塞西·帕斯的飞机库。这不是棚子。这是个小岛。客户/艺术家提出的问题是，是否有可能在工业遗址中建立一个文化孤岛，具体建造一个生活、研究和生产的专题场地。建筑的反应是对元素词汇的研究的结果，这些词汇可以赋予这一雄心以意义。

« Ceci n’est pas un hangar. Ceci est une île.» This is not a shed. This is an island. The question posed by the client/artist was the possibility of a cultural island in an industrial site, the concrete fabrication of a utopic site for living, research and production. The architectural response is the result of a research towards a vocabulary of elements which could give meaning to this ambition.

 © Philippe Ruault

菲利普·鲁奥

镀锌钢的立方质量与其周围的工业外观相呼应；巨大的门，仅仅是几乎看不见的，滑入内部；功能的系统组织；内部网格的重复；用途的模块化，为艺术家今后的实验提供了潜在的框架；材料的原材料性质的表达；精确绘制细节的渴望；惊奇在每一个发现序列中的作用；巨大的中央凹及其横向存储单元；展览平台和生活/睡眠平台；由两个巨大的楼梯强化的确定的对称性；强烈的位置感；上个世纪艺术家工作室从北面散发出来的柔和光线；打开景观的大门；简单的计划和经济的手段。正是由于所有这些因素的总和，我才想到这个地方，有人居住，充满了生命。这不是棚子。这是个小岛。

The cubic mass of galvanized steel in echo with the industrial façades of its environs; the monumental doors, only barely perceptible, sliding to disappear into the interior; the systematic organization of functions; the repetitively of interior grids; the modularity of uses, the potential framework provided for the artist’s future experimentations; the expression of the raw nature of materials; the desire for details precisely drawn; the effect of surprise in each sequence of discovery; the great central nave and its lateral storage cells; the platform for exhibitions and the platform for living/sleeping; the affirmed symmetry, reinforced by two monumental stairs; the strong sense of place; the soft diffusion of light from the north façade in reference to artist’s studios of the last century; the doors which open onto the landscape beyond; the simplicity of plan and the economy of means. It is with the sum of all these elements that I imagined this place, inhabited and full of life. This is not a shed. This is an island. 

蚊子海岸会议是基于在艺术和展览实践中创造一个实验和研究场所的愿望。这座建筑被认为是实验室的一种，每年都会接待馆长和艺术家进行交流、实验和合作。

The Mosquito Coast Sessions are based on the desire to create a place for experimentation and research in artistic and exhibition practice. Thought of as a kind of laboratory, this building is dedicated to receive, each year, curators and artists for exchange, experimentation and collaboration.

 © Philippe Ruault

菲利普·鲁奥

“蚊子海岸工厂”还提到了保罗·特鲁克斯(1981)的同名小说中的一种虚构建筑，1986年由彼得·韦尔(PeterWeir)将其带入银幕。这个故事讲述的是一个发明家，他为了洪都拉斯而逃离美国，组成了一个有主题的社会。他和全家人一起去了“蚊子王国”，在丛林的中心建造了一个金属块，里面有一座巨大的冰工厂，旨在彻底改变当地居民的生活。这一阶段的作品，一种对新社会的创造性反思和幻想的投射，在这里成为建筑诠释的源泉，成为潜在梦想和虚构的框架和工具。

The Mosquito Coast Factory also refers to a fictional architecture drawn from the eponymous novel by Paul Theroux (1981) and brought to the screen in 1986 by Peter Weir. The story features an inventor who flees the United States for Honduras to form a utopic society. He leaves with his entire family to the “mosquito kingdom” and builds, in the heart of the jungle, a metal block housing a vast ice factory intended to revolutionize the lives of the indigenous population. This stage piece, a sort of projection for creative reflection and the fantasy of a new society, here becomes a source of architectural interpretation, both framework and tool for potential dreams and fictions.