。企鹅和海狮池提供了几种不同的排列方式，以促进动物的健康，并激发游客的兴趣，例如拱门和露台，一个巨大池塘上的水下海湾窗口，使动物能够全速游泳，鸟巢融入岩石，等等。所有这些都是由深色色调统一的，这个生物带的延伸就像一个长长的水平全景，随着每一条曲线的变化而变化。

Located at the southern-most tip of South America, Patagonia is known for its vast plains (pampas), glaciers and Andean forests. So Atelier had to find a way to recreate this feeling of immensity in the limited space of the zoo. First of all by getting rid of boundaries, in particular the vertical elements. The sight-line extends the enclosures to Daumesnil Lake. The ground is a major leverage for placing visitors in a specific atmosphere with wine-colored volcanic ash suggesting red sedum (rock plants) and black gravel and sand with their varying granularity to be suitable for the sensitivity of each animal’s hooves and their way of life. Rather like the natural landscapes of rocky coasts, the pond rocks are piled in black layers that are dark at the base and light at the top as if worn smooth by the wind. The penguin and sea-lion pools offer several permutations to favor the animals’ well-being and spark visitor interest, e.g. arches and terraces, an underwater bay-window on a huge pond enabling the animals to swim at full speed, nests incorporated into the rock, etc. All unified by dark color tones, the reaches of this biozone unfold like a long horizontal panorama that changes with each curve.

苏丹萨赫勒：大岩石脚下的平原

THE SUDANESE SAHEL: A PLAIN STRETCHING TO THE FOOT OF THE GREAT ROCK

苏丹萨赫勒是该动物园最著名的动物保护区之一，有着成群的非洲长颈鹿和狮子，是该公园最大的生物区。采用不同色调的奶油，矿石和米黄色，它解释了苏丹平原与更广泛的全景结束，纯粹的推力的大岩石。为了实现“无止境的地毯”效应，食草动物的围护被“哈哈”墙所束缚，这是一种植物填充坑的结构，充当篱笆。地形显示起伏的平原具有连续的层数和较长的体积。

One of the zoo’s best known animal domains with its herds of African giraffes and lions, the Sudanese Sahel is the Park’s biggest biozone. Deploying varying tones of cream, ochre and beige, it interprets the Sudanese plain with ever broader panoramas ending at the sheer thrust of the Great Rock. To realize the “endless carpet” effect, the herbivores’ enclosures are bound by “ha-ha” walls, a configuration of plant-filled pits that act as fences. The topography suggests undulating plains with successive layers and extended volumes.

狮子的围场可以透过三扇大海湾的窗户观看，这三扇窗户就像画框：狮子在岩石上，狮子在高高的草地上，狮子在吞食猎物。这是一个充分的戏剧隐喻，成群的植物提供视觉惊喜，同时隐藏所有的技术设备。羚羊圈地是动物园产生的中间效应的一个例子，因为一片黑松林-而不是真正的萨赫勒地区的一个特征-已经被保存下来了。

The lions’ enclosure is viewed through three large bay windows that act as picture frames: the lion on its rock, the lion in the tall grass and the lion devouring its prey. This is full theatrical metaphor with tufts of plants providing visual surprises while hiding all technical devices. The antelope enclosure is an example of the in-between effect developed in the zoo, for a stand of black pines–not a feature of the real Sahel–has been preserved.

这些松树不仅具有遗产价值，而且还增加了文肯尼斯动物园特有景观的制作，即Atelier设想的苏丹萨赫勒景观，结合了长颈鹿的步态、雄狮雄伟的休息和斑马的沉思。

The pines are not just of heritage value but add to the fabrication of a landscape specific to the Vincennes Zoo, i.e. a vision of the Sudanese Sahel as conceived by Atelier, combining the giraffes’ ambling gait, the majestic repose of the lions and the rumination of the zebras.

 © Martin Argyroglo

马丁·阿陀罗

欧洲：森林漫步

EUROPE: A STROLL IN THE WOODS

这个环绕大岩北坡的“地方性”生物带的目的是提高公众对欧洲自然空间生物多样性的认识。除了圭亚那的温室，它也是动物园唯一展示生物区真正的本地精华的地方。它位于保存下来的松林中。然而，欧洲的林地是由多种环境组成的：针叶林、灌木林、沼泽地和寒冷的山脉。动物园的旧鸟巢进行了翻修，不仅包括技术进步(加强了网络)，而且还创造了一个更加敏感的景观。为了尊重狼群的等级生活方式，人们仔细研究了狼的围场，例如，它们可以在岩石上占据不同的高度。这是一个例子，通过使用两个窗口，观点已经组成，以提供相同物种的非常不同的方面。第一扇窗户给出了动物在岩石、瀑布、洞穴和池塘中生活的石质，而第二扇窗户则通过浓密的绿色景观让人们更深入地看到了围栏的背面。

