旅游局/LINK建筑协会

旅游局/LINK建筑协会
Tourism Office / LINK Architectes Associés

项目概念与场地回应：该项目的核心亮点在于其对历史文脉的深刻理解和巧妙回应。设计师并未简单地复制古罗马渡槽的形态，而是深入研究其建造逻辑和精神内涵。通过对场地、景观、土壤以及道路的细致分析，设计师将旅游办公室视为一个风景装置，旨在从游客的角度展现渡槽的壮丽景观。项目以线性的方式顺应渡槽的几何形态，在建筑与景观之间建立了微妙的联系，使得建筑本身成为环境的一部分，而非突兀的介入。这种设计理念体现了对历史遗产的尊重，以及对现代建筑与自然和谐共生的追求。

材料选择与空间组织：项目的另一大亮点是材料的运用和空间布局。设计师选择混凝土作为主要材料，通过有色混凝土和喷砂混凝土的结合，力求在质感、色调和肌理上与古罗马渡槽产生共鸣。这种材料的选择，不仅是对历史的致敬，也赋予了建筑朴素而坚实的特质。在空间组织上，设计师巧妙地利用“墙”和“屋顶”这两个基本元素，将建筑功能整合其中。开放而通透的接待、展览和会议空间，以及室内外界限的模糊处理，营造出一种欢迎、开放的氛围，让游客在欣赏渡槽的同时，也能感受到建筑本身的魅力。

细部设计与整体呈现：项目的精髓体现在对细节的精心把控。道格拉斯冷杉柱、裸露的檩条以及锌屋顶的运用，营造出一种轻盈、温馨的氛围。这种设计手法，既呼应了渡槽拱门的节奏，又赋予了建筑一种独特的“家居”感。锌屋顶的“消失”设计，更是在视觉上突出了渡槽的存在，避免了任何喧宾夺主。整个项目，通过对比例、构成、材质等方面的考量，实现了与渡槽的对话，而非简单的模仿，展现了设计师对建筑、历史和环境的深刻理解，最终呈现出一个与环境融为一体，富有诗意的建筑作品。

Text description provided by the architects. Nearly 2,000 years ago, Lugdunum (Lyon) was mainly located on the hill of Fourvière. In order to provide drinking water to the entire city, four aqueducts transported water from the nearby mountain ranges (Mont d'Or, Monts du Lyonnais, Pilat Massif) to the capital of Roman Gaul. The Gier aqueduct was by far the longest (over 80 km) and the most technically complex, given the geography it traversed. Its most spectacular legacy today is the alignment of 72 arches, which powerfully emerge at the Plat de l'Air site, to the north of the town of Chaponost. It is here, in direct contact with one of the last tangible remnants of the Roman memory of the area, that the Vallée du Garon Community of Municipalities chose to establish a new tourist office in 2019, at the heart of this remarkable site. The project plot, located in direct view of the aqueduct's arches, was then a slightly sloped, vacant lot, classified as agricultural land in the local urban planning map, limiting the future construction to a maximum floor area of 100 m².

Ground Floor Plan

在这种情况下，我们的工作从理解和测量罗马时代修建这条长距离输水管道等工程的规模开始。它还取决于对所采用机制的独创性的认识，这有助于结构的技术和美学连贯性。渡槽的历史路径与土地的地形进行对话，有时沿着它走，有时面对它。项目现场的特点是，在Chaponost镇的空中和埋地位置之间，以及虹吸管的起点，虹吸管穿过下面的Yzeron山谷，融合了渡槽的几种状态。
In this context, our work begins with understanding and measuring the scale of such an undertaking as the construction of this aqueduct in Roman times, to transport water over long distances. It is also defined by the awareness of the ingenuity of the mechanisms employed, which contribute to the technical and aesthetic coherence of the structure. The historical path of the aqueduct engages in dialogue with the topography of the land, sometimes following it, sometimes confronting it. The project site has the specificity of incorporating several states of the aqueduct, between its aerial and buried positions within the town of Chaponost, and at the start of the siphon, which crosses the Yzeron valley below.

渡槽在领土的“宏观”尺度和拱门结构和材料的“微观”尺度上工作。一个有意义的系统，它塑造并揭示了一个独特的景观。新的旅游局就是基于这一逻辑。然而，任何与古代结构过于简单的类比都无法与渡槽所唤起的历史深度相媲美。此外，该项目的小规模（100平方米）使两座建筑之间的理想关系变得复杂。该项目在规模和存在方面无法竞争，因此它的最初意图来自对场地、景观、土壤和道路的反思。它被设想为一种从游客的角度展示渡槽的风景装置。它作为渡槽的补充，与其说是一个建筑物体，不如说是一种景观建筑。
The aqueduct works at both the "macro" scale of the territory and the "micro" scale of the construction and materiality of the arches. A system that makes sense, which shapes and reveals a unique landscape. The new tourist office is anchored in this logic. However, any overly simplistic analogy with the ancient structure cannot compete with the historical depth that the aqueduct evokes. Moreover, the small size of the program (100 m²) complicates the desired relationship between the two buildings. The project cannot compete in terms of size and presence, so it draws its initial intentions from a reflection encompassing the site, the landscape, the soils, and the paths. It is envisioned as a scenographic device that showcases the aqueduct from the visitors' perspective. It serves as a complement to the aqueduct, less an architectural object than the construction of a landscape.

