建筑設(shè)計(jì)：XTU Architects

項(xiàng)目地址：波爾多，法國(guó)

主建筑師：Anouk Legendre, Nicolas Desmazières 

現(xiàn)場(chǎng)團(tuán)隊(duì): delphineisart, claireleroux, thibault le poncin, joan tarragon

研究團(tuán)隊(duì): joan tarragon, gaëlle le borgne, stefaniamaccagan, cristinasanchez

建筑面積: 12,927平米，包括2800平米的常設(shè)展區(qū)

攝影師：Delphine Isart, Patrick Tourneboeuf, XTU, Julien Lanoo, Paul Desmazieres

 

“這座建筑不像任何已知的形狀，因?yàn)樗鼏酒鹆诉@座城市與這里的河流的葡萄酒靈魂。”

波爾多葡萄酒博物館彰顯出強(qiáng)烈的曲線線條與造型。這座地標(biāo)建筑，通過(guò)金色框架塑造塑造了城中城，一個(gè)待探索的棲居之地。

‘This building does not resemble any recognisable shape because it is an evocation of the soul of wine between the river and the city.’A strong architectural statement, La Cité du Vin stands out with its bold curves and shape. An iconic building, this golden frame hosts a Cité within the city, a living space with experiences to discover. 

 

 

設(shè)計(jì)最開(kāi)始的目標(biāo)是創(chuàng)造城市與周邊環(huán)境的持續(xù)連接。

The initial aim of the building’s architecture was genuinely to create a link between La Cité du Vin and the spaces surrounding it through perpetual movement.

 

 

XTU事務(wù)所的建筑師 Anouk Legendre 與 Nicolas Desmazières 通過(guò)建筑象征的意義設(shè)計(jì)了建筑的造型：醒酒的容器里有剛倒入的紅酒形成的漩渦。 每一個(gè)建筑細(xì)節(jié)都喚起了紅酒的精髓與液體的屬性：“連綿而圓潤(rùn)，無(wú)形又性感”。

Anouk Legendre and Nicolas Desmazières, the architects from XTU, designed a space shaped by symbols of identity: gnarled vine stock, wine swirling in a glass, eddies on the Garonne. Every detail of the architecture evokes wine’s soul and liquid nature: ‘seamless roundness, intangible and sensual’.

 

 

圓潤(rùn)的室外造型延伸到了室內(nèi)的空間、材料與尺度。博物館立面的炫金色的光澤，讓人聯(lián)想到波爾多建筑立面上采用的石灰?guī)r。它自身的立面通過(guò)玻璃嵌板加上經(jīng)過(guò)穿孔、涂裝虹彩并涂漆的鋁板，形成了絲帶扭轉(zhuǎn)的感覺(jué)。

This roundness transcribed in the building’s exterior can also be felt in its indoor spaces, materials and scale. La Cité du Vin dazzles with a golden shimmer reminiscent of the light stone found on Bordeaux facades. Its own facade is made up of silk-screen printed glass panels and perforated, iridescent, lacquered aluminium panels.

 

 

隨著陽(yáng)光的日變化，該建筑通過(guò)河上的倒影不斷進(jìn)行著時(shí)間的對(duì)話：它與葡萄酒不停變換的外觀十分相似。建筑獨(dú)特的造型使你愿意從不同的角度來(lái)欣賞這條河的奔流向前。

Changing with the sunshine or the time of day, the building dialogues with the river through its reflections: there are very close parallels with a wine’s constantly changing appearance. This very distinctive shape causes you to look at the river running past from a different perspective.

 

 

這兩個(gè)建筑的兩個(gè)入口都營(yíng)造了內(nèi)外運(yùn)動(dòng)的形象。其中一個(gè)入口面向城市，另一個(gè)面向河流。挑高的觀景塔，讓游客能夠俯瞰燈火輝煌的城市與周?chē)耐恋?，這幾乎就像一個(gè)瞭望塔。

The building’s two entrances on either side create an impression of movement, ebb and flow between inside and outside. One entrance faces the city and the other faces the river. Higher up, the viewing tower enables visitors to discover the illuminated city and the surrounding land, almost like a watchtower.

