地點(diǎn)：法國巴黎

時(shí)間：2005年-2013年

業(yè)主：法國文化和交通部，

法國檔案管理局

建筑師：馬希米亞諾??？怂_斯，多麗安娜??？怂_斯

面積：108, 136平方米

SITE: Pierrefitte sur Seine-Saint Denis, Paris, France

PERIOD: 2005-2013

CLIENT: French Ministry of Culture and Communication Represented by DAF -

Direction des Archives de France

ARCHITECTS: Massimiliano and Doriana Fuksas

AREA: 108,136 sq. m.

法國新國家檔案館工程從它周圍的真實(shí)場(chǎng)景中、從這座混亂與秩序似乎并存的城市中汲取靈感。這種設(shè)計(jì)理念萌發(fā)于這樣的一種雙重性，在復(fù)雜的構(gòu)造中得以體現(xiàn)。初期的選擇是從地方性和社會(huì)文化兩方面的背景去探討選址和特色設(shè)定，以展現(xiàn)獨(dú)具一格的特質(zhì)。因此，該作品的設(shè)計(jì)遵循著一個(gè)基本建設(shè)原則，那就是根據(jù)根植于其中的社群的需求去創(chuàng)建空間。

法國新國家檔案館的設(shè)計(jì)著眼于優(yōu)化Pierrefitte sur-Seine Saint Denis地區(qū)的地理及建筑景觀環(huán)境，這里正是這座建筑物的棲身之所。

這座綜合樓并未被設(shè)計(jì)成一座孤立的建筑物，而是一件能夠保留記憶、具有集體性身份、同時(shí)面向當(dāng)代藝術(shù)表達(dá)的作品。對(duì)于參觀者而言，它一直被人以發(fā)現(xiàn)、探索和分享的眼光去觀察，而不是用沉思的態(tài)度去看待。

這項(xiàng)工程由兩個(gè)主體構(gòu)成：一部分在水平方向上延展，“懸浮、輕盈、透明”；另一部分在豎直方向上具有張力，“穩(wěn)固、雄偉、深沉”。

第一部分延伸向城市中間，它包含名為“衛(wèi)星”的懸臂式體量，內(nèi)部設(shè)有辦公室、會(huì)議室以及展覽廳。它的正面絕大部分由玻璃制成，賦予了彼此挨著以及懸浮堆疊于水面、大小各異的卷狀體光亮和透明。

這座存放檔案的建筑物是一幢壯觀的龐然大物，它被認(rèn)為是一個(gè)供回憶與追索的地點(diǎn)。內(nèi)部存放檔案資料，并有閱覽室，除了閱覽室及入口處供自然光進(jìn)入的鑲嵌玻璃外，其正面包覆在貫穿建筑體的鋁質(zhì)表皮之下。這座高貴得如同雕塑的建筑物，由水池環(huán)繞著，彰顯著映在水幕上的珍品與寶藏的可貴。

水池鑲嵌在名為“衛(wèi)星”的卷狀體和檔案大樓之間，也分布在“衛(wèi)星”的腳下。其間的步道既是懸臂式建筑體之間的聯(lián)結(jié)，也是兩個(gè)主體之間的聯(lián)結(jié)。正因?yàn)橛辛吮粦腋◇w及大樓表面所分離形成的自然光，而光線反射、蕩漾，水幕才成了該建筑轉(zhuǎn)變的方式，設(shè)計(jì)出了間隙和新的空間。

兩個(gè)主體的正面呈幾何菱形，在檔案樓的鋁包覆層上和“衛(wèi)星”的玻璃表面上都反復(fù)重疊。

在龐然大物和“衛(wèi)星”之間，豎立著安東尼?葛姆雷的藝術(shù)作品，那是一座從水幕中升起的珍貴雕塑品，好似在從中汲取力量。這種現(xiàn)代化的設(shè)計(jì)在建筑群之間蜿蜒，重塑了空間。幾何面沿著通道鏈接藝術(shù)品，賦予投射在水池以及卷狀體鏡面的十二面體鏈?zhǔn)浇Y(jié)構(gòu)以生命。

記憶的鏈接可象征性追溯至當(dāng)年帕斯卡的大作，那是坐落在“衛(wèi)星”前方區(qū)域的一系列混凝土“保險(xiǎn)箱”建筑群。這些都鮮明地顯現(xiàn)了某些烙印在集體記憶中的個(gè)性面貌。和龐大的建筑體一樣，裝置藝術(shù)也牢牢扎根于土壤，就仿佛是深植于記憶中的根系一般。

接待游人的是兩層高的大廳?！靶l(wèi)星”的“懸浮”效果因Susanna Fritscher在藝術(shù)方面的介入而格外凸顯，通過紅色不銹鋼假天花板片的呈現(xiàn)，以極其簡單的聯(lián)系強(qiáng)調(diào)綜合樓體和“衛(wèi)星”線條之間的交互。紅色使得拔地而起、不同高度的建筑體更加深邃，同時(shí)在虛與實(shí)、有形與無形之間流轉(zhuǎn)自如。

入口通往專門向公眾開放的區(qū)域：閱覽室、展廳和會(huì)議室。因紅色的布料而十分醒目會(huì)議室的座椅是意大利弗勞家具公司的“Carla”，是出自意大利建筑設(shè)計(jì)公司?？怂_斯之手。椅子由兩個(gè)片狀結(jié)構(gòu)組成，它們交叉旋轉(zhuǎn)著向后形成椅子和扶手，就像一朵花，形狀從容而簡約。