Longitudinal Sections

该项目被设想为一个服务基础设施，而不是一座建筑，就像渡槽本身一样。其目的不是将干预减少到一个纯粹的建筑物体，而是为了保护一个从某种意义上说没有起点也没有终点的空间，拥抱面向它的整个景观。该项目设置在场地内，以线性方式遵循渡槽的几何形状。该项目分为三层：*第一层，合理地将停车区与现有道路直接相连。一条连接旅游办公室入口的小径，以及一片将建筑与街道隔开的草地，既可以保护建筑免受滋扰，又可以开阔渡槽的视野。*第二层是建筑物的题字，由管理土地坡度的挡土墙支撑。*第三层保持开放，以免改变整个网站。
The project is imagined as a service infrastructure rather than a building, much like the aqueduct itself. The intention is not to reduce the intervention to a mere constructed object but to shelter a space that, in a sense, has neither a beginning nor an end, embracing the entire landscape that faces it. The project is set within the site, following the geometry of the aqueduct in a linear fashion. The project is divided into three layers: *The first layer, which rationally places the parking areas in direct connection with the existing roadway. A path that links the entrance to the tourist office, and a meadow that distances the building from the street, both to protect it from nuisances and to open up the view of the aqueduct. *The second layer inscribes the building, supported by a retaining wall that manages the slope of the land. *The third layer is left open, so as not to alter the entire site.

该项目被定义并简化为两个基本意图：一堵墙将项目安装在场地内并组织使用，以及一个遮蔽的屋顶。这堵墙由有色混凝土和喷砂混凝土制成，与渡槽平行设置，并在土地深处定义了一个平台，用于停车和公共服务功能。它出现在一边，消失在另一边的地面上，远远超出了旅游局的空间。这堵墙穿过大楼，一直延伸到外面。它在建筑内的某些位置变厚，以容纳服务功能。在前面，一个巨大的开放和穿越空间将公共接待、展览和会议室聚集在一起。由于空间有限，这里的想法是在流通中不损失表面积；每平方米都很值钱。在墙内，凹进的功能为主要空间服务。屋顶遮蔽了接待和展览空间，并延伸到外面以保护立面，并在入口处形成门廊，从而使建筑的内部面积增加了一倍，并加强了其欢迎功能。内部和外部之间的界限被故意模糊了。这就是该项目的雄心壮志：提供一个由功能墙支撑的空间，向渡槽开放。
The project is defined and reduced to two elementary intentions: a wall that installs the project within the site and organizes the uses, and a roof that shelters. The wall, made of tinted and then sandblasted concrete, is set parallel to the aqueduct and defines a platform embedded in the depth of the land, hosting parking and public service functions. It emerges on one side and disappears into the ground on the other, extending far beyond the space of the tourist office. The wall crosses the building and continues beyond. It thickens at certain points within the building to accommodate service functions. In front, a large open and traversing space brings together the public reception, the exhibition, and the meeting room. Space being limited, the idea here is to lose no surface area in circulation; every square meter is valuable. Within the wall, the recessed functions serve the main space. The roof shelters the reception and exhibition space and extends beyond to protect the façades and form a porch at the entrance, thus doubling the interior area of the building and reinforcing its welcoming function. The boundary between interior and exterior is deliberately blurred. This is the ambition of the project: to offer a space backed by a wall of functions, open to the aqueduct.

渡槽是一个巨大而强大的结构，使用由石头、砖块和泥土制成的重复拱门系统建造。这座废墟在目前的状态下，揭示了一个基本的建筑，我们有兴趣根据现代生产方法重新审视它。这不是重建拱门，也不是重复今天没有意义的建筑系统。相反，它是关于重新解释一种建筑方式，并使其适应我们这个时代和地方的技能。因此，该项目选择混凝土，但希望通过其纹理、色调和质地，使这种材料与渡槽产生共鸣。
The aqueduct is a massive, powerful structure, built using a system of repetitive arches made of stone, brick, and earth. The ruin, in its current state, reveals a rudimentary construction, which we are interested in revisiting according to modern production methods. It is not about recreating the arches, nor repeating a construction system that would make no sense today. Instead, it is about reinterpreting a way of building and adapting it to the skills of our time and locality. The project therefore chooses concrete, but with the ambition of working this material in resonance with the aqueduct, through its grain, its tones, and its texture.

一系列道格拉斯冷杉柱支撑着一根梁，而梁又支撑着所有的屋顶檩条。这种结构反映了拱门的节奏，但表达了轻盈。因此，屋顶被简化为最简单的表达，天花板上有一个可见的檩条网络，这是空间的特征，赋予了它一种家居风格。该项目旨在营造温馨氛围，原材料裸露在外，没有涂层。锌屋顶融入了景观，以“消失”的精神确保了尽可能的精致，为渡槽的存在留下了空间，而没有任何壮观的姿态。该项目不是通过模仿，而是通过解释，与渡槽产生了共鸣。除了墙壁的物质性之外，还就两个结构的比例和组成进行了深入的对话。
A series of Douglas fir posts supports a beam, which in turn supports all the roof purlins. This structure mirrors the rhythm of the arches, but expresses lightness. The roof is therefore reduced to its simplest expression, with a visible purlin network on the ceiling that characterizes the space, giving it a domestic identity. The project aims to be welcoming, and the raw materials are left exposed, without coatings. The zinc roof blends into the landscape, ensuring the greatest possible delicacy in a spirit of "disappearance," leaving space for the presence of the aqueduct, without any spectacular gestures. The project, not by mimicking but by interpretation, resonates with the aqueduct. Beyond the materiality of the walls, an attentive dialogue is established regarding the proportions and composition of the two structures.