架构师提供的文本描述。巴德豪特庄园位于法国圣埃米利安，占地17公顷。1999年在联合国教科文组织的世界遗产上注册，圣埃米利昂的管辖范围是保存完好的历史葡萄酒景观的一个显著例子。2005年，纳多·拉弗涅建筑师在一座用传统石头建造的建筑中修复了一座以前的酒厂。2008年再次寻求一个规模更大的项目。现有遗址的特色来自吉伦德葡萄酒景观：一个由19世纪石制低矮房屋组成的岛屿，内有办公室和其他附属设施，从一排排葡萄园中出现。在这个岛的北部，一卷曲的书散开了：酒库。

Text description provided by the architects. The Chateau Barde-Haut is a 17 hectare domain located in Saint-Emilion,France. Registered in 1999 on the UNESCO world heritage, the jurisdiction of Saint-Emilion is a remarkable example of a historic wine landscape which survived intact. In 2005, Nadau Lavergne Architects rehabilitated a former winery in a building made of traditional stone. Sought again in 2008 for a project of a bigger scale. The existing site is characteristic of the from the Gironde wine landscape: an island of stone low houses of the 19th century, contain offices and the other dependences, appear from rows of vineyards. In the North of this island gets loose a rangy volume: the wine storehouse.

 © Philippe Caumes

(Philippe Caume)

该项目利用这一建筑环境，使国家的身份。纳多·拉弗涅建筑师肯定能够创造出一种相当线性的建筑一致性，以满足人们对景观的合理期望，而这种景观的永恒的面貌就是传统的安全。然而，一个国家的身份并不取决于一种与复制现有特征相抗衡的建筑姿态。在葡萄酒业务国际化、法国葡萄酒生产与外国葡萄酒竞争的时代，圣埃米利安葡萄酒国仍然是一个强大的实体，无论是风景的美丽还是命名的辉煌都是如此。葡萄酒的生产是一个数百年的传统，这种世俗化在今天这个能够吓到这个行业的时代雇佣了它。在发酵和酿酒方面的新要求，警告客户的期望，一个必要的出口，如此多的迹象不可避免的现代化的葡萄酒业。从那时起，如何在一个地方的同一性、它的例外、它的印记和技术革新上达成和解？

The project takes advantage of this architectural context which makes the identity of the country. Nadau Lavergne Architects would have certainly been able to work a rather linear architectural coherence, to answer the justifiable expectations of a landscape the timeless face of which is security of a tradition. Nevertheless, the identity of a country is not dependent on an architectural gesture which would contend with reproducing the characteristics of the existing. In a time when the business of the wine becomes international, where the French production competes with foreign wines, the wine country of Saint-Emilion remains a strong entity, both for the beauty of its landscapes and for the brilliance of its naming. The production of the wine is a multimillennium tradition; this secularity hires it in an era today which was able to frighten the profession. Of new requirements in term of fermentation and wine making, the expectations of warned customers, a necessary export, so many signs of the inescapable modernization of the viniculture. How to reconcile from then on the identity of an ground, its exception and its stamp and the technical innovations?

 © Philippe Caumes

(Philippe Caume)

当代建筑的选择回答了这一明显的矛盾。现有场地上增加了两卷：一方面是车间，其结构长度允许对场地的整个空间进行结构设计和重新设计道路；另一方面，剪刀和接待大厅跳过石砌建筑留下的空隙。两人都穿着生锈的钢板，这些钢板根据气候的变化而变化；卷上的细腻的粉笔、绿宝石和西耶娜很快就出现了。选择这种材料是必要的(领导)，有一定的证据：这个地方的力量需要建筑在所宣称的极简主义，建筑的存在并不是从竞争或竞争的角度考虑，而是动态。已经挖掘了现有的葡萄酒仓库和车间，以减轻地面平整。架构的动态接触。

The choice of contemporary architecture answers this visible contradiction. Two volumes rise on the existing site: on one hand workshops, the configuration of which in length allows to structure the entire space of the site and to redesign the roads; on the other hand cuviers and reception hall, which skip in the hollow of the space left by stony buildings. Both get dressed of sheets of rusty steel, the aspect of which metamorphoses according to climates; the volumes hurry of nuances pastels, ochre and sienna. The choice of this material was imperative(led) with a certain evidence: the strength of the place required architecture in the asserted minimalism, the architectural presence which did not think in term of competition or rivalry, but dynamics. The existing wine storehouse and the workshops had been dug to mitigate the leveling of the ground. A dynamic contact of the architectures.