The purpose of this “local” biozone that surrounds the northern slope of the Great Rock is to raise the public’s awareness of the biodiversity of Europe’s natural spaces. Along with the Guyanese greenhouse, it is the zoo’s only area where the features on display are the biozone’s genuine local essences. It takes it place amidst the preserved pine forest. Yet the European woodlands are composed of multiple environments that had to be represented: conifer forests, scrubland, marshes and cold mountains. The zoo’s old aviary was renovated to include not just technical advances (strengthening the netting) but to create a more sensitive landscape. The wolf enclosure was carefully studied so as to respect the wolf pack’s very hierarchical style of life, enabling them, for example, to occupy varying heights on the rocks. This enclosure is an example of how, by using two windows, the viewpoints have been composed so as to offer very different aspects of the same species. Whereas the first window gives a very stony rendition of the animals’ lives among rocks, cascades, caves and ponds, the second gives a more in-depth view right to the back of the enclosure through a densely green landscape.

圭亚那：贝尔罐下的热带地区

GUYANA: THE TROPICS UNDER A BELL JAR

在新温室的外部和内部之间，圭亚那生物区应对气候差异的棘手挑战，即在巴黎天空下安装热带森林及其特有植被。除了温室内的热带植物是从佛罗里达经由荷兰进口的，Atelier在创纪录的时间内利用植被的相似之处生长出一片茂密的森林，种植着令人惊叹的植物。在这里，比其他地方更多的是，隐蔽可见的辩证法是决定性的.在温室内有限而又长的空间里，水会发出一连串的声音(在看到瀑布之前很久就能听到)，而视觉上的惊喜则是沿着逐渐下降到河流的斜坡、瀑布和壮观的海牛池形成的。海牛在游客的眼睛下，在一扇12厘米厚的红树林的窗户后面走动。̀Ne替代了大自然，以其高度秘密的生活方式提供了对这些动物独特的观察点，就像它们在非常茂密的植被中所做的那样，隐藏着它们的生活方式。例如，美洲虎有长长的树枝和岩石，可以俯瞰一个水洞，游客可以观看它的钓鱼或休息。灵长类需要不同的排列，例如密集或分散的树干或藤蔓必须适应每种动物的大小和运动方式。在这里，沉浸优先于一个更一般的视野，从而为游客提供了一个全新的景观后，他们访问欧洲生物区。

Between the outside and the inside of the new greenhouse, the Guyana biozone tackles the tricky challenge of climate differences, i.e. installing a tropical forest and its characteristic vegetation under Paris skies. Except inside the greenhouse whose the tropical plants were imported from Florida via Holland, Atelier worked in record time on the similarities of vegetation to grow a dense forest with amazing plants. Here more than elsewhere, the hidden-visible dialectic is decisive. In the very limited and long space inside the greenhouse, water creates a play of sounds (the cascade is heard long before it is seen), and visual surprises line the gradual slope down to the river, its waterfall and the spectacular manatee pool. The manatee moves about under the visitors’ eyes behind a window 12-cm thick in a reproduced mangrove. Mise en scène substitutes for nature to offer unique viewing points on these animals with their highly secret life-style, living hidden as they do amongst very dense vegetation. The jaguar, for example, has long tree branches and rocks overlooking a water hole that enables visitors to watch it fishing or resting. The primates require varying permutations, e.g. dense or scattered tree trunks or vines had to be adapted to each animal’s size and manner of movement. Here, immersion takes priority over a more general view, thus offering a totally new landscape to visitors after their visit to the European biozone.

 © Martin Argyroglo

马丁·阿陀罗

马达加斯加：岛上的两张脸

MADAGASCAR: THE ISLAND’S TWO FACES

离开结束圭亚那生物带的温室后，马达加斯加生物带由两种环境组成：热带森林和干燥森林，很大程度上反映了该岛及其两个截然不同的生态系统。这两处景观都有着同样的垂直度，它们都是鸟类、高耸的竹子(由Atelier设计的灵长类爬坡结构)和支撑附着植物的树干和基础设施。

Upon leaving the greenhouse that concludes the Guyanese biozone, the Madagascar biozone is composed of two types of milieu: the tropical forest and the dry forest, very much a reflection of the island and its two very different ecosystems. Both landscapes share the same verticality highlighted by the aviaries, the soaring bamboo (designed by Atelier as an climbing structure for primate movement) and the tree trunks and infrastructure supporting the clinging plants.

