卢浮宫博物馆公园.

,Museum Park Louvre Lens

博物馆公园卢浮宫透镜莫斯巴赫Paysagistes,“KDSP”凯瑟琳莫斯巴赫:当像卢浮宫这样的机构将自己定位在这片土地上,并扩展到这一领域时,它提供了一个引人注目的机会,因为它的首要任务是体现艺术的记忆。我们在讨论这两个宇宙之间的相遇类型,乍一看似乎是不同的,但却从同一种资源中汲取,即通常所说的文化:一方面是艺术,另一方面是工业和景观文化。专家组投资卢浮宫镜头项目,为高环境质量(HQE)国家标签文化设施项目定义一系列参数。

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在这里,项目是通过撤销、减法制定的,或许是为了保护意义,培养它取之不尽,用之不竭的故事,使它在多个层次上展现出来,供想要探究它的游客使用。我们的策略恢复了皮肤(记录表面)和深度(昨天和明天的资源)之间受干扰的联系。它打开了通往未来时代的大门,将艺术作为所有时代的调解人和通向新思想的桥梁。公园概述了项目内容(激活记忆的触发因素)、文化设施(公园博物馆)的空间策略和潜在景观事件(扩展卢浮宫公园)的挑战。一个层次代表了每一个层次;每一个层次都解释了它所属的时间维度。卢浮宫的花园在它们的交汇处成为现实,就像许多活生生的记忆片段。然而,这种对资源的技术和科学翻译并不包括在可触摸到的划分土地的信息积累中。

<p><noscript><img class=?mosbach paysagistes<p><noscript><img class=?mosbach paysagistes<p><noscript><img class=?Iwan Baan<p><noscript><img class=?mosbach paysagistes<p><noscript><img class=?mosbach paysagistes&sanaa<p><noscript><img class=?mosbach paysagistes<p><noscript><img class=?莫斯巴赫paysagistes&萨那<p><noscript><img class=?莫斯巴赫paysagistes<p><noscript><img class=巴黎弗里尔2013。M、 JARRIE“<p><noscript><img class=1”?Iwan Baan“<p><noscript><img class=2”?mosbach paysagistes“<p><noscript><img class=3”?mosbach paysagistes<p><noscript><img class=?mosbach paysagistes<p><noscript><img class=?mosbach paysagistes<p><noscript><img class=?mosbach paysagistes<p><noscript><img class=?Hisao Suzuki“<p><noscript><img class=8”?mosbach paysagistes“<p><noscript><img class=9”?mosbach paysagistes<p><noscript><img class=?mosbach paysagistes<p><noscript><img class=mosbach paysagistes<p><noscript><img class=?mosbach paysagistes<p><noscript><img class=?mosbach paysagistes<p><noscript><img class=?mosbach paysagistes<p><noscript><img class=?mosbach paysagistes<p><noscript><img class=?mosbach paysagistes<p><noscript><img class=?mosbach paysagistes<p><noscript><img class=?mosbach paysagistes<p><noscript><img class=?mosbach paysagistes<p><noscript><img class=?mosbach paysagistes<p><noscript><img class=?mosbachpaysagistes<p><noscript><img class=?mosbach paysagistes<p><noscript><img class=?mosbach paysagistes<p><noscript><img class=?mosbach paysagistes公园是博物馆的

体验,从4个基点的景观设置(将博物馆的项目延伸到墙外)为所有10个入口提供无障碍设施。它是与博物馆活动相关的文化规划、动画和大众聚集的地方。博物馆、城市和领土之间的联系*一个纪念遗址历史的地方及其与Loos en Gohelle dumps的关系*一个将博物馆的视野延伸到1850年传统周边地区之外的地方,传达当代艺术及其与地面现实的潜在交叉。*一个清晰的环境,为每个人提供动态的变形景观,吸引人的地方,一个目的地本身,促进了不熟悉艺术的当地居民对博物馆的所有权,与来自各种文化背景的艺术偏好人群混合在一起*在博物馆闭馆时间附近可供散步和放松的空间*娱乐和休闲区*一个创造社会联系的生态友好环境(关系花园,尊重自然环境)整体和整体部分(无防御性展示)博物馆安保系统:门槛距离(淤泥和木栅栏,绿色c异常,……)可持续发展的过程依赖于设计的多功能性和通用性,将多功能关节式教育装置与现场结合,具有临时性*技术平台,揭示维护策略*樱桃园下的绿色教室*三大层

矿层的lais网络-工业级环境图层地质时间文化层-展示节奏

数据

景观建筑:凯瑟琳莫斯巴赫/莫斯巴赫佩萨吉斯特建筑:Kazuyo Sejima+Ryue Nishizawa/萨那

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Museum Park Louvre Lens

Mosbach Paysagistes

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Catherine Mosbach: When an institution like the Louvre positions itself on this soil and by extension in this area, it offers a striking opportunity, since its primary mission is to embody the memory of art. We are talking about types of encounter between these two universes that seem at first sight to be disparate and yet draw from the same resource that is commonly known as culture: art on the one hand, and an industrial and landscape culture on the other. Expert team invest Louvre Lens project to define a range of parameters for High Environmental Quality (HQE) national labelling cultural facility program.

 

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Here, the project is enacted through withdrawal, subtraction, in order perhaps to protect meaning, cultivate its inexhaustible story, so that it reveals itself in its multiple layers, available to the visitors who wish to probe it. Our strategy restores the disturbed link between skin (recording surface) and depth (resource of yesterday and tomorrow). It opens the door to future ages by introducing the art as mediator of all the ages and as bridges to new mentalities. The park outlines the challenges of a programmatic content (triggers of active memory), the space strategy of a cultural facility (park-museum) and potential landscape events (extended Louvre park). A level represents each of these strata; each of these explains the temporal dimension to which it belongs. The Louvre gardens materialize at their intersection like so many extracts of a living memory. This technical and scientific translation of the resources is not however covered by an accretion of information that palpable divides the land.

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© Iwan Baan

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paris mômes février 2013. M.JARRIE

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© Hisao Suzuki
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The park is

Experience to the museum which introduces accessibility for all 10 entrances from the 4 cardinal points
Landscaped setting which extends the programs of the museum outside the wall. It is the place for cultural programming, animation and popular gathering in connection with the activities of the museum.
Connection between museum, city and territory
*a place of memory for history of the site and its relationship to Loos-en-Gohelle dumps
*a place that extends the horizon of the museum beyond its traditional perimeter of 1850, relaying contemporary art and its potential crosses with the ground realities.
*an articulated environment which offers dynamic morphing views to everyone
Attractive spot, a destination in itself, which promotes ownership of the museum by local inhabitant not familiar with art, mixed with the art-preferred population from all cultural backgrounds
*a space nearby available for walking and relaxing during the closed hours of the museum
*a recreational and leisure area
*an eco-friendly environment that creates social ties (relation gardens, respect given to the natural environment)
Integral and integrated part (without defensive display) the security system by museum: thresholds distancing (silt and wood fence, green canopy,…)
Sustainable process relies on the versatility and universality of the design that fits several functions
Articulated educational device to the site with temporality
*technical platform to expose maintenance strategy
*green class room under cherry circle
*lais network for 3 main strata

mine layer -industrial stage
environment layer-geological time
cultural layer -exhibit rhythm

Data

Landscape Architecture: Catherine Mosbach/MOSBACH PAYSAGISTES
Architecture: Kazuyo Sejima + Ryue Nishizawa / SANAA

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