© Max Lerouge – LMCU

(C)Max Lerouge-LMCU

架构师提供的文本描述。该项目涉及里尔现代艺术博物馆的翻修和扩建，该博物馆位于维伦纽夫·达斯克一个宏伟的公园。这座由罗兰·西蒙纳(RolandSimounet)于1983年设计的现有建筑，已被列入历史古迹名录。

Text description provided by the architects. The project concerns the refurbishment and the extension of the Lille Modern Art Museum in a magnificent park at Villeneuve d’Ascq. The existing building, designed by Roland Simounet in 1983, is already on the Historic monuments list.

 © Max Lerouge – LMCU

(C)Max Lerouge-LMCU

该项目旨在把博物馆建设成一个连续的、流动的实体，通过增加新的画廊，专门收藏布鲁特艺术作品，从旅行运动中推断出现有的空间。下一次需要对现有建筑物进行全面翻修，有些部分非常破旧。

The project aims at building up the museum as a continuous and fluid entity, this by adding new galleries dedicated to a collection of Art Brut works, from a travelling movement that extrapolates existing spaces. A complete refurbishment of the existing building was next required, some parts were very worn.

 © Vincent Fillon

文森·菲永

尽管Simounet的建筑具有文物古迹的地位，但我们并没有在远处设立，而是立即选择寻求接触，借此将现有的建筑物包括在支持运动中。我试着从罗兰·西蒙纳(RolandSimounet)的建筑中吸取教训，“学会理解”，以便能够开发一个不代表冷漠的项目，一种可能被视为冷漠的态度。

In spite of the heritage monument status of Simounet’s construction, rather than set up at a distance, we immediately opted to seek contact by which the extension would embrace the existing buildings in a supporting movement. I tried to take my cue from Roland Simounet’s architecture, ‘to learn to understand’, so as to be able to develop a project that does not mark aloofness, an attitude that might have been seen as indifference.

 © Max Lerouge – LMCU

(C)Max Lerouge-LMCU

扩建的建筑围绕着现有布局的北面和东侧，形成了一个长长的、流体和有机体的扇形展开。一方面，扇形肋骨紧贴折叠，以遮住通往中央露台的一家咖啡馆餐厅；另一方面，排骨的间距更宽，形成了五间艺术展画廊。

The architecture of the extension wraps around the north and east sides of the existing arrangement in a fan-splay of long, fluid and organic volumes. On one side, the fan ribs stretch in close folds to shelter a café-restaurant that opens to the central patio; on the other, the ribs are more widely spaced to form the five galleries for the Art brut collection.

 © Max Lerouge – LMCU

(C)Max Lerouge-LMCU

艺术畜生画廊与周围的风景保持着很强的联系，但它们也是有目的-它们的设计适合它们所在的作品：非典型性的作品，那些你不能随便看一眼就能看到的强大的作品。这些画廊的褶皱使空间变得不那么僵化，更加有机，使参观者逐渐发现艺术作品。这座建筑在一定程度上是内向的，以保护那些经常脆弱、需要调低半光的艺术作品。

The Art brut galleries maintain a strong link with the surrounding scenery, but they are also purpose-designed to suit the works that they house: atypical pieces, powerful works that you can’t just glance at in passing. The folds in these galleries make the space less rigid and more organic, so that visitors discover art works in a gradual movement. The architecture is partly introverted, to protect art works that are often fragile and that demand toned down half-light.

 © Max Lerouge – LMCU

(C)Max Lerouge-LMCU

在褶皱的末端-意思是画廊-一个大海湾为周围的公园打开了壮丽的景色，为参观行程增添了喘息的空间。这些风景弥补了画廊的半灯光：海湾前的开放式屏幕与强烈的灯光和公园风光相调和，这一功能让人想起了西蒙纳在他设计的画廊里的慷慨安排。信封是清醒的：光滑的未经处理的混凝土，与模具和开放式屏幕，以保护海湾免受过多的日光。表面混凝土有轻微的颜色，这取决于光的强度。

At the extremity of the folds – meaning the galleries – a large bay opens magnificent views onto the surrounding parkland, adding breathing space to the visit itinerary. These views make up for the half-light in the galleries: the openwork screens in front of the bays mediate with strong light and parkland scenery, a feature that recalls Simounet’s generous arrangements in the galleries that he designed. Envelopes are sober: smooth untreated concrete, with mouldings and openwork screens to protect the bays from too much daylight. The surface concrete has a slight colour tint that varies according to intensity of light.