法國(guó)國(guó)家圖書館，巴黎，法國(guó)

建筑設(shè)計(jì)：多米尼克·佩羅

1 沒有護(hù)欄的臺(tái)階/De-parapet stairs

一個(gè)為巴黎而建的廣場(chǎng)，一座為法國(guó)而建的圖書館

這座圖書館是一座緣起之地，而不是一半寺廟一半超市的龐然巨物——請(qǐng)參考巴黎東區(qū)。圖書館的所在地位于塞納河沿岸，是協(xié)和廣場(chǎng)、戰(zhàn)神廣場(chǎng)和榮譽(yù)軍人院等一系列連續(xù)場(chǎng)地中的一塊。塞納河沿岸的場(chǎng)地，是區(qū)域活化的決定性因素。第十三區(qū)的山崗朝向塞納河，身后是Porte de Choisy和Porte d'Ivry大廈。法國(guó)國(guó)家圖書館無私地用自己的影響力和光彩推動(dòng)了區(qū)域性保護(hù)與復(fù)興。為了對(duì)開放空間進(jìn)行整合，國(guó)家圖書館以4個(gè)“坐標(biāo)塔”的形式在場(chǎng)地伸展開來。豎直和水平方向的內(nèi)在張力，對(duì)場(chǎng)地間的虛擬空間進(jìn)行了界定，并將綜合體的詩(shī)意幻化成為有形。

一個(gè)神奇之地

該項(xiàng)目堪稱城市的藝術(shù)品、極簡(jiǎn)主義裝置、“少就是多”的典范。其構(gòu)成要素和材料在沒有光線照射時(shí)毫無生氣。塔樓、匣狀或鞘狀的玻璃結(jié)構(gòu)有雙層表皮和濾光窗，強(qiáng)化了反射與高光的效果，并放大了陰影：這些水晶般的棱鏡帶來了光線衍射的無上魔力。

一座花園讓大自然從樹木的枝葉中展現(xiàn)出來?！傲趾凉?，葉浪滾滾”。甫一踏上懸在樹枝間的步行橋，便令人仿佛置身天地間。灌木以它的芬芳和沙沙聲形成一種溫柔的庇護(hù)，沁人心脾，有如走進(jìn)另一個(gè)世界。夜幕降臨：法國(guó)圖書館將籠罩在由花園和后勤部射出的光環(huán)之中。一道若隱若現(xiàn)的光將從玻璃塔樓中升起，在4個(gè)制高點(diǎn)上達(dá)到頂峰，如4座燈塔般閃耀。這流動(dòng)的光將灑滿廣場(chǎng)，座座塔樓倒映在塞納河中?！酰ㄗ模憾嗝啄峥恕づ辶_，選自1989年6月競(jìng)賽說明；尚晉 譯）

2 草圖/Sketch

3 外景/Exterior view

A square for Paris, A library for France

An initiatory place and not some monster of a building, part-temple and part-supermarket. A place of reference for the East End of Paris. A place that is part and parcel of the continuity of the sequence of large empty spaces along the Seine, like the place de la Concorde, the Champ de Mars, and the Invalides.In this way the site beside the Seine becomes one of major importance with the activation of this place;the hill in the 13th Arrondissement gives on to the Seine, and turns its back on the disgrace of the sad Porte de Choisy and Porte d'Ivry high-rise towerblocks. In an operation designed to save and redeem the place, the institution introduces its generosity,while the Bibliothèque de France contributes its influence and radiance. With this combination of a free and open space, built to the scale of the capital and horizontality, the Bibliothèque de France unfurls its breadth and volume by way of its four"beacons" – like markers, akin to tension – rods or braces for the flat area between them, offering a verticality that defines a virtual volume, which, in turn, crystallizes all the magic, presence and poetry of the complex.

A magic place

4.5 平面/Plans

6 外景/Exterior view

This project is a piece of urban art, a minimalist installation, "less is more", where objects and the materials of which they are made count for nothing without the lights which transcend them. Towers,case – or sheath – like structures of glass, with a double skin and sun filters which multiply the ref lections and highlights, and magnify the shadows:the absolute magic of the diffraction of light by means of these crystalline prisms.

Nature offsets with a garden the foliage of the trees. "A sea of trees, a froth of leaves". An initiatory walk across footbridges slung among the branches of the trees, somewhere between sky and earth. Last of ail, the soft protection of undergrowth, with its aromas and rustling sounds,reunions with oneself, and with another world.Night vision: the Bibliothèque de France will be set in a halo of light, emanating from the garden and the service. A diaphanous light will rise up through the interiors of the glass towers, culminating in four topmost points, which will shimmer like four lighthouse beacons. This liquid light will spread over the square, while the towers will be reflected in the Seine."□(Text by Dominique Perrault,excerpt from the text of the competition, June 1989)

項(xiàng)目信息/Credits and Data

客戶/Client: 法國(guó)文化部/Ministry of Culture of France

建筑設(shè)計(jì)/Architecture Design: Dominique Perrault Architecte

室內(nèi)設(shè)計(jì)/Interior designer: Ga?lle Lauriot-Prévost

工程/Engineering

建筑工程/Architectural Engineering: Perrault Associés SA

結(jié)構(gòu)/Structure: Séchaud & Bossuyt

集中式技術(shù)管理/Centralized Technical Management: HGM Guy Huguet SA

安保與通訊/Security and Telecommunications: Syseca

水體/Fluids: Technip Seri Construction

聲學(xué)/Acoustics: ACV

經(jīng)濟(jì)/Economy: Pieffet, Corbin and Tomasina

農(nóng)業(yè)工程/Agricultural Engineer: éric Jacobsen (Sauveterre)