 © Martin Argyroglo

马丁·阿陀罗

它们的区别主要表现在颜色和物质上，茂密的、甘美的植物生长在森林的黑暗潮湿的土壤和干燥的森林中，其特征是鹅卵石状的浅色土壤。为了增强这两种环境之间的对比，该机构创造了独特的生物地带地形，对岛上存在的东西进行了诗意的改编。离开温室后，游客们走在一个密密麻麻的山谷里，那里隐藏着生物区的另一个“生态系统”。这里种植棕榈树，因为它们与马达加斯加的原始植物有着严格的相似之处，不幸的是，这些棕榈树无法适应巴黎的气候。在干燥的森林地区面临的挑战是对游客隐瞒线路的结局，即他们离开动物园。只有有限的出口景观，在返回城市之前，森林与其他生物带有很大的不同，将空间迁移权延伸到了尽头。

Their differences are seen above all in the colors and matter, with dense, luscious plants growing from the forest’s dark, humid soil and the dry forest characterized by a pebble-strewn, light- colored soil. To augment the contrast between these two environments the agency created topography unique to the biozone in a poetic adaptation of what exists on the island. Upon leaving the greenhouse in fact visitors walk down a densely treed vale that hides the biozone’s other “ecosystem”. Here grow palm trees that have been selected for their strict similarity to the Madagascan originals, which could not unfortunately be adapted to the Parisian climate. The challenge in the dry-forest area was to hide from visitors the circuit’s denouement, i.e. their exit from the zoo. There are only limited views of the exit, and prior to a return to the city, the forest, so very different from the other biozones, extends the spatial displacement right to the end.

景观窗

Windows onto the Landscape

动物福利是新Vincennes动物园设计的核心。动物在密室里活动，它们可以躲在隐蔽处躲避窥探的眼睛。为了给游客提供最大的乐趣，Atelier通过使用宽敞的海湾窗户邀请他们进入“图片”，使他们能够在最好的光线下发现外壳和居住者。由建筑师莱昂内尔·奥尔西(LionelOrsi)设计的薄薄的无烟煤色金属结构，如艺术品，被放置在战略要地，与动物的距离非常近。他们强调舞台上的构图，比如在岩石上栖息的狮子或狼，沿着树枝伸展的美洲狮，或水獭和企鹅的水上游戏，每一种观点都是特定的，与一个舞台景观相呼应。提供深度的场或放大岩石，树干和树林，这些窗口是电路的一部分。它们也是教育工具，能够在不干扰动物的情况下观察动物及其生活方式。

Animal welfare is at the heart of the new Vincennes Zoo design. Animals move about in enclosures where they can hide in recesses from prying eyes. To give maximum pleasure to visitors, Atelier invites them into “the picture” through the use of expansive bay windows, enabling them to discover enclosures and their occupants in their best light. Designed with architect Lionel Orsi, thin anthracite-colored metallic structures like art objects are placed in strategic places, offering unusually close proximity to animals. They stress the staged composition by framing little bits of theater such as lions or wolves perching on rocks, pumas stretching along a branch or the aquatic games of otters and penguins, with each view being specific and echoing a staged landscape. Offering depth of field or zoom-ins on rocks, tree trunks and groves, these windows are part and parcel of the circuit. They are also educational tools enabling observation of the animals and their ways of life without disturbing them.

伟大的岩石，美化的岩石，岩石覆盖的建筑

The Great Rock, landscaped rocks, rock-clad buildings

工作室把它的简报围绕在大岩石上。在动物园，甚至巴黎的天际线，一个标志性的元素，一个城市基准，岩石是在20世纪90年代翻新。岩石主题及其许多排列是̀Ne的核心，在所有尺度上都存在。虽然某些“山水岩”似乎只是为了装饰一种景观，但它们发挥着各种功能，不仅保护植物生命和界定围场，而且也为动物福祉提供便利，促进动物的喂养和解渴。其他“人造岩石”房屋看守服务，使他们有可能隐藏在视线之外。其他人造岩石都是用建造大岩石所采用的技术一个接一个地生产出来的，但是每个生物圈都使用了不同结构的原型。每种设计都有不同的设计，一根钢棒作为核心元素，在其周围浇筑特定的混凝土。然后用手雕刻了岩石，并给了它一块帕蒂纳(Patina)。每一块石头都是与博物馆的工作人员合作设计的，以避免对动物造成任何风险。例如，它们不可能太陡或太平。它们的设计也必须使蹄或角不会被困在里面。例如，犀牛围场中的美化岩石是动物园唯一的不是中空的，而是完全充满的，因为它们很快就会被这种强大的生物破坏。然而，并不是所有的岩石都是新的。有些是旧动物园的遗迹，作为特定的遗产被保存下来，并被充分展示，比如那些在温室入口处前面的池塘里的遗迹。

