架构师提供的文本描述。该博物馆位于城市的历史部分，并被包围在中世纪的围墙围绕城堡和阿夫兰奇镇。博物馆提高了中世纪遗迹、防御墙和古代地窖的价值。此外，它重新连接城市的两个部分，这两个部分以前是分开的。新建筑尊重中世纪的习俗，即在防御墙旁插入一座建筑，一座墙对着另一座墙，同时为士兵们留下一条沿墙步行的小径。这个拱形地窖是从中世纪的一所房子中得到保护的，它已经被修复并融入到这个项目中。博物馆从广场的入口是通过使用一座塔和一座横跨第一堵防御墙的桥梁来实现的。

Text description provided by the architects. The museum is situated within the historical section of the city, and is encircled within the medieval wall surrounding the castle and the town of Avranches. The museum enhances the value of the Medieval remains, defense walls, and an ancient cellar. Furthermore, it reconnects two parts of the city that were previously separated. The new construction respects the Medieval custom of inserting a building along the walls of defense, one against the other while leaving a pedestrian path along the wall for the soldiers. The vaulted cellar from a Medieval house which was conserved on the site has been restored and integrated into the project. The Museum access from the plaza is made possible through the use of a tower and a bridge which spans above the first wall of defense.

 © Luc Boegly

吕克·博格利

该项目的总体布局由三个不同的实体组成：广场、防御墙和博物馆本身。博物馆自然被刻在一个三角形内，这个三角形是由格罗尔街和最近重新发现的两堵古城墙勾勒出来的。这个组合整合了现场的斜坡，并附有一套坡道，这些斜坡勾勒出工程的脊椎骨。屋顶遵循坡道的设计和坡度，允许博物馆在城市规模内进行最佳整合，并不断反映城市的衰落。板岩作为一种无所不在的建筑材料，被广泛应用于屋顶的设计中。

The general layout of the project consists of three distinct entities: The plaza, the walls of defense and the museum, itself. The museum is naturally inscribed within a triangle which is delineated by the rue de Geôle and two recently rediscovered ancient walls. This composition integrates the slope of the site accompanied by a set of ramps, which delineate the spinal column of the project. The roofs adhere to the design and the slope of the ramps, permitting the museum it’s optimal integration within the urban scale, and continually reflecting the declivity of the city. Slate, being the omnipresent construction material of Avranches, is employed in the design of the roofs.

 © Luc Boegly

吕克·博格利

博物馆的建筑灵感来自圣米歇尔山修道院内的众多文物。墙壁的裸露，通过对混凝土的简约处理，让人想起了修道院的极度清醒。这些墙虽然粗糙，但它不仅在表面上而且在几何学上都是精心制作的。然而，如果不提及羊皮纸的天鹅绒质地，它们的赤裸裸的本性就不会显现出来。因此，混凝土材料介于石头的高贵一面和羊皮纸的柔软性之间。

The architecture of the museum derives inspiration from numerous artefacts within the Abbey of Mont-Saint-Michel. The bareness of the walls, achieved through a minimalist treatment of the concrete, is reminiscent of the extreme sobriety of the Abbey. Although rough, the walls are nevertheless very carefully crafted, not only on their surface, but also in their geometry. However, their stark nature doesn’t manifest itself without making reference to the velvety texture of the parchment. Thus the material of concrete is situated between the noble aspect of the stone and the softness of the parchment.

 © Luc Boegly

吕克·博格利

博物馆的自然照明受到严格控制。它本质上是从天上流出来的，因此暗示了圣米歇尔山修道院的宗教象征意义和精神。在广场上，游客被邀请爬上博物馆柔软的坡道。就其本身而言，登上一系列坡道到达某一特定目的地的心理影响是显而易见的；但同时，由于游客被提醒，当他访问圣米歇尔山时，他正在重新制定台阶，这使这一行为变得更加复杂。从本质上讲，一个人被推回到了他在修道院里一定经历过的那种感觉。与提升结合在一起的是旋转的感觉。在从一个坡道爬到另一个坡道的过程中，人们不可否认地认识到，一个人正在转向，因此，伴随着这一向上发展的现象，也有一种明确的感觉，即你正在经历一个螺旋轨迹。

The natural lighting of the museum is assiduously controlled. It essentially flows from the sky, thereby alluding to the religious symbolism and spirit of the Abbey of Mont-Saint-Michel. From the plaza, the visitor is invited to climb up the soft ramps of the museum. In itself, the psychological implication of ascending a series of ramps to arrive at a particular destination is obvious; but simultaneously, this act is compounded by the fact that the visitor is reminded that he is re-enacting the mounting of the steps when he visited the Mont-Saint-Michel. Essentially, one is thrust back to the perception that he must have experienced in the Abbey. In combination with the ascension comes the feeling of rotation. In climbing from one ramp to another, there is the undeniable realization that one is turning, so that in tandem with this phenomenon of upward progression there is also the definite sensation that one is experiencing a spiral trajectory.

