本項(xiàng)目涉及對(duì)現(xiàn)代及流外藝術(shù)博物館進(jìn)行翻修及擴(kuò)建，該館位于阿斯克新城的一座漂亮的公園內(nèi)。現(xiàn)有建筑是由Roland Simounet在1983年設(shè)計(jì)而成的，已被列入歷史古跡名單。

本項(xiàng)目旨在將博物館建設(shè)為一個(gè)連續(xù)的流動(dòng)的實(shí)體，通過增加專門收藏流外藝術(shù)作品的畫廊來實(shí)現(xiàn)，以巡游瀏覽的方式來感知空間的大小。對(duì)那些破舊的地方做了完全的翻修。盡管Simounet的建筑作品具有史詩一般的地位，但它并沒有讓你感到有距離感，我們選擇了在原建筑上直接進(jìn)行擴(kuò)建。

建筑師努力從Roland Simounet的建筑中尋找線索，“學(xué)著去理解”，這樣新開發(fā)的項(xiàng)目就不會(huì)出現(xiàn)被視為冷漠的一種態(tài)度。擴(kuò)建的建筑環(huán)繞在原建筑的北部和東部，長(zhǎng)扇形排布著流暢的有機(jī)體塊。在扇骨的一邊，有一間咖啡餐廳，面向著中央庭院開放；在另一邊，扇骨之間間距更大，可以為五家畫廊提供足夠的場(chǎng)地。

流外藝術(shù)畫廊與周邊環(huán)境聯(lián)系緊密，但同時(shí)也與展出的作品相匹配：那些不規(guī)則形狀的，強(qiáng)大的作品讓你不會(huì)只瞄一眼就走開。畫廊里的褶皺處令空間更為有機(jī)靈活，讓游客在漸進(jìn)的行進(jìn)過程中去探索發(fā)現(xiàn)這些藝術(shù)作品。

建筑結(jié)構(gòu)部分是內(nèi)向的，為了保護(hù)那些易碎的藝術(shù)品和其需要的柔弱的光線。

在這些褶皺結(jié)構(gòu)的末端——就是從畫廊過去可以看到周圍寬闊的綠地，這為游客的行程增添了休息的空間。這些風(fēng)景令畫廊更為出彩：隔區(qū)正前方的鏤空擋板透入了強(qiáng)烈的光線和美麗的風(fēng)景，這些特性都在Simounet在其設(shè)計(jì)的畫廊的大氣布局中體現(xiàn)出來?？蚣芮逦汗饣奈唇?jīng)處理的混凝土墻，與造型鏤空擋板組合在一起，避免過多光線進(jìn)入隔區(qū)。混凝土表面會(huì)根據(jù)光的強(qiáng)度來變幻色調(diào)。

The project concerns the refurbishment and the extension of the Modern and Outsider 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.

The project aims at building up the museum as a continuous and fl uid entity, this by adding new galleries dedicated to a collection of Outsider Art works, from a travelling movement that extrapolates existing spaces. A complete refurbishment of the existing building was next required, some parts were much worn. 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.The architecture of the extension wraps around the north and east sides of the existing arrangement in a fan-splay of long, fl uid and organic volumes. On one side, the fan ribs stretch in close folds to shelter a caférestaurant that opens to the central patio; on the other, the ribs are more widely spaced to form the fi ve galleries for the Outsider Art collection.

The Outsider Art 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.

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.