Atelier structured its brief around the Great Rock. An iconic element in the zoo’s and even Paris’ skyline, an urban benchmark, the Rock was renovated in the 1990s. The rock theme and its many permutations are at the core of the mise en scène and are present on all scales. Although certain “landscape rocks” seem to exist solely to adorn a view, they fulfill various functions, not only protecting plant life and defining enclosures but also for animal well-being as they facilitate feeding the animals and quenching their thirst. Other “artificial rocks” house caretaker services and make it possible to hide them from view. Other manmade rocks have been produced one by one using the technique adopted for building the Great Rock, but prototypes of different textures have been used for each biozone. With different designs for each, a steel rod acts as the core element around which specific concrete was poured. The rock was then hand sculpted and given a patina. Each rock was designed in collaboration with the museum’s staff to avoid any risk to the animals. They couldn’t, for example, be too steep or too flat. They also had to be designed so that hooves or horns wouldn’t get trapped in them. The landscaped rocks in the rhinoceros enclosure, for example, are the zoo’s only ones that are not hollow but fully filled because they would have quickly been damaged by such powerful creatures. Not all the rocks are new, however. Some are vestiges from the old zoo and have been preserved as specific heritage and amply displayed, such as those in the pond in front of the entrance to the greenhouse.

 © Martin Argyroglo

马丁·阿陀罗

动物园的鸟类打破了简单的箱子和笼子被沉重的网所覆盖的形象。所有提到宠物商店、农场、城市设置或铁丝网的地方都已被根除。这些鸟类已经成为他们所强调的浮雕的延伸，从而与每个生物区的景观和谐地融合在一起。中央养鸡场和温室内及周围的建筑由伯纳德·屈米(BernardTschumi)设计，而五座风景优美的鸟类的钢管结构则由Atelier与建筑师莱昂内尔·奥尔西(LionelOrsi)联合设计。根据每个动物养殖场中的动物，确定网状网和铁丝网(金属或聚乙烯)。这不仅意味着鸟类，还意味着灵长类动物和大猫，换句话说，所有爬山动物。技术工作本身消失在由颜色黑色或模仿柱子和树干隐藏的景观中。虽然飞行员被设计成一个一致和统一的整体，但每个人都根据其居住者和所处地面的特殊性而居住。

The zoo’s aviaries break with the image of simplistic boxes and cages covered by heavy nets. All references to pet shops, farms, urban settings or wire fencing have been eradicated. The aviaries have become extruded extensions of the relief they underscore, thus blending in harmoniously with each biozone’s landscape. The central aviary and those in and around the greenhouse were designed by Bernard Tschumi, whereas the steel-tube structures of the five landscaped aviaries were designed by Atelier in association with architect Lionel Orsi. The net and wire-fencing mesh (in metal or polyethylene) was determined according to the animals in each aviary. This means not just birds but also primates and the big cats, in other words all climbing animals. The technical work itself disappears into the landscape hidden by the color black or by imitating posts and tree trunks. Although the aviaries were designed as a consistent and unified whole, each one houses particularities according to its occupants and the ground it stands on.

 © Martin Argyroglo

马丁·阿陀罗

例如，美洲虎的围场站在一个土堆上，通过向公众倾斜来突出其不同的水平。它的设计是为了让两棵现存的松树，由Atelier保存下来，得以生长。马达加斯加的金冠狐猴的围栏有8米高，可以让它们在树梢上享受它们的自然行为。

The jaguar enclosure, for example, stands on a mound and accentuates its varying levels by leaning towards the public. It was designed to allow the two existing pine trees, preserved by Atelier, to grow. The enclosure of the golden- crowned sifaka or lemur of Madagascar is 8 meters high to enable the animals to enjoy their natural behavior in the treetops.

 © Martin Argyroglo

马丁·阿陀罗

Architects Bernard Tschumi, Veronique Descharrieres

Location 53 Avenue de Saint-Maurice, 75012 Paris, France

Category Zoo

Research Adviser Mikaël Mugnier (Landscape architect)

Project Manager Camille Piot (Architect) and Renaud Riboulet (Landscape architect)

Landscape Architects Atelier Jacqueline Osty

Project Year 2014

Photographs Claud Cieutat, Martin Argyroglo, Mikaël Mugnier