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环境 
CONTEXT

Villerupt是洛林地区的一座城镇，位于与卢森堡的交界处，其所在的场地曾经盛产铁矿石。随着开采范围的迅速扩大，这里的居住人口从1861年的560人增加到了一个世纪后的1.6万多人。许多意大利人迁往该地以填补开采和加工材料所需的数万个工作岗位。这一过程持续了四代人，直至当地资源走向枯竭。

50多年后的今天，许多Villerupt的居民仍然留恋着他们的意大利“根系”，他们每年都会举办全国范围的意大利电影节。另一方面，几乎所有的工业设施都已拆除，但景观仍然留有当年的种种痕迹。巨型的挡土墙成为最壮观的存在。该项目就建造在其中一座墙壁的脚下。

Villerupt is a small town in Lorraine, built on the border with Luxembourg on a subsoil that was once full of iron ore. It followed the huge expansion of the exploitation of this resource, growing from 560 inhabitants in 1861 to over 16,000 a century later. Many Italians will come to fill the tens of thousands of jobs needed to extract and process millions of tons of material. Four generations will follow one another until the resource was exhausted.

More than fifty years later, a large number of Villeruptians remain attached to their Italian roots and Villerupt organizes an annual Italian film festival of national scope. On the other hand, almost all industrial facilities have been dismantled, but the landscape retains many vestiges of this period. Giant retaining walls are the most spectacular. It is at the foot of one of them that the Arch is built.

▼项目概览，Overall view © Guillaume Amat

问题与挑战
ISSUES/ CHALLENGES

Villerupt是Alzette山谷中修建的一连串城市的中心。这些城市因为相同的工业历史彼此联结，如今又因为卢森堡对劳动力的大量需求而联系在一起。它们共同涉及一个大型的联合项目，后者旨在清理大片的工业废地，并建设一个蓬勃发展的新城区。L’Arche是具有象征意义的第一座建筑，其建设目标是与卢森堡的Esch-sur-Alzette地区相互联合，一同夺得“欧洲文化之都”的称号——该目标在2022年项目交付之前便已实现。

L’Arche被构想为一个多元的文化空间，结合了数字艺术、创意产业和多种艺术实践。在这里，人们可以享用各类设施，例如酒吧餐厅、电影院、表演厅、制作实验室和沉浸式的数字艺术画廊等等。

Villerupt is the center of a string of municipalities built in the Alzette valley. These neighbors, united by the same industrial history, are now all linked to the massive demand for labor called for by Luxembourg. These municipalities have come together in a major joint project to clean up a vast industrial wasteland and build a new district with a future. Symbolically, the first building to be erected in this area was L’Arche, with the aim of obtaining the title of “European Capital of Culture” in partnership with its Luxembourg neighbor, Esch-sur-Alzette. The goal was reached in 2022 even before its final delivery.

L’Arche has been programmed as a hybrid cultural space where digital arts, creative industries and multiple artistic practices meet. It is a place of life and sharing where you can find a bar-restaurant, a cinema, a performance hall, a fablab and an immersive digital art gallery.

▼设计概念方案，Proposal of the project © K architectures

概念
CONCEPT

项目建造在一座宏伟不朽的墙脚下，这座石砌的墙壁又高又厚，支撑着一个技术性的平台，用于卸载开采出来的矿石，然后再将其运往下方的钢铁厂。面对这处几乎可以作为《权利的游戏》中城墙的灵感源泉的壮美景观，以及塑造了具有显著意大利特征的地区的工人阶级历史，Karine Herman和Jérôme Sigwalt从这一前所未见的环境中获得了灵感。

The Arch is built at the foot of a monumental wall. This high and thick wall, built of stone, supported a technical platform on which the extracted ore was unloaded before being transported to the steel mills below. Faced with this striking landscape that could have inspired the “wall” of the series “Game of Thrones”, faced with this working class history that has creolized the region with a strong Italian consonance, Karine Herman and Jérôme Sigwalt were inspired by an unprecedented context.