基地面積/Site Area: 65,300m2

基底面積/Built Area: 365,178m2

建筑容積/Built Volume: 1,500,000m3

景觀/Landscape: 10,782m2, 250 trees (oak trees, wild pine trees, birches)

廣場(chǎng)步道/Esplanade: 58,811m2

開始概念設(shè)計(jì)/Beginning of Conceptual Design: 1989.08

開始建造/Beginning of Construction: 1992.03.23

建設(shè)周期/Construction Period: 3 years

項(xiàng)目/Program

公共空間/Public Spaces:公共閱覽室1556間，研究閱覽室2034間，共計(jì)容納3590名讀者，總面積59,070m2/Public reading rooms 1556 places, research reading rooms 2034 places for a total of 3590 readers for 59,070m2

接待及公共服務(wù)區(qū)/Reception and Public Services Area:23,000m2

會(huì)議室/Conference Rooms: 3000m2

書庫(kù)/Stock Rooms: 71,000m2, ca. 400km of shelves, 20 million volumes

行政管理/Administration: 36,000m2,其中辦公空間16,000m2/16,000m2is office space in the towers

技術(shù)用房/Technical Space: 35,000m2

地下停車場(chǎng)/Underground Car Park: 車位700個(gè)，20,500m2/700 cars, 20,500m2

攝影/Photos: Georges Fessy

7.8 外景/Exterior views

評(píng)論

胡恒：編輯囑咐我，這個(gè)項(xiàng)目納入“護(hù)欄”專輯是在于它的“去欄桿化”理念。這提醒了我用這一新角度重新審視這個(gè)我很早就知道的建筑。欄桿其實(shí)還是有的。只是它不是按照金屬桿件＋玻璃面的常規(guī)做法，而是盡量朝著面＋體塊的方向做——連自動(dòng)扶梯的扶手也一樣。這是整體空間概念的必然結(jié)果。按設(shè)計(jì)者的構(gòu)想，這個(gè)建筑群是一個(gè)完整的幾何體，并不是4座塔樓圍合起一個(gè)內(nèi)向庭院的加法構(gòu)成。所以，欄桿雖然是小元素，但也會(huì)傷害到整體性——它們會(huì)讓那個(gè)內(nèi)切的幾何空洞變成獨(dú)立的內(nèi)部庭院。這一“整體性”概念是該設(shè)計(jì)的根本。它代表著某種純凈的、未來的、世界性的廣場(chǎng)空間。就像當(dāng)年的協(xié)和廣場(chǎng)、戰(zhàn)神廣場(chǎng)一定需要柱廊一樣，這個(gè)新廣場(chǎng)一定不能出現(xiàn)欄桿。

范路：在法國(guó)國(guó)家圖書館項(xiàng)目中，其外部開放空間中的圍欄設(shè)計(jì)采用了盡可能“消隱”的策略。圖書館的4座塔樓坐落在一個(gè)高臺(tái)上，而連接城市道路與高臺(tái)四周的是夸張的貫通式大臺(tái)階。在大臺(tái)階上，僅僅布置了最少數(shù)量的欄桿，而且欄桿以最少的桿件構(gòu)成。高臺(tái)中央是長(zhǎng)條形的下沉庭院。圍繞下沉庭院的欄桿頂部，卻連接了寬闊的水平格架，形成T型構(gòu)件。這既為高臺(tái)朝向下沉庭院的立面提供遮陽(yáng)，也讓高臺(tái)上的人無法走到下沉庭院邊緣，強(qiáng)調(diào)了平臺(tái)上水平向空間感。從高臺(tái)下到庭院內(nèi)入口層的自動(dòng)扶梯，卻被兩片傾斜的高墻夾持，隱藏其中。高臺(tái)上還有諸多步行橋，其兩側(cè)的欄桿，則分別采用高墻和T型構(gòu)件方式設(shè)計(jì)。而上述所有這些處理，都是想弱化圍欄這一體現(xiàn)人尺度的建筑構(gòu)件，而以超尺度的方式突出該建筑的紀(jì)念性。

9.10 草圖/Sketchs

Comments

HU Heng: The editor has briefed me that the reason why this project is fitted into the special issue of "Parapet" is due to its concept of "de-parapet". This allows me to review such a building that I have known about for a long time from a new angle. In effect, the parapets of this architecture do exist and it is merely a new approach, using planes and masses of building design, instead of the common practice, metal bars and glass walls. Such a method has also been applied to its escalator rails. This can be regarded as the inevitable result of the concept "Integrated Space."According to the designer's conception, this architectural complex is considered as an integrated geometry rather than a simple addition using four towers to form an internal courtyard. Therefore, although parapets can be deemed as small elements, they would affect the integrality and would transform the inner-cut geometric cavity into a separate internal courtyard. Such, the concept of "Integrality"becomes the core design principle. It represents a pure,future and cosmopolitan plaza space. Just like the parapets for the Place de la Concorde and the Champ de Mars as necessities, there must not be any parapets in this new plaza. (Translated by Dandan Wang)

FAN Lu: In the project of National Library of France, the strategy of "hiding" is adopted for the balustrade design in outdoor open space. Four tower blocks sit on the high platform which is surrounded uninterruptedly by steps. The minimum number of handrails are set on these big steps and they are composed of minimum number of steel bars.In the center of platform, there is a sunken courtyard. The courtyard is surrounded by balustrades made of T-shaped trellises, which emphasizes the giant horizontal part and hides the vertical fencing. The escalators leading to entrance floor are clamped by huge inclined walls from both sides,and several footbridges on the platform have wall fencing on one side of the balustrade and T-shape trellises on the other side. In summary, all those styles of balustrade design are intended to hide the essential human-scale elements and express the monumentality of the library building.

11-13 內(nèi)景/Interior views