波尼亚托夫斯基大道建立在梯也尔的前城墙内,这是允许创建这种规模的方式的原因之一。波尼亚托夫斯基大道的质量在于它的清晰性:建筑的排列,大型和树木的人行道与商业底层相连,允许公共和私人空间之间的直接联系,固体和空隙之间的联系。一个城市的连续性来自于奥斯曼广泛恢复的经典城市主义的指导方针,它创造了并且仍然在创造一个像巴黎这样的城市的质量。

The boulevard Poniatowski establishes itself inside the former city wall of Thiers, one of the reasons allowing the creation of a way at this scale. The quality of the boulevard Poniatowski lies in its clarity: alignment of the building, large and wooded sidewalk linked with commercials ground floors allowing a direct connection between the public and private space, between solid and void. An urban continuity emanating from guidelines of classic urbanism widely resumed by Haussmann which made and is still making the quality of a city like Paris.

关于我们的岛屿,特别是附近建筑的组成,我们注意到一个基于组成系统。在一个水平的开放步伐上,一个大窗户和两个小窗户交替出现,在一个外立面的顺序上,分为三个部分,底层和夹层的结构,主要部分通常由R2至R8层和顶楼组成。即使它们在建筑设计上彼此不同(材料、装饰物……),这种构成系统也能为一条清晰而均匀的林荫大道赋予规模和生命。

Regarding our isle and especially the composition of the nearby buildings, we notice a composition system based: On a horizontal pace of opening, where a large window alternate with two small ones, and on an order of the facade divided into three parts, with a substructure composed of the ground floor and the mezzanine floor, the main part usually constituted with R2 to R8 levels and of the penthouse. Even if they are different from one another in their architectural design (material, ornaments,…), this composition system allows giving scale and life to a clear and homogenous boulevard.

该项目通过重新占有开口的步伐和通过体积变形的3个顺序的组成,插入到这种城市连续性的方法中。这样一来,主体通过一个微妙的弯曲悬在林荫道上,从下部结构中抬起,并允许在建筑的前端有清晰的视野,宣布一个突破口和入口。阁楼的设计是远程的,与周围的锌屋顶相关联,通过使用三角形几何图形的计划来表达自己,用透视效果消除深度。

The project inserts itself in this approach of urban continuity by the repossession of the pace of openings and compositions in 3 orders by a volumetric deformation. This way, the main body lifts away from the substructure by a subtle bending overhanging on the boulevard and allowing clear views at the front end of the building, announcing a breach and the entrance. The penthouse, designed remote, correlated with the surrounding zinc roofs, expresses itself by a plan using triangle geometry to erase the depth using perspective effects.

开口被植入,尊重附近窗户的节奏,并与房屋的内部类型相联系。我们提出了垂直和矩形的窗户,使人们可以清楚地看到街道和天空。它们被金属百叶窗加强,可以保护太阳和亲密无间。

The openings are implanted respecting the rhythm of the nearby windows and linked with the inside typology of the housings. We are proposing vertical and rectangular windows offering to clearly see the street as much as the sky. They are enhanced by metallic shutters allowing solar protection and intimacy.

这个项目的建筑风格与附近的建筑不同,但在这个林荫道的共同规模中插入了自己。它参与了这个公共空间的正式化,寻找背景性和城市性的方法,相信理解一个地方的精神只能存在于最小的部分与整体的联系的准确性。该项目通过在整个外墙使用矩阵式混凝土,在材料和装饰品之间发挥模糊性。

The architectural style of this project is different from the nearby buildings but inserts itself in the mutual scale of this boulevard. It takes part in formalizing this public space in a method looking for contextuality and urbanity, convinced that apprehending the spirit of a place can only exist in the accuracy of the connections of the smallest part to the whole. The project plays on the ambiguity between material and ornament, by working with a matrixed concrete on the entire façade.

通过叠加和繁殖邻近建筑的图纸,外墙在其自身的材料中找到了一种新的装饰,在这里可以有多种解读:从远处看,我们只感觉到一种振动,从近处看,我们开始认识到某些图案,然后通过移动,它们消失,再次成为一种振动的材料。通过这种方式,建筑与它的邻居编织了微妙的、有时是神秘的联系,避免了 “模仿 “或 “表面主义 “的陷阱。 这种对装饰物的积极重估,为对细致的、边缘的、他们的美学以及由此产生的诗意的文化重估创造了肥沃的土壤。

By superimposing and multiplying the drawings of the neighboring buildings, the facade finds a new ornament in its own material, where a multitude of readings are possible: from a distance, we only feel a vibration, from close up we begin to recognize certain patterns, then by moving, they disappear to become a vibrating material again. Through this, the building weaves subtle, sometimes mysterious links with its neighbors, avoiding the pitfalls of “pastiche” or “facadism”. This positive revaluation of the ornament creates the fertile ground for a cultural revaluation of the meticulous, of the marginal, of their aesthetics, and of the poetry which emerges from it. 

Architects: MARS Architectes
Area : 802 m²
Year : 2022
Photographs :Charly Broyez
Lead Architects : Julien Broussart, Sylvain Rety, Raphaël Renard
City : Paris
Country : France