 © Philippe Caumes

(Philippe Caume)

注意到建筑的结构，特别是酒库和非常密集的酒窖之间的空间，这个项目在一定程度上符合石箱；欢迎的体积剪接器和接待大厅在传统建筑之间跳过，它们是世俗记忆的见证者。它的立面与已建的生产线(酒库和各种依赖关系)保持一致；它将酒库的长度与西方相结合，使之与建筑物的宽度相吻合。因此，通过把这卷书按明显的线条叠加起来，比如从铁丝上剪下来的，从石心上剪下来的，纳多·拉弗涅建筑师想要打开这些建筑。这种意料之外的近在咫尺的当代建筑与传统建筑之间的接触，创造了一种有趣的动态。一种授权一个新故事的互动；每一个序列的身份都是由于其他建筑的不寻常的存在而引起的。一种对时间的关注，来自于塑造葡萄酒特征的炼金术，一口让我们猜测一下春雨，八月的烈日，橡树繁茂的口音。该项目的建筑线条从葡萄园的纬向借用了它们的简洁性和动态性。这套生锈的钢铁覆盖着这两座建筑，创造了一种视觉上的一致性，降低了这个国家的色彩。然而，他们每一个人都有强烈的身份特征。

Noting the configuration of the built, and quite particularly this space between the wine storehouse and the very dense set towards, the project thus comes to fit partly into the stony case; the welcoming volume cuviers and reception hall skips between the traditional buildings, the witnesses of a secular memory. Its facade is aligns itself with the line of built existing (wine storehouse and diverse dependences); it marries the length of the wine storehouse to present on the West a facade which fits on the width of the building. So by overlaying this volume in the pronounced lines, as cut from the corten steel, from the stony heart, Nadau Lavergne Architects wished to open up the architectures. This unexpected closeness of a contemporary building and one built traditional, their contact, create an interesting dynamics. An interaction which authorizes a new story; The identity of every sequence is as raised by the unusual presence of the other architectural temporality. An attention on the temporality being inspired by the alchemy which shapes the character of a wine, a mouthful of which lets guess the spring rains, the burning sun of August, the wooded accents of the oak. The architectural lines of the project borrow their simplicity and their dynamics from wefts of the rows) of vineyards. The cover of rusty steel which dresses both buildings creates a visual coherence and declines the colors of the country. However a strong identity characterizes each of them.

 © Philippe Caumes

(Philippe Caume)

加拿大的水井是沿着酒库建造的路线挖出来的，里面有剪刀和接待室，还有现存的石砌建筑。它们可以降低葡萄酒库和库维耶内部空间的热振幅。热空气泵，安置在工作室(车间)，分配空气(视觉)冷却和调节过程。建筑物(船只)周围隔离，以达到最佳的热慢度。覆盖车间的Végétalisée屋顶有三种不同的功能，它倾向于在现场插入当代的音量；它通过加强绝缘来促进其缓慢；她最终允许过滤雨水，而雨水又回来了。生产葡萄酒的水由水处理厂处理、管理.安装在车间屋顶上的风力涡轮机对外界有启发作用。

Canadian wells were dug along the line of built formed by the wine storehouse, the volume contains cuviers and reception hall, and the existing stony buildings. They allow to reduce the thermal amplitudes for the internal spaces of the wine storehouse and the cuvier. Hot air pumps, settled in studios(workshops), distribute the air(sight) chill and regulate the process. Buildings(ships) are isolated around for an optimal thermal slowness. The végétalisée roof which covers workshops has three different functions it favors the insertion of the contemporary volume in the site; it contributes its slowness by strengthening the insulation; she allows finally to filter rainwater, which are got back. Wine-producing waters are handled, managed towards a water-treatment plant. A wind turbine fixed to the roof of workshops enlightens the outside.

 © Philippe Caumes

(Philippe Caume)

在地上挖出的一卷书

A volume dug in the ground

车间，面向东西，由屋顶的演奏所指示的4个序列组成，其中在外观上可见的手风琴的划分重温了20世纪50年代的工业建筑。在内部，前三个序列在它们之间进行通信(从北到南：车间(工作室)、房舍和衣帽间(更衣室)、遮蔽材料最后一个序列是一个巨大的房间的葡萄酒，他们的内部穿木料。

Workshops, directed east-west, consist of 4 sequences indicated by the play of the roof, the division of which in visible accordion in facade revisits the industrial architecture of the 1950s. Inside, the first three sequences communicate between them (from north to south: workshop(studio), premises and cloakrooms(changing rooms), shelter material two high doors of panels of steel lacquered on rails open in the East. The last sequence is a huge room for vintagers, whose inside gets dressed of wood.

 © Philippe Caumes

(Philippe Caume)

一扇宽的玻璃窗完全打开了一个木制露台上的空间；它切断了以圣埃米利安谷为中心的全景。半埋在北方，以减轻地面平整，整个建筑呈现出良好的热慢，这促成了一个植被屋顶的存在。在北方，固定在受损金属结构上的风力涡轮机可以供给所有外部照明。它表明建筑物的存在，它似乎逐渐走出地面。植被覆盖的屋顶利用了地面的独特地形，创造了在地面上挖掘建筑物的错觉。

A wide plate glass window totally opens the space on a wooden terrace; it cuts a panoramic centering on the valley of Saint-Emilion. Half-buried in the North to mitigate the leveling of the ground, the whole building presents a favorable thermal slowness, to which contributes the presence of a vegetalized roof. In the North, a wind turbine fixed to a hurt metallic structure allows to feed all the outside lighting. It indicates the presence of the building which seems to go out gradually of the ground. The vegetalized roof plays with the singular topography of the ground, by creating the illusion of a building dug in the ground.

 © Philippe Caumes

(Philippe Caume)