▼建筑外观，Exterior view © Guillaume Amat

他们提出的叙事性建筑创造了一种特别的、甚至是绝无仅有的形式：巨大的矿物形态与围绕着它的不合比例的墙壁产生出一种强大的力量。设计者还在文章中提到了位于不远处的另一座巨型挡土建筑，它根据拱廊原理被建造成蜂窝状。这一经久不衰的主题使人联想到大约2000年前在意大利建造的一座相似的支撑结构：罗马斗兽场。这一次，同样也是在意大利，建筑师从这一几乎具有普遍性的参照物中找到了灵感。

Their narrative architecture has invented a particularly singular, even endemic form. Its massive and mineral morphology responds with the same power to the disproportionate wall that borders it. His writing also refers to another gigantic retaining structure built not far away and which is honeycombed according to the principle of arcades. A timeless theme that is reminiscent of a similar support structure built in Italy some 2000 years ago, the Colosseum in Rome. It is also in Italy that the architects were inspired by an almost universal reference.

▼柱廊，Arcade © Guillaume Amat

这是一座建造于上个世纪的小型建筑，位于卡普里岛荒凉而又变幻无常的溪流。1963年，在让-吕克-戈达尔导演的电影《蔑视》中，碧姬·芭铎和米歇尔·皮寇利从这里走过，自此这座房子就成为了影视作品中常见的标志性事物。L’Arche的外观与这座房子的奇特造型有着相似之处，其宏伟的体量拥有一个以巨大楼梯勾勒的倾斜顶部，将人们的视线引向墙壁的高处。高耸的楼梯口被被设计成露台，等待着一场将建筑与数字艺术结合起来的安装。

It is a small building that was built in the last century in the wild and phantasmagorical creeks of the island of Capri. It is called the Casa Malaparte and this house is an icon of Italian rationalist architecture as it has become an architectural icon of the cinema since Brigitte Bardot and Michel Piccoli walked it in 1963 in Jean-Luc Godard’s Le Mépris. The invention of this link with Villerupt seemed almost incongruous, but the architects dared and the Arch was indeed shaped to recall the singular shape of this house. Its massive volume, beveled on the fifth facade, is profiled in a monumental paved staircase that lets our eyes slide to the heights of the wall. Its high landing is designed as a belvedere and awaits the installation of a building combining architecture and digital art.

▼以巨大楼梯勾勒的倾斜顶部 © Guillaume Amat
The massive volume is profiled in a monumental paved staircase

▼建筑立面，Building facade © Guillaume Amat

这座巨大的建筑在经过“瘦身”后，以拱廊的形式敞开于Nino Rota广场。该广场以意大利作曲家Nino Rota的名字命名，后者为许多电影创作了配乐，包括《教父》和费里尼的《卡萨诺瓦》。

The massive building is slimmed down and opens generously in arcades into the Esplanade Nino Rota, named after the Italian composer who wrote many film scores, including the Godfather and Fellini’s Casanova.

▼阳台，Balcony © Guillaume Amat

第三处向公众开放的地点是一个大厅空间，包含酒吧餐厅和一个小型的临时舞台。构成大厅边缘的是一系列室内立面，它们敞开于不同的空间，包括147个座位的电影院、沉浸式画廊、制作实验室以及最重要的、可以容纳1140人的大礼堂。

The third place opens to the public by a hall animated by a bar-restaurant and a small ephemeral stage. This space is framed by interior facades that open up to other spaces, including the 147-seat cinema, the immersive gallery, the “fablab” and, above all, a vast auditorium with very ambitious capacities for adapting to a capacity of up to 1,140 people.

