架构师提供的文本描述。随着魁北克新克莱尔和马克·布基展馆的建造，以及蒙特利尔艺术博物馆的加拿大艺术，普罗文彻·罗伊·阿索奇建筑公司的建筑师们实现了一座传统教堂的显著转变。在保护宗教遗产在世界范围内是一个挑战的时代，这种建筑干预是该流派的典范。2010年加拿大建筑师荣誉奖、2011年大奖赛和魁北克省发展学院颁发的2011年度卓越奖都承认了其卓越之处，该学院在颁奖后祝贺Provencher Roy associés建筑“对这一项目进行了彻底的建筑反思，其独特的城市一体化及其设计，它把过去和未来结合在一起。“2012年，该展馆获得了蒙特利尔建筑遗产项目建筑整合奖。

Text description provided by the architects. With construction of the new Claire and Marc Bourgie Pavilion of Quebec and Canadian Art at the Montreal Museum of Fine Arts, the architects at Provencher Roy + Associés Architectes have achieved a remarkable conversion of a heritage church. At a time when conservation of the religious patrimony is a challenge all over the world, this architectural intervention is an exemplary model of the genre. Its excellence has been acknowledged by the 2010 Canadian Architect Awards of Merit, the Grand Prix du design 2011, and the Prix d’excellence 2011 from the Institut de développement urbain du Québec, which, upon presentation of its award, congratulated Provencher Roy + Associés Architectes for “its thorough architectural reflection with regard to this project, its exceptional urban integration, and its design, which brings past and future together.” In 2012, the pavilion received the Award for Architectural Integration of Montreal Architectural Heritage Campains.

 © Marc Cramer

马克·克雷默

除了重建后的前厄斯金教堂和美国教堂外，这座由444个座位组成的音乐厅，后面的附属建筑已经完全按照当代风格进行了改造，形成了新的艺术展馆。“这个项目很复杂，因为它需要设计一座能够展示魁北克和加拿大艺术收藏品的建筑，同时与教堂、博物馆的其他展馆以及城市进行对话，”普罗文彻·罗伊·阿索奇建筑(Provencher Roy associés Architecture)的创始合伙人克洛德·普罗文彻(Claude Provencher)解释道。

Beside the restored former Erskine and American Church, transformed into a 444-seat concert hall, the rear annex has been completely reconstructed in contemporary style to form the new art pavilion. “The project was complex because it entailed designing a building capable of featuring the Quebec and Canadian art collections while establishing a dialogue with the church, with the museum’s other pavilions, and with the city,” explained Claude Provencher, founding partner of Provencher Roy + Associés Architectes.

 © Marc Cramer

马克·克雷默

爱斯基因和美国教堂建于19世纪末波士顿三一教堂的大规模新罗马风格中，厄斯金和美国教会是一个重要的爱国主义里程碑，不仅因为它的建筑，而且因为它的历史和它对蒙特利尔城市景观的贡献。这是苏格兰新教徒崛起的证据，也是加拿大70%财富的发源地的时代，这座建筑是用石灰石建造的，嵌入了米拉米希砂岩，它有一个原始的纹理外墙和一个拜占庭风格的穹顶，证明了这座城市建筑的丰富性。此外，20扇蒂芙尼彩色玻璃窗装饰在侧面的外观构成了加拿大最大的收藏它的类型。

Restoration of the Erskine and American Church Built in the late nineteenth century in the massive neo-Roman style of the Trinity Church in Boston, the Erskine and American Church is an important patrimonial landmark, not only for its architecture but also for its history and its contribution to Montreal’s urban landscape. Evidence of the rise to power of the city’s Scottish Protestant élite and an era when the “Golden Square Mile” was home to 70% of Canadian wealth, this building, made of limestone with insertions of Miramichi sandstone, has an original textured façade and a Byzantine-style dome testifying to the city’s architectural richness. In addition, the 20 Tiffany stained-glass windows gracing the lateral façades form the largest collection of its type in Canada.

