Les Marais Alain Carle Architecte

2014-09-10 01:00

架构师提供的文本描述。“Les Marais”项目一开始就对北美农村地区的空旷空间的建筑景观产生了浓厚的兴趣，这片空地通常由散落成群的建筑物组成。除了对这些废弃谷仓的风格感兴趣外，它们往往失去了最初的规划面貌，变成了因缺乏使用而“扭曲”的剪影，它们以两个感性的问题激励着我。第一个问题是规模的相对化。

Text description provided by the architects. The “Les Marais” project begins with a fascination for the built landscape of the empty space that characterizes North American rural areas, often consisting of large flat expanses studded with groups of buildings. Apart from a stylistic interest in these abandoned barns, which have often lost their original programmatic aspect to become silhouettes “distorted” by the absence of use, they inspire me with two perceptual problems. The first concerns the relativization of scale.

 © Adrien Williams

阿德里安·威廉姆斯

这些建筑物的大小难以确定，有时是没有窗户的，而且是在农作物田中孤立的，因此使人想起我国领土的特性：对观察员来说，这片广阔的领土往往超出规模。第二个问题是，当这些建筑物与其他建筑物合并时，便会出现第二个问题。他们经常偶然的安排，然后创造空隙，“画”出一种过渡的地方之间的建筑物和周围的空间。我在这里看到了一个重要的地方，一个萌芽的集体空间的潜力。

Difficult to define, the dimensions of these buildings, sometimes windowless and isolated in a crop field, thus evokes an identity quality of our territory: a territory of vast expanse often out of scale for the observer. The second problem arises when these buildings are combined with others. Their often fortuitous arrangement then creates voids that “draw” a sort of transition place between the buildings and the space around them. I see in this the potential for a significant place, an embryonic collective space.

 Underground Floor Plan

地下楼面平面图

因此，这种“模式”的价值不在于它的体系结构形式，而在于它使“看到”成为可能的东西。因此，对于这个项目，我们还设计了一个一定比例的“标志性”轮廓，然后在不同的尺度上将其相乘，以满足项目的职业要求，这是一个代际复杂的过程。这种将建筑表达简化为单一轮廓的做法，有助于揭示围绕整体“极限”而编排的空洞。因此，地点的特殊性在决定空间中三个“图标”的排列方面起着中心作用。

The value of this “pattern” thus does not reside in its architectural form but in what it makes it possible to “see”. Hence, for this project, we also designed an “iconic” contour of a certain proportion, then multiplying it on various scales and meeting the vocation of the program, which consists of an intergenerational complex. This reduction of architectural expression to a single profile serves to reveal the void orchestrating around the “limits” of the whole. The specificity of the place therefore plays a central role in determining the arrangement of the three “icons” in the space.

 © Adrien Williams

阿德里安·威廉姆斯

一个“集体”的地方由此产生，这将成为两个建筑物的使用者之间交流的十字路口，第三栋建筑作为室外存储。

A “collective” place thus emerges from the composition, which will become a crossroads of exchanges between the occupants of two of the buildings, with the third building serving as outdoor storage.

 Ground Floor Plan

作品的另一个方面是指“感性”的概念。根据观察者在邻近森林中的位置，建筑物的规模是相对的。最小的似乎更大，因为一个接近，尽管它有相同的轮廓与最大，然后位于更远的视觉领域。这种微妙的“主体”体验模糊了等级结构，造成了整个方案组成部分之间的对等：仿佛这是故意拒绝在所涉家庭核心中建立等级制度。

Another aspect of the composition refers to the idea of the “perceptual”. Depending on the observer’s location in the neighbouring forest, the scales of the buildings are relative. The smallest seems larger as one approaches, even though it has the same profile as the biggest, which is then located farther away in the field of vision. This subtle experience of the “subject”, which blurs hierarchies, creates equivalence among the programmatic components of the whole: as if this were a deliberate refusal to establish a hierarchy within the family nucleus involved.

 © Adrien Williams

阿德里安·威廉姆斯

该布局的几何设计，以限制两个景观组成部分的特点，湿地性质的这一湖滨属性。两片湿地被保存下来，形成了建筑群的整体景观，使湖面变成了一个真正的公共建筑。一块大的“黑木板”把这三座建筑连接起来，建立了一个共同的基地，这是一种为人们在原本处于原始状态的环境中所用的地毯。

The layout is geometrically designed so as to circumscribe two of the landscape components that characterize the wetland nature of this lakeside property. Two wetlands are preserved and form the collective landscape of the built complex, relegating the lake to a truly public structure. A large “plate” of black wood links the three structures to establish a common base, a sort of carpet for people in an environment otherwise left in its raw state.

然后每个“形状”的大剪刀，也是黑色油漆木材，以揭示红色雪松建筑的内部物质性。由此创造的外部空间提供了景观和建筑边界之间的过渡。

Large cutouts are then made in each “shape”, also of black painted wood, to reveal the interior materiality of the red cedar buildings. The exterior spaces thus created offer transitions between the landscape and the construction boundary.