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今日的黎塞留方院
THE RICHELIEU QUADRANGLE TODAY

黎塞留方院是法国国家图书馆的前身，包含有大量珍贵藏品和阅览室的手稿区，地图区，硬币、勋章和古董区以及艺术表演区。1993年开始，这里也是法国国家艺术历史图书馆所在地；几个月前，随着改造工程的第一阶段完工，法国Chartes学校图书馆也迁址于此。三个声名显赫的机构如同三枚宝石，被收放在同一个“首饰盒”中，在巴黎中心形成了一个世界级的艺术和历史展示区。

The Richelieu Quadrangle, “parent institution” of the BibliothèqueNationale de France, houses the prestigious collections and reading rooms of the Manuscripts Department, the Maps and Plans Department, the Coins, Medals and Antiques Department and the Performing Arts Department. Since 1993, the Quadrangle is also home to the Bibliothèque de l’Institut National d’Histoire de l’Art (INHA, the French national art history library) and, since the completion of the first phase of renovations a few months ago, the Bibliothèque de l’École des Chartes will also take up residence here. Three prestigious institutions are thus to be gathered in this same “jewelry case,” forming in the heart of Paris a unique center of excellence of Art and History in the world.

▼ 图书馆外观，富有历史气息，the historical appearance of the library

21世纪初期，这座宏伟的建筑不可避免地出现了老化，其技术和安保设施、游客参观环境、工作环境以及藏品保存环境都已经过时，无法满足其功能的需求，对建筑进行彻底翻修变得迫在眉睫。从20世纪五十年代末期开始，建筑就在一点点经历改造，Michel Roux-Spitz设计的扩建工程便是在这段时间内完工。然而，不同于之前，这次改造将从整体上对建筑进行大规模的修复。

In the early 2000s, observing this aging edifice led to the inevitable conclusion the site had become obsolete. This included its technical and security installations, the conditions under which the public was received, as well as working conditions and conditions for conservation of the collections. The building no longer fulfilled the role for which it had been designed. A major overhaul had become urgently necessary. And this could no longer be carried out “bit by bit”, as had been done since the late 1950s – period during which Michel Roux-Spitz’s extensions were completed – but rather by means of a major campaign of works on the scale of the entire complex of buildings on the site.

▼ 历史建筑上设置现代的玻璃连廊，以满足功能的需求，modern glass corridor is installed into the historic building, in order to meet functional requirements

整个工程设计施工及项目管理都被委托给了布鲁诺戈丹建筑事务所，被列入ISMH名单的Labrouste阅览室结构修复工程则被委托给了历史古迹领域的专家Jean François Lagneau。工程对于整个方院的调研于2007年展开。

2011年项目开工，工程被分成两个阶段，以在确保建造工程顺利进行的同时，保持面向Vivienne大街一侧的图书馆部分开放。尽管方院独特的几何形状被整齐地划分为阅览室，庭院和花园等不同单元，但随着从17世纪开始的不断改造，综合体经历了无数次变形、扩建、拆除和加密，建筑形式发生了许多改变。

隐藏在统一有序的石头立面后的建筑经历了多次重新粉刷，重组，甚至重建，有些建筑高达14层。图书馆的建造历史悠久，通常是由每个时期主要的建筑师主持修建，在这片丰富的历史区域上留下了各具特色的建筑遗迹。通过仔细调研，建筑师认为该项目的主要挑战是在建筑和不断变化的功能之间找到平衡。这种持续的变化在4年的研究和第一阶段5年的建造工作中已经得到了证实。

The outcome of the negotiated deal included the general project management being entrusted to Bruno Gaudin’s architecture office. The restoration of the Salle Labrouste, a structure listed in the ISMH (InventaireSupplémentaire des Monuments Historiques), was entrusted to Jean François Lagneau ACMH (architect in chief of Monuments Historiques). Preliminary studies on the entire Quadrangle began in 2007.

The works, which began in 2011, were divided into two phases to enable both the setting up of the particularly delicate construction site and, in parallel, to be able to keep the library partially open on the rue Vivienne side. Although the Quadrangle’s visibly distinct geometric forms are divided into ordered units (immense reading rooms, courtyards, garden, etc.) the gradual expansion of the complex since the 17th century was carried out through endless transformations, enlargements, demolitions, and densifications.

Behind the unified and ordered envelope of the stone façades are hidden buildings that have been refurbished and reorganized – and sometimes even rebuilt − many times over, some of which house up to 14 levels. This long history of the construction of the library, often conducted by the major architects of each period, has left us with a heritage of extreme complexity commensurate with the richness of the heritage of the spaces that characterize it.By hewing as closely as possible to the reality of the existing ensemble, the challenge of this project consisted of seeking the right balance between a Building and a Program, an undertaking requiring constant adjustments as attested by the 4 years of studies and the 5 years of construction works for phase 1.