 © Tom Arban

(汤姆·阿班)

遵照Jean-Claude Marsan(加拿大历史遗址和古迹委员会成员、蒙台拉尔大学建筑学院建筑保护方案主任)的建议，Provencher Roy associés建筑的建筑师精心修复了教堂的封套。一些损坏太严重的部件被完全重新定位。146个彩色玻璃窗(包括20扇蒂芙尼窗户)被移除、修复，并重新安装在玻璃面板后，使建筑物防水。在里面，石膏天花板和模子都被完全修复了，装饰在屋内的木制品也完全恢复了。

Respecting the recommendations made by Jean-Claude Marsan (member of the Historic Sites and Monuments Board of Canada and director of the conservation of the built environment program at the School of Architecture of the Université de Montréal), the architects of Provencher Roy + Associés Architectes meticulously restored the church’s envelope. Some parts that were too badly damaged were completely resculpted. The 146 stained-glass windows (including the 20 Tiffany windows) were removed, restored, and reinstalled behind glass panels that make the building watertight. Inside, the plaster ceiling and the mouldings were completely restored, as were the woodwork pieces adorning the nave.

 © Tom Arban

(汤姆·阿班)

建筑对话以其克制和渗透，新克莱尔和马克波基亭魁北克和加拿大艺术建立了一个自然的对话与城市。从各个层次上看，琉璃洞口提供了城市的景色，在建筑物的脚下，博物馆的雕塑花园，一个与博物馆相邻的公共艺术作品的线性展览。此外，在展馆顶部的玻璃中庭提供了一个强有力的视觉联系皇家山，这是蒙特利尔身份的象征元素。

Architectural dialogues With its restraint and permeability, the new Claire and Marc Bourgie Pavilion of Quebec and Canadian Art establishes a natural dialogue with the city. From every level, the glazed openings offer a view of the city and, at the building’s foot, the museum’s sculpture garden, a linear exhibition of works of public art bordering the museum. In addition, the glassed-in atrium at the top of the pavilion offers a strong visual link with Mount Royal, an emblematic element of Montreal’s identity.

 © Tom Arban

(汤姆·阿班)

与教会建立了另一个对话。新展馆与以前的宗教建筑共享的不仅仅是入口处和接待区。它也唤起了它的精神，既通过它的高度，延伸到天空的开放，和存在微妙设计的壁龛周围的画廊。

Another dialogue is established with the church. The new pavilion shares more than its entrance and reception areas with the former religious building. It also evokes its spirit both by its elevation, extended by an opening to the sky, and by the presence of subtly designed alcoves around the galleries.

 © Marc Cramer

马克·克雷默

为了完成展馆与周围环境的整合，建筑师们将其与博物馆的其他展馆联系在一起，无论是在物理上还是在隐喻上。首先，地下室入口通过谢布鲁克街下面的走廊连接到博物馆的地下网络，并连接到让-诺尔·德斯马莱展馆。这条45米长的通道成为介绍新展馆的空间，因为它包含魁北克艺术家的不朽作品，如Riopelle的冰独木舟。除了这一物理联系之外，布吉馆还通过对1912年米哈勒和雷纳塔·霍恩斯坦展馆以及1991年的让-诺埃尔·德斯马莱馆的外观所用的白色大理石的重新诠释，象征性地融入了博物馆建筑群。这两位建筑师在新展馆上铺上了一堵大理石墙，墙来自佛蒙特州的采石场，与前两位建筑师一样，再现了原状材料的形象，沿着外墙设计了纹理。“我们想要给人的感觉是，画廊是用一座四层高的巨大大理石砌成的，”布基展馆的项目经理马蒂厄·格夫里翁(Matthieu Geoffrion)回忆道。

To complete the integration of pavilion with its surroundings, the architects linked it to the museum’s other pavilions, both physically and metaphorically. First, the basement entrance is connected to the museum’s underground network through a corridor underneath Sherbrooke Street and connects to the Jean-Noël Desmarais Pavilion. This 45-metre passageway becomes a space for introduction to the new pavilion as it contains monumental works by Quebec artists, such as Riopelle’s Ice Canoe. Aside from this physical link, the Bourgie Pavilion is symbolically integrated with the museum complex through a reinterpretation of the white marble used for the façades of the 1912 Michal and Renata Hornstein Pavilion and the 1991 Jean-Noël Desmarais Pavilion. The architects clad the new pavilion with a wall of marble from the same Vermont quarry as that of its two predecessors, reproducing the image of the material in its original state, with the design of veins running along the façade. “We wanted to give the feeling that the galleries had been sculpted from a gigantic four-storey-high block of marble,” recalls Matthieu Geoffrion, project manager for the Bourgie Pavilion.

