架构师提供的文本描述。光谱公寓是巴黎一家小型工作室的改造项目，由于缺乏自然光线，客户要求我们特别在人工光线问题上进行干预。

Text description provided by the architects. Spectral apartment is a renovation project of a small Parisian studio, in which the lack of natural light led the client to ask us to intervene particularly on the issue of artificial light.

为了做到这一点，我们选择了一个激进的和二元的方法，通过研究两种不同的人工光源的光谱质量。

To do this, we chose to adopt a radical and binary approach by studying the spectral qualities of two different sources of artificial light.

 Original Space

原始空间

虽然经常被忽视，因为在日常使用中很难被注意到，彩色渲染指数，简称CRI是评价光线的基本标准之一。它更精确地取决于光的光谱功率分布(SPD)，并在1948年由科学JP Bouma鉴定，然后由国际照明委员会(CIE)认证。光的CRI描述了它反射表面的精确颜色的能力。Bouma注意到日光对颜色的估计要好得多，CIE的工作确定了它的值为100，以确定CRI的规模。因此，高CRI(接近100)的光可以正确地呈现颜色(光谱功率分布的均匀性)，而低CRI是色域丢失的同义词，因此颜色的消失。

Although often overlooked, since hardly noticeable in everyday use, the color rendering index, abbreviated CRI is one of the fundamental criteria for evaluating light. It depends more precisely on the spectral power distribution of light (SPD) and was identified in 1948 by the Scientific JP Bouma, then qualified by the International Commission on Illumination (CIE). The CRI of a light describes its ability to reflect accurate color of a surface. Bouma noticed that daylight was much better to estimate the colors and the work of the CIE established its value to 100 to determine the scale of CRI. Thus, a light with high CRI, close to 100, can render the colors properly (homogeneity in the spectral power distribution), while a low CRI is synonymous with loss of color range, so a disappearance of colors.

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因此，建筑师菲利普·拉姆的想法是从客观和科学的角度探索这些不同光源的光谱质量，然后创造出一种考虑甚至利用它们的特殊特性的建筑。

So in the manner of architect Philippe Rahm, the idea is to explore from an objective and scientific point of view the spectral qualities of these various light sources, and then to create an architecture that considers and even uses their special qualities.

 Artificial Lighting Plan

人工照明计划

低压钠灯(LPS)就是这种情况.该系统以其特别高的效率(与耗电相比的光量)而广受欢迎，可用于街道、道路和公路沿线的城市照明。它特有的颜色温度给我们的夜间城市环境带来了这种特殊的橙色阴影。然而，这些灯的CRI最低，接近0。这意味着光是单色的，波长为589.3 nm，不能呈现任何其他颜色。

The case of low-pressure sodium lamps (LPS) is in this particular. This system is extremely popular because of its particularly high efficiency (amount of light compared to consumed electricity) and it is used for the illumination of cities along the streets, roads and highways. Its characteristic color temperature gives this particular orangey shade to our nocturnal urban environment. However, these lamps have the lowest CRI, close to 0. This means that the light is monochromatic, in a wavelength of 589.3 nm, and cannot render any other color.

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晚上，沿着一条路，我们相信我们能分辨出红色和蓝色，但在生理上是不可能的。用这种光拍摄的照片是单色的，可以说是黑白的。此外，对于人类来说，这种波长特别适合夜视，因为蓝色周围的波长(LPS完全不存在)会导致瞳孔收缩，限制了眼睛所感知的光量。经过几秒钟的视网膜适应，人类大脑重新平衡了感知到的颜色，产生了一个虚拟光谱，给人一种尽可能接近客观现实的场景印象。现在，在LPS照明下，大脑没有其他颜色来产生虚拟光谱，所以它实际上产生了一幅灰度图像。

At night, along a road, we believe we can discern red from blue, but it is physically impossible with LPS light. A photo taken with such a light is monochromatic and necessarily, so to say, in black and white. Furthermore, for humans this wavelength is particularly suited to night vision, since the wavelengths around the blue (totally absent from LPS) induces a contraction of the pupil, limiting the amount of light perceived by the eye. After a few seconds of retina adaptation, the human brain rebalances the perceived color to produce a virtual spectrum, giving an impression of the scene as close as possible to objective reality. Now with LPS lighting, the brain has no other color to produce the virtual spectrum, so it literally produces a grayscale image.

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那么，只有黑白两色的空间会变成什么呢？什么是最合适的建筑，充其量就是这种特定的人造光。众所周知，LPS照明使得警察在夜间的道路上工作更加困难，因为区分汽车的颜色是不可能的。但人们可以想象，在那些光线非常强烈的地方，感知颜色是没有用的，在那里，人工照明的这一特征将被人们所知和控制。同样，应在考虑到某些光谱峰丰富程度的情况下，将某些类型的高CRI荧光灯管用于已开发的地方。

So what does a space illuminated only in black and white become? What is the most appropriate architecture, the one that operates at best this particular artificial light. It is known that LPS lighting makes police work more difficult on the road at night, as distinguishing the color of a car is impossible. But one could imagine very intensely lit places where it would not be useful to perceive colors, and where this feature of artificial lighting would be known and controlled. Similarly, certain types of fluorescent lighting tubes with high CRI should be used for places that have been developed taking into account the abundance of some spectral peaks.

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c BETILLON/Dorval-Bory

在我们的项目中，第一阶段由程序元素的光谱需求划分组成：哪一种使用需要很好的颜色渲染，哪些空间可以满足于非常低的颜色渲染？第一种分类产生了一种空间层次：一边是厨房，一边是客厅，那里需要不同的颜色，另一方面是床和淋浴，单色光就够了。

In our project, the first phase consisted of a division of program elements according on their spectral needs: which uses need a good color rendering, which spaces can be content with a very low color rendering? This first classification generates a hierarchy of space: on one side the kitchen, the living room, where distinguishing colors is required, on the other hand the bed and the shower where monochromatic light suffices.

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这种高和低CRI之间的双极性成为空间组成的关键因素。容纳两个单独的光源，一个简单的2米高的墙隔开工作室，并产生这个组成。一边是中性色温(4000 K)的90多个CRI照明(940个荧光灯管)，另一边是带有零CRI的低压钠灯发出的暖光。这两个光源中的每一个都产生大约16，000流明。准确分析光在空间中的分布，从而表明用途的定位。由于演播室里没有其他的人造光源，所以这些空间都是以一种自由计划的形式安排的。由于这两个来源可以独立切换，不同的闪电模式出现，导致不可预见的用途在​​公寓的特定地区。

This bipolarity between high and low CRI becomes the crucial element of space composition. Holding two separate light sources, a simple 2m high wall divides the studio and generates this composition. On one side an over 90 CRI lighting (940 fluorescent tubes) with a neutral color temperature (4000K), on the other side a warm light from low-pressure sodium lamps with zero CRI. Each of the two light sources produces about 16,000 lumens. The accurate analysis of the distribution of light in space then indicates the positioning of uses. Since there is no other source of artificial light in the studio those spaces are arranged in a form of free plan. As both sources can be switched independently, different lightning patterns appear, giving rise to unforeseen uses in particular areas of ​​the apartment.

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c BETILLON/Dorval-Bory

公寓的设计是以一种简单而中性的表达方式，没有色彩或特别的细节，消除了任何建筑的表现力或叙事，只留下光所产生的构图逻辑。

The apartment is designed in a simple and neutral expression, without color or particular detail, annihilating any architectural expressiveness or narrative to leave only the logic of composition generated by light.