波尔多葡萄酒博物馆：红酒·漩涡

建筑设计：XTU Architects

项目地址：波尔多，法国

主建筑师：Anouk Legendre, Nicolas Desmazières 

现场团队: delphineisart, claireleroux, thibault le poncin, joan tarragon

研究团队: joan tarragon, gaëlle le borgne, stefaniamaccagan, cristinasanchez

建筑面积: 12,927平米，包括2800平米的常设展区

摄影师：Delphine Isart, Patrick Tourneboeuf, XTU, Julien Lanoo, Paul Desmazieres

 

“这座建筑不像任何已知的形状，因为它唤起了这座城市与这里的河流的葡萄酒灵魂。”

波尔多葡萄酒博物馆彰显出强烈的曲线线条与造型。这座地标建筑，通过金色框架塑造塑造了城中城，一个待探索的栖居之地。

‘This building does not resemble any recognisable shape because it is an evocation of the soul of wine between the river and the city.’A strong architectural statement, La Cité du Vin stands out with its bold curves and shape. An iconic building, this golden frame hosts a Cité within the city, a living space with experiences to discover. 

 

 

设计最开始的目标是创造城市与周边环境的持续连接。

The initial aim of the building’s architecture was genuinely to create a link between La Cité du Vin and the spaces surrounding it through perpetual movement.

 

 

XTU事务所的建筑师 Anouk Legendre 与 Nicolas Desmazières 通过建筑象征的意义设计了建筑的造型：醒酒的容器里有刚倒入的红酒形成的漩涡。 每一个建筑细节都唤起了红酒的精髓与液体的属性：“连绵而圆润，无形又性感”。

Anouk Legendre and Nicolas Desmazières, the architects from XTU, designed a space shaped by symbols of identity: gnarled vine stock, wine swirling in a glass, eddies on the Garonne. Every detail of the architecture evokes wine’s soul and liquid nature: ‘seamless roundness, intangible and sensual’.

 

 

圆润的室外造型延伸到了室内的空间、材料与尺度。博物馆立面的炫金色的光泽，让人联想到波尔多建筑立面上采用的石灰岩。它自身的立面通过玻璃嵌板加上经过穿孔、涂装虹彩并涂漆的铝板，形成了丝带扭转的感觉。

This roundness transcribed in the building’s exterior can also be felt in its indoor spaces, materials and scale. La Cité du Vin dazzles with a golden shimmer reminiscent of the light stone found on Bordeaux facades. Its own facade is made up of silk-screen printed glass panels and perforated, iridescent, lacquered aluminium panels.

 

 

随着阳光的日变化，该建筑通过河上的倒影不断进行着时间的对话：它与葡萄酒不停变换的外观十分相似。建筑独特的造型使你愿意从不同的角度来欣赏这条河的奔流向前。

Changing with the sunshine or the time of day, the building dialogues with the river through its reflections: there are very close parallels with a wine’s constantly changing appearance. This very distinctive shape causes you to look at the river running past from a different perspective.

 

 

这两个建筑的两个入口都营造了内外运动的形象。其中一个入口面向城市，另一个面向河流。挑高的观景塔，让游客能够俯瞰灯火辉煌的城市与周围的土地，这几乎就像一个瞭望塔。

The building’s two entrances on either side create an impression of movement, ebb and flow between inside and outside. One entrance faces the city and the other faces the river. Higher up, the viewing tower enables visitors to discover the illuminated city and the surrounding land, almost like a watchtower.

 

在XTU事务所眼中，这里主要的旅游路径遵循这三股流动：红酒之流，河流与游客流量。你穿过建筑时就像一条河，人流顺着中央楼梯一股股向前，持续地形成这种水流般的印象。

In the eyes of XTU, the main tour itself follows these flows: wine, the river, the flow of visitors. You pass through the building like a river, with visitors becoming voyagers flowing around the central staircase, perpetuating this impression of movement.

 

 

这意味着持续的游客的移动就像是经历一种良性的发现循环。每个人都能探索到一个包含流动与旋转，独特而无限的新世界，就像是对一种充满想象的文化景观的迂回旅行。

This means that visitors are constantly moving as they experience a virtuous circle of discovery. Each person discovers a new world in a fluid, rotating motion leading to an unusual, limitless destination, like a journey through the meanderings of a cultural landscape which feeds the imagination.

 

 

本建筑的最初目标就包含一系列连续的场景，使建筑设计的过程成为一次旅程。

The initial aim was for the building programme to develop in line with the scenography, making the architecture a voyage in itself.

 

 

因此，楼下是一个黑暗的世界，就像一个地窖，连着葡萄树的根。一层是一个浸泡式的“生”的场地，一个交叉点。镜子反射的出迷幻的效果，并引导游客上楼，来到更亮的高层。他们在院子里感受到这光，被结构引导向前走，最终如《桃花源记》里的描述“豁然开朗”。这里没有固定的路线，只有待发现的世界。

Downstairs is therefore a dark world, like a cellar, with the roots of the vines. The ground floor is raw as an immersion stage diving into the project, a crossing point. The mirror reflections are disorienting and encourage visitors to move upwards towards the light. They feel this light on the courtyard then follow it through the structure until it finally explodes. There is no fixed route to follow, just worlds to discover.

 

 

 

游览体验的目的也需要时时追问。有时，建筑的感觉退去，又在其他地方再现。博物馆中最强烈的一处空间，仿佛无尽的木质拱廊就像是一片多样的天空般。天空影响了酿酒的一切条件，决定了收成。这个木制的天空升起，起伏和收紧。也是关于人们的游览运动。

The aim of the experience is genuinely to question rather than let alone. Sometimes the architecture steps back, in other places it reappears.

The wooded arch of the permanent tour, the strongest area of La Cité du Vin, is like a varied sky. The sky is everything in winemaking, determining the harvest. This wooden sky rises, undulates and tightens. once again, this is all about movement.

 

 

木结构使人联想到木框架，这种结构的船，和在船上旅行的葡萄酒。这是对于现实的一种浸入式突破，营造了浸入式的现实，代表了葡萄酒制作经验中圆滑、流动，得以升华的世界。就像柯林·罗的《透明性》描述的那样，游客先有着内心描画的建筑，现实的发现又一次次地挑战着游客的想象力，最后使游客兴奋地完成整个浸入而从未有过的体验。

The wooden structure is reminiscent of a timber frame, of boats, of wine on its travels. It is an immersive break with reality, a world of roundness, fluidity and elevation approximating the wine experience. Visitors are in a discovery mind-set initiated by the architecture, which creates the right conditions for them to discover and complete this immersive, initiatory journey.