 © Tom Arban

(汤姆·阿班)

正如克劳德·普罗文彻(ClaudeProvencher)所言，建筑为艺术服务，“一个成功的博物馆是一个空间，它邀请游客体验一种感官体验，将他们带到一个未经探索的宇宙。”因此，建筑师们决定从地下室到新展馆的第四层创造出越来越多的经验。为了开始这种体验式的提升，设计师们在教堂的地板下挖掘，为展馆和服务区(售票处、衣帽间、洗手间等)创造了一个入口。在背后，五个层次提供了一个按时间顺序排列的场景，从殖民时代和19世纪艺术画廊到拒绝全球及其遗产时期，以及因努伊特艺术。当游客穿越时间并在建筑中实际升起时，自然光线变得更加强烈，在顶层的全景玻璃中庭达到了一个高潮。

Architecture at the service of the arts As Claude Provencher notes, “A successful museum is a space that invites visitors to a sensory experience that can transport them to an unexplored universe.” The architects therefore decided to create a crescendo of experiences from the basement to the fourth floor of the new pavilion. To start this experiential ascent, the designers excavated under the church’s floor to create an entrance for the pavilion and service areas (ticket office, coatroom, restrooms, and so on). Behind, five levels offer a chronological scenario, from the colonial era and the galleries for nineteenth-century art to the period of the Refus global and its heritage, as well as Inuit art. As visitors travel through time and rise physically in the building, the natural light becomes more intense, reaching a climax with the panoramic glassed-in atrium on the top floor.

 © Tom Arban

(汤姆·阿班)

中央楼梯提供了地下室的比阿罗索和建筑顶部的照明之间的连接，允许这种越来越强的光线(尽管大多数画廊为保护艺术品而需要的适度照明)，外部的视觉开口越来越大。在第三层，一个海湾窗口提供了一个室外露台，其中特色的新作品由多米尼克·布莱恩(DominiqueBlain)创作。除了强调光线之外，顶层玻璃化的中庭也有一个形象的价值。它的形状，使人联想起一个由冰屋启发的冰结构，与下面展出的因努伊特人的作品建立了象征性的联系。

The central stairway, providing a link between the chiaroscuro of the basement and illumination at the top of the building, allows for this crescendo of light (despite the moderated lighting that is required in most of the galleries for conservation of the artworks) with progressively larger and larger visual openings to the exterior. On the third level, a bay window gives onto an outdoor terrace that features the new work by Dominique Blain. Aside from its emphasis on light, the glassed-in atrium on the top floor has a figurative value. Its shape, evoking an ice structure inspired by an igloo, establishes a symbolic link with the Inuit works that are on display below.

 © Tom Arban

(汤姆·阿班)

创纪录的参观人数或游客人数的增加证明了不断扩大的公众的忠诚度，参观“重建博物馆”的人数达到了历史上前所未有的高峰，一年内增长了36%。这一壮观的上升使该博物馆成为魁北克参观人数最多的博物馆，也是加拿大第二大博物馆，仅次于多伦多的皇家安大略博物馆。

Record attendance OR Number of visitors rises Attesting to the loyalty of a constantly expanding public, the number of visitors to the “reinvented museum” has reached historically unprecedented peaks, with growth of 36% in one year. This spectacular rise makes the museum the most visited in Quebec and the second-most visited in Canada, after Toronto’s Royal Ontario Museum.

 Courtesy of Provencher Roy + Associés Architectes

普罗文彻·罗伊·阿索奇建筑公司提供的服务