 © Luc Boegly

吕克·博格利

在通往博物馆入口处的螺旋轨迹中，参观者开始失去对外部世界的空间感知感。然后，从参观者走进博物馆大门的那一刻起，他的空间参照感就越来越受到质疑。无论是对外部的开窗，还是从一个室内空间到另一个室内空间的开口，其设计方式都能最大限度地发挥惊喜的效果，特别是在游客对最终焦点“宝藏”的期望方面。虽然从参观一开始，书塔或“宝藏”就可以通过狭长的插槽被感知到，但它的全貌只能在山顶，就在进入书塔本身之前。

During the helix trajectory towards the entrance of the museum, the visitor begins to lose his sense of spatial perception regarding the outside world. Then, from the moment the visitor walks through the doors of the museum, his sense of spatial references are more and more put into question. Both the fenestration to the exterior as well as the openings from one interior space to another are designed in such a way as to maximize the effect of surprise, especially with regard to the visitor’s expectation of the ultimate focal point, “the treasure”. Although from the beginning of the visit the book tower or “treasure” can be perceived through thin slots, its full view is only possible at the summit, just before entering the book tower itself.

 © Luc Boegly

吕克·博格利

这个设计是围绕着“宝藏”这个中心来组织的，其中展出了一些来自10世纪的原稿藏品。到达目的地的“宝藏”的标志是一个停顿，一个时间深吸一口气，一个时刻，时间本身休息。前往目的地的队伍中的空间沐浴在紧缩之中，被提升的节奏和短暂的“宝藏”闪现所磨练。最后，与“身体”、“文本的主体”、终极的“书塔”一样，“书之塔”最终在其本质上被揭示出来。围绕着“宝藏”，这个空间被一个彩色玻璃水晶屋顶所覆盖，它按照手稿的颜色，在“宝藏”的外墙上洒上亮光。

The design is organized around the central focus, “the treasure”, where the masterpieces of the collection of original manuscripts are displayed, some from the 10th century. The arrival to the destination of the “treasure” is marked by a pause, a time to take a deep breath, a moment when time itself rests. The spaces in the procession to the destination are bathed in austerity, tempered by the rhythm of the ascension and by fleeting glimpses of the “treasure”. At last, as was with “the body”, the “body of the text”, the ultimate, “The Tower of Books” is finally revealed in its essence. Surrounding the “treasure”, the space is surmounted by a crystalline roof of tinted glass effusively showering the outside walls of the “treasure” with hues of light in accordance with the colors of the manuscripts therein.

 © Luc Boegly

吕克·博格利

拱门经常以象征天空的方式出现在许多中世纪手稿中，而不是象征地球的长方形。在罗伯特·德·特森提时期，圣米歇尔山的修道院院长经常注意到拱门的存在，它是天空的冠冕，上面漂浮着一组倾斜的屋顶。在托里尼的卡图里书第25页中，图解是水平划分的，说明了两个重叠的顺序，作为语篇中的两个瞬间。与拟议项目的类比是建立起来的：穹顶、叠层、浮顶结合在一起，完美地整合了该项目与圣米歇尔山手稿的关系。

The arch is frequently represented in numerous medieval manuscripts in a manner symbolizing the sky, as opposed to rectangular forms symbolizing the earth. During the time of Robert de Torigini, Abbot of the Mont-Saint-Michel, one frequently notices the presence of the arch, as a crowning of the heavens, over which are floating an ensemble of sloping roofs. In page 25 of Torigni’s cartulary, the illustration is horizontally divided, illustrating two superimposed orders, as two moments in a discourse. The analogy with the proposed project is established: Vault dome, superimposed floors, floating roofs combine in the perfect integration of the project with regard to the manuscripts of Mont-Saint-Michel.

 Lower Floor Plan

低层平面图