▼大厅空间，The hall © Guillaume Amat

▼宽敞的大厅沐浴在自然光线下 © Guillaume Amat
The large volume of the hall bathed in natural light

室内设计也有意地采用了当代极简主义风格。宽敞的大厅沐浴在自然光线下，以欢快的氛围迎接着公众的到来。通往主厅阳台的楼梯脱离于室内立面，成为空间中的一处不朽之作。灯具是专门为该项目打造，凹面和凸面的原型均参考了与透视法中的结构相似的技术性细节。它们的框架采用粗钢打造，组装的技术含量相对较低。这些结构旨在沿着锥形的线条为照明灯具提供支撑。灯具的表面涂有凝胶，能够让光线呈现出法国画家洛兰笔下的日落色调。整体空间的色彩以灰白色或混凝土灰为主，其他空间使用了哑光白色，看上去就像覆盖了一层来自默东建筑的粉刷。

The interior architecture is deliberately written in the same contemporary minimalism. The large volume of the hall, bathed in natural light, welcomes the public in a convivial atmosphere punctuated by works imagined in the grandiloquent tradition of theatrical foyers. The staircase, which leads to the balcony of the main hall, is deported from the interior façade to be read in the space as a monumental work. The lighting is provided by chandeliers created specifically for the place. Two models, one concave and the other convex, are designed according to a technicality close to the structures used in scenography. Their frame is in raw steel and the assemblies are relatively low tech. These structures are designed to support technical lighting fixtures along cone-shaped lines. The lamps are coated with show gelatin to color the light in the dominant tones of a Lorrain sunset. The colors in general are chosen in their faded tones or in the concrete greys. The rest of the spaces are whitened in a matt way, as if powdered with a white of Meudon.

▼大厅的一系列室内立面敞开于不同的空间，The hall is framed by interior facades that open up to other spaces © Guillaume Amat

▼制作实验室，Fablabs © Guillaume Amat

▼室内空间，Interior view © Guillaume Amat

L’Arche 是一座独一无二的建筑，体现了建筑师在创作中始终探索的“永恒性”的主题。如果说极简主义仍是他们创作的主导，那么这次他们则是凭借着一种“恶意”的愉悦感，免于将优美的参照物推向抽象的极限，一如他们向来拒绝使自己的作品过度凸显于历史环境。这样的做法并非使其脱离于时代，而是同时拥有几个不同的时代。

L’Arche is a unique building that nevertheless follows the theme of timelessness that its architects continue to explore in their creations. Because if minimalism remains their dominant trend, the authors use a malicious pleasure to never push their picturesque referents beyond the limits of abstraction. It is as if they refuse to let their works stand out in history. Not so that they don’t have an age, but so that they have several ages.

▼大礼堂，Auditorium © Guillaume Amat

项目主创Jérôme Sigwalt说：“当代创作中的建筑往往只展示了对历史的浅薄漠视。我们追求的是完全与之相反的东西。”

“Buildings of contemporary writing too often tell only of a simple disinterest in history.” “We are looking for the exact opposite” says Jérôme Sigwalt.

▼洗手间，Rest room © Guillaume Amat

▼场地平面图，Site plan © K architectures

▼一层平面图，Plan RDC © K architectures

▼三层平面图，Plan R+2 © K architectures

▼立面图，Facade © K architectures

▼剖面图，Section © K architectures

PROJECT OWNER
COMMUNITY OF MUNICIPALITIES PAYS HAUT VAL D’ALZETTE
PROJECT MANAGEMENT TEAM
K ARCHITECTURES (Emilie Bourdier, project manager architect) avec, CHANGEMENT A VUE (scenographer), BATISERF (structure), ALTIA (acoustician), BMF (economist), AREA ETUDES NANTES (fluids), AREA CANOPEE (HQE), BURGEAP (decontamination), AIA MANAGEMENT (OPC) PROGRAM
CULTURAL EQUIPMENT, A HYBRID CULTURAL SPACE WHERE DIGITAL ARTS, CREATIVE INDUSTRIES AND MULTIPLE ARTISTIC PRACTICES MEET. A 147-SEAT CINEMA, AN AUDITORIUM WITH A CAPACITY OF 1140 SEATS (402 OF WHICH ARE SEATED) OR 688 SEATS, A BAR-RESTAURANT, A FABLAB AND AN IMMERSIVE DIGITAL ART GALLERY AND MUSIC STUDIOS.

BUDGET 11,9M€
SURFACES 3 272m2
MISE EN ŒUVRE CONCRETE, METAL
CALENDAR 2016/2022
PHOTO CREDITS GUILLAUME AMAT

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