項目類型：文化建筑， 博物館

項目地點：法國阿羅芒什萊班

建筑設(shè)計： Projectiles

建筑面積： 2 220 平方米

項目年份： 2024年

攝影師：安東尼·卡迪

Cultural Architecture， Museum

Location： Arromanches-les-Bains， France

Architects： Projectiles

Area： 2 220 m2

Year： 2024

Photographs： Antoine Cardi

位于阿羅芒什的諾曼底登陸博物館是第二次世界大戰(zhàn)后第一個建立的此類主題博物館。2024年，隨著由Projectiles設(shè)計的新建筑的開幕，博物館的歷史翻開了新的一頁。這句話很好地表達(dá)了這個項目的主要挑戰(zhàn)，即記憶、共同歷史的知識和傳承，以及我們在未來某些人工港口遺跡消失之后的銘記責(zé)任。

博物館與其所在區(qū)域的關(guān)系至關(guān)重要。該位置使其成為一個觀察點。位于法國阿羅芒什萊班，這座景觀博物館被設(shè)想為一個“整體”，屬于一個更廣闊的博物館系統(tǒng)，從東到西（從懸崖到懸崖）和從南到北（村莊的地平線）。從廣場和斜坡上，可以看到博物館所有的五個面，它們通過提供不同的框架，與各種尺度進(jìn)行對話，為景觀增添了多樣性。前場不僅突出了博物館，還為觀看潮汐的奇觀提供了理想的空間，因為潮汐會從看臺上展示遺跡。向東，新創(chuàng)建了一個與楔形相對應(yīng)的林地公共空間。它既是對1944年6月6日廣場的補充，又與之連貫一體。額外的看臺完善了這一布局。

該項目的特點在于其與場地的關(guān)系、簡單的體量和結(jié)構(gòu)的嚴(yán)謹(jǐn)性。這是一座地平線博物館，其內(nèi)部向外部的視野景觀（反之亦然）至關(guān)重要。底層的公共空間、廣場和街道延伸到博物館內(nèi)部。第一層，收藏品、卡片和物品與景觀產(chǎn)生對話。到達(dá)屋頂時，結(jié)構(gòu)、立面、畫廊墻壁和投影都消失了。與場地的對抗是全面的。一個深4米、高8米的遮陽篷橫跨整個博物館。預(yù)制的淺色混凝土柱按照不同的圖案構(gòu)成了建筑的外圍。它們的實現(xiàn)呼應(yīng)了構(gòu)成馬爾伯里B人工港口模塊的工程天才。巨大的玻璃框填充了混凝土外骨骼。

一個長16米、寬4米的巨大縱向裂縫構(gòu)成了每層的平面結(jié)構(gòu)。它們的尺寸與巨大的鳳凰沉箱的比例相同。在進(jìn)入博物館的展示線路時，游客會發(fā)現(xiàn)一座似乎漂浮在這個體量中的天橋。預(yù)制混凝土結(jié)構(gòu)在博物館內(nèi)部繼續(xù)存在。12米的橫梁每2米間隔排列，從裂縫到北立面和南立面的柱子?？缭疥懙睾秃Ｑ?，穿過前場和博物館內(nèi)部，參觀路線始于1944年6月6日廣場和海岸線步道。展覽畫廊按照時間順序和主題逐漸向外開放：從戰(zhàn)爭爆發(fā)到解放。在首層，游客進(jìn)入一個多層次空間，氛圍柔和，放映一部介紹性電影，介紹博物館的目的。參觀在第二層繼續(xù)，直接與海洋地平線和馬爾伯里B的遺跡產(chǎn)生視覺聯(lián)系。

The D-Day Museum in Arromanches was the first museum created on this theme in the aftermath of the Second World War. A new page in the museum's history was written in 2024 with the opening of the new building designed by Projectiles. This phrase expresses well the main challenges of this project， which are memory， the knowledge and transmission of a shared history， as well as our duty of remembrance， beyond the disappearance of certain vestiges of the artificial port in the near future.

The museum’s relation to the territory is fundamental. Its position makes it an observatory. Located in Arromanches-les-Bains （France）， this landscape museum is imagined as a “whole” belonging to a much vaster museum system stretching from east to west （from cliff to cliff） and from north to south （the horizon of the village）. From the square and the slope， all five of the museum’s faces are visible and contribute to the diversity of regards focused through it onto the landscape， by offering different framings， in a dialogue with the various scales. Whilst highlighting the museum， the forecourt is an ideal space for contemplating the spectacle of the tide as it reveals the vestiges from the stands. To the east， a new wooded public space is created in relation to the wedge. It is integrated both in complementarity and continuity with the Place du 6 juin 1944. The additional stands complete the arrangement.

The project is characterized by its relation to the site， its simple volumetry， and its constructive rigor. It is a horizon museum whose many vistas from the interior towards the exterior （and conversely） are of the utmost importance. On the ground floor， the public space， the square， and the street extend into the museum. On the first floor， on the level of the collections， cards， and objects dialogue with the landscape. Upon reaching the roof， structures， fa?ades， gallery walls， and projections disappear. "The confrontation with the site is total. An awning with a depth of 4 meters and a height of 8 meters stretches across the entire museum. Prefabricated light-colored concrete columns compose the building’s periphery according to differentiated patterns. Their implementation echoes the engineering genius of the modules forming the artificial port of Mulberry B. Great glazed frames fill in the concrete exoskeleton.

A great longitudinal fracture （16 meters long and 4 meters wide） structures the plan of each level. Their dimensions present the same rapport of proportions as the great Phoenix caissons. A footbridge， which visitors discover upon entering the museum’s display circuit， seems to be floating in this volume. The prefabricated concrete structure continues within the museum. 12-metre transversal beams are spaced every 2 metres， from the fracture to the columns of the north and south fa?ades. Straddling land and sea， between the forecourt， and the museum's interior， the path of the visit begins at the Place du 6 juin 1944 and the shoreline promenade. The exhibition galleries gradually open towards the exterior， following a chronological and thematic path： from the outbreak of the war up to the liberation. On the ground floor， visitors enter a multi-level room， with a muffled atmosphere in which an introductory film contextualizing the museum’s purpose is screened. The visit continues on the first floor with a direct visual link to the maritime horizon and the vestiges of Mulberry B.