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图尔市会议中心的规划要求设计三个分别为2000座位、700座位和350座位的礼堂,展览平台餐馆,时装商店以及相关设施。该建筑场所必须小心地处理,因为它紧靠省长官邸和花园,以及一个堂皇的Laioux设计的十九世纪火车站。该场所长且窄,突起的高地,定线及界限,尤其是周围的景色,形成了严格的约束。建筑师只能创造一件重要的城市作品,小心地塞入一个已组织好的综合景观中,并且要与现存的环境形成最佳的协合作用。路维尔选择在该场所放置一个长方形物体,无足轻重的然而是大胆的。他的设计捕捉了开阔与窄小部分不透明性与透明度的辩证法。礼堂的建筑体块似乎悬挂在有宽大雨篷的房顶下的一个清澈的玻璃盒中,用灰色的金属外壳覆盖,使人想到Angevin地区暗蓝灰色的屋顶。他似乎摆弄一个装满各种不同器具的盒子:大礼堂用暗色雨篷和占主导地位的暗灰色调子设计成像一套音响的技术物体,中型礼堂采用皮革和木材的结合,而小礼堂则用清彻明亮的环境加以界定。
The plan of the Tour de France Conference Center requires the design of three auditoriums with 2000 seats, 700 seats and 350 seats, exhibition platform restaurants, fashion shops and related facilities. The building site must be handled carefully because it is located close to the governor’s residence and gardens, as well as a magnificent 19th-century railway station designed by Laioux. The site is long and narrow, raised highlands, alignment and boundaries, especially surrounding scenery, form a strict constraint. Architects can only create an important urban work, carefully packed into a well-organized comprehensive landscape, and have the best cooperation with the existing environment. Luville chose to place a rectangular object in the place, which is insignificant but bold. His designs capture the dialectic of opaqueness and transparency in open and narrow areas. The building’s mass of the auditorium seems to hang in a clear glass box under the roof with a large canopy, covered in a gray metal casing, which reminds of the dark blue-gray roof of the Angevin area. He seems to be playing around with a box full of different instruments: the auditorium is designed with a dark awning and a dominant dark gray tone to visualize a set of acoustical technical objects, a medium hall with a combination of leather and wood, and a small hall with The clear and bright environment is defined.