 

在XTU事務(wù)所眼中，這里主要的旅游路徑遵循這三股流動(dòng)：紅酒之流，河流與游客流量。你穿過(guò)建筑時(shí)就像一條河，人流順著中央樓梯一股股向前，持續(xù)地形成這種水流般的印象。

In the eyes of XTU, the main tour itself follows these flows: wine, the river, the flow of visitors. You pass through the building like a river, with visitors becoming voyagers flowing around the central staircase, perpetuating this impression of movement.

 

 

這意味著持續(xù)的游客的移動(dòng)就像是經(jīng)歷一種良性的發(fā)現(xiàn)循環(huán)。每個(gè)人都能探索到一個(gè)包含流動(dòng)與旋轉(zhuǎn)，獨(dú)特而無(wú)限的新世界，就像是對(duì)一種充滿想象的文化景觀的迂回旅行。

This means that visitors are constantly moving as they experience a virtuous circle of discovery. Each person discovers a new world in a fluid, rotating motion leading to an unusual, limitless destination, like a journey through the meanderings of a cultural landscape which feeds the imagination.

 

 

本建筑的最初目標(biāo)就包含一系列連續(xù)的場(chǎng)景，使建筑設(shè)計(jì)的過(guò)程成為一次旅程。

The initial aim was for the building programme to develop in line with the scenography, making the architecture a voyage in itself.

 

 

因此，樓下是一個(gè)黑暗的世界，就像一個(gè)地窖，連著葡萄樹(shù)的根。一層是一個(gè)浸泡式的“生”的場(chǎng)地，一個(gè)交叉點(diǎn)。鏡子反射的出迷幻的效果，并引導(dǎo)游客上樓，來(lái)到更亮的高層。他們?cè)谠鹤永锔惺艿竭@光，被結(jié)構(gòu)引導(dǎo)向前走，最終如《桃花源記》里的描述“豁然開(kāi)朗”。這里沒(méi)有固定的路線，只有待發(fā)現(xiàn)的世界。

Downstairs is therefore a dark world, like a cellar, with the roots of the vines. The ground floor is raw as an immersion stage diving into the project, a crossing point. The mirror reflections are disorienting and encourage visitors to move upwards towards the light. They feel this light on the courtyard then follow it through the structure until it finally explodes. There is no fixed route to follow, just worlds to discover.

 

 

 

游覽體驗(yàn)的目的也需要時(shí)時(shí)追問(wèn)。有時(shí)，建筑的感覺(jué)退去，又在其他地方再現(xiàn)。博物館中最強(qiáng)烈的一處空間，仿佛無(wú)盡的木質(zhì)拱廊就像是一片多樣的天空般。天空影響了釀酒的一切條件，決定了收成。這個(gè)木制的天空升起，起伏和收緊。也是關(guān)于人們的游覽運(yùn)動(dòng)。

The aim of the experience is genuinely to question rather than let alone. Sometimes the architecture steps back, in other places it reappears.

The wooded arch of the permanent tour, the strongest area of La Cité du Vin, is like a varied sky. The sky is everything in winemaking, determining the harvest. This wooden sky rises, undulates and tightens. once again, this is all about movement.

 

 

木結(jié)構(gòu)使人聯(lián)想到木框架，這種結(jié)構(gòu)的船，和在船上旅行的葡萄酒。這是對(duì)于現(xiàn)實(shí)的一種浸入式突破，營(yíng)造了浸入式的現(xiàn)實(shí)，代表了葡萄酒制作經(jīng)驗(yàn)中圓滑、流動(dòng)，得以升華的世界。就像柯林·羅的《透明性》描述的那樣，游客先有著內(nèi)心描畫(huà)的建筑，現(xiàn)實(shí)的發(fā)現(xiàn)又一次次地挑戰(zhàn)著游客的想象力，最后使游客興奮地完成整個(gè)浸入而從未有過(guò)的體驗(yàn)。

The wooden structure is reminiscent of a timber frame, of boats, of wine on its travels. It is an immersive break with reality, a world of roundness, fluidity and elevation approximating the wine experience. Visitors are in a discovery mind-set initiated by the architecture, which creates the right conditions for them to discover and complete this immersive, initiatory journey.