建筑內(nèi)部被設(shè)計(jì)成寬大空間，令人感受到此地的重大價(jià)值和與眾不同。

環(huán)境的重要性以及由此而來的地域的重要性具體表現(xiàn)在Florence Mercier在景觀方面的交互。他設(shè)計(jì)的綠地給了自然、建筑和參觀者一個(gè)真切的互動(dòng)機(jī)會(huì)。綠色的步道引導(dǎo)和帶領(lǐng)游客進(jìn)入大樓，就像一個(gè)切換三維與二維、色彩與陰影的舞臺(tái)。

一項(xiàng)激動(dòng)人心的工程，兩個(gè)主體、兩個(gè)世界，象征性地以步道聯(lián)接，著眼于當(dāng)代與未來，經(jīng)過長期相互地照映，創(chuàng)造了一個(gè)植根于過去回憶的身份。這個(gè)項(xiàng)目映射的是屬于法蘭西乃至全人類的身份與記憶。

The project of the New National Archives of France draws its inspiration from the surrounding reality, from the city seen as coexistence of chaos and order.The concept is born and takes place from this duality which is re fl ected in the organization of the complex.

The initial choice was to investigate the site and its characteristics in both territorial and socio-cultural contexts to reveal an unique identity. The work has therefore been thought following a cardinal principle of architecture to create spaces according to the needs of the communities that populate them.

The design of the New National Archives of France has followed the intent of enhancing the geographical and architectural landscape of the area Pierre fi tte sur-Seine Saint Denis, where the building inserts itself.

The complex has not been designed as a self-referring architecture, but as a work that could hold the memory and the collective identity, at the same time open to contemporary artistic expressions. It has not been thought in a contemplative perspective, but in a perspective of discovery, research and participation for the audience.

The project is composed of two main “bodies”: one that extends horizontally,“suspended, lightweight, transparent”; the other with a tension in height,“anchored to the ground, imposing, reflective”.

The first, stretching out towards the city, consists of cantilevered volumes called “satellites” that accommodate the of fi ces, the conference room and the exhibition room. The facades, mostly glazed, give lightness and transparency to the volumes of different proportions, that follow each other and overlap in“suspension” on the surfaces of the water.

The building that accommodates the Archives is an imposing monolith thought as a place dedicated to memory and research. It houses the archival documents and the reading room. The facades of the monolith are coated with aluminium“skin” that runs throughout the volume, except for some glazed insertions that allow the amount of natural light in the reading room and the entry route. The“noble” sculptural building, with a basin in part lapped against it, reminds the idea of a precious object, a treasure chest, that is re fl ected in the water veil.

The basins insert themselves between the building of the Archives, the “satellite”volumes and at the foot of the satellite volumes. Walkways above them create a connection both between the cantilevered volumes and the two “bodies”. The water veil becomes a vehicle of change for the architecture, designing voids and new spaces, thanks to the reflections and the play of natural light created by the cuts of the suspended volumes and the “skin” of the monolith.

The facades of both “bodies” follow a lozenge geometry that is repeated both in the aluminium cladding of the building of the Archives and in the glass facades of the “satellite” volumes.

Between the monolith and the “satellite” volumes stands the artwork by Antony Gormley. A precious sculptural object that rises from the veil of the water below,like to draw strength from it. This redesigns the spaces in a contemporary way,winding along the facades of the architectural complex. The geometric faces articulate the artwork along its passage and give life to the structure of a chain of dodecahedra, which reflects and projects itself between the basin of water and the mirror surfaces of the volumes.

The link with the memory is symbolically traced in the work of Pascal Convert, a series of concrete “strongboxes” set in the area in front of the “satellite” volumes.These show in relief the faces of some personalities that left their mark on the collective memory. The art installation is tightly anchored to the ground, as well as the volume of the monolith, like roots sinking into the depths of memory.

A double-height hall welcomes the visitor. The “suspended” effect of the “satellite”volumes is highlighted by the art intervention by Susanna Fritscher which, through a minimalist touch that consists of the realization of false ceilings as stainless steel “sheets” shaded in red, emphasizes the interaction between the architecture of the complex and the lines of the “satellites” volumes. The red colour gives depth to the volumes that stand out horizontally at different heights, creating at the same time a play of solids and voids, between material and immaterial.

The entrance leads to areas dedicated to the public: the reading room, the exhibition room and the conference room.The seat for the conference room,"Carla" for Poltrona Frau, realized in red colour textile is by Fuksas architects.The chair is formed of two planes that intersect and rotate their way into the back, chair and armrests, just like a flower. A measured, minimalist shape.

The interiors are characterized by large spaces that give an overview that makes immediately perceive the importance and the uniqueness of the place.

The importance of context, and therefore the importance of the territory,assumes concrete form in the landscape intervention by Florence Mercier.His design of green spaces has created a real interaction between nature,architecture and the audience. The green walk that introduces and takes the visitor to the complex is like a stage that alternates geometries, shapes, colours and shades.

A project that aims to give emotions. Two “bodies”, two “worlds”, symbolically connected by walkways that, in a constant cross-reference, creates an identity that is rooted in the memory of the past with an eye to the contemporaneity and the future. The project reflects identity and memory that belong to France and to all humanity.