▼ 工程分阶段进行，保证图书馆部分开放，the construction is divided into two phases, ensuring part of the library to keep operating

建筑评估
ARCHITECTURAL ASSESSMENT

一个分层的历史
A stratified history

为了完成此项工程，布鲁诺·戈丹建筑事务所必须首先理解，解释和明确项目所面临的主要问题。他们要把建筑分解成不同的组成部分，从而更好地进行重建，并突显建筑本身的质量。

对于设计来说，研究项目的历史和结构是必不可少的一步。通过研究，建筑师发现从保护区和画廊到楼梯间和圆形大厅，各种各样的空间并置在一起，之前列举的Salle Labrouste等空间并不能完全说明该项目的丰富和复杂程度。评估工作表明，设计必须考虑项目中的众多空间，保留其原本的样貌。因此，建筑师必须依赖方院分层历史的不同信息，以做出合理的改造方案。

黎塞留方院复兴项目面临着多重挑战，建筑的历史分层要求建筑师精心设计项目的每一个部分，大尺度的基地，接待与分流空间乃至个室的改造都面临着不同的问题和需求，需要逐一进行解决，不能一概而论。戈丹建筑事务所的工作虽然没有受到历史建筑保护的限制，但经过长期深入的工作研究，建筑师们已经可以列出重要历史遗迹的清单，并以此为参考防止对历史的破坏，保证图书馆能够和过去一样不断发展。这一工作为方院的改造确定了清晰的目标，随之而来的是不同类型的子项目，以满足不同种类空间的需求。

In order to undertake this intervention and to elaborate the project, Bruno Gaudin’s office first had to understand, interpret, and classify the issues specific to this ensemble. They had to literally “break it down into its constituent parts” to be able to better rebuild it and to highlight its intrinsic qualities.

The historical and structural studies, obviously indissociable, brought to light an extraordinary juxtaposition of spaces of every kind, from reserve areas and galleries to staircases and rotundas and much more. Thus, the fact that some of the spaces were listed, such as the Salle Labrouste for example, or that others parts were inventoried, was insufficient data to be able to describe the rich nature and complexity of this site. The assessment revealed the necessity of taking into account a multitude of places, which this project had to restore to their original life and splendor. Thus, the architect’s insistence on relying on these sometimes modest yet magnificent witnesses to the stratified history of the Quadrangle.

Tolaunchtheproject fortherehabilitationoftheRichelieu Quadrangle was, therefore, to accept the challenges of a polymorphic building whose architectural strata required the elaboration of not one but several different projects: one aimed at the great scale of the site, the one concerning distribution and reception; and other projects targeting the renovation of individual rooms, each having its specific issues and requirements. Here, Gaudin’s architecture office was not restricted by any obligation of conservation. Rather, it was this long, in-depth work of analysis the architects undertook which made it possible to draw up a detailed inventory of the heritage of the premises and thus be able to avoid losing the guideline of history, while at the same time enabling the Bibliothèque to continue to evolve as it always has. This classification of parts determined a coherent Project for the ensemble of the Quadrangle, into which were subsequently inserted all other sub- projects thought out according to the typologies of interventions adapted to the different types of spaces encountered.

▼ 建筑的历史分层，历经多年改造，中央陈列室高达11层，stratified history of the architecture, the central reserve reaches 11 levels after different periods of renovations

建筑概述
ARCHITECTURAL ASPECT

方院的建筑项目不仅需要考虑基地悠久的历史文脉，还要对其在技术，安全，可达性和功能等方面进行全面升级，以满足现代建筑的规范。为了完成该项目，布鲁诺戈丹建筑工作室根据空间种类的不同，将建筑、历史和技术以不同的方式“编织”在了一起。这样的“三方对话”指引并贯穿于图书馆改造的始终。

由于建筑十分复杂，来自技术方面的限制有时会造成巨大的困难，但是建筑师反过来利用了这些限制，通过努力将它们变成了项目的工具。实际上，技术元素并不一定要被隐藏，它们可以被展现，甚至能够成为亮点。在项目中，它们可以决定建筑的表皮，说明空间和结构，甚至成为统一的建筑部件。根据空间的类型，建筑师对各种空间，包括前厅，阅览室，书架和储藏空间，都制定了相应的解决方案。

要处理的空间极其多样，需要采用的介入手段各不相同。哪怕是在不同的房间之中，也会由于多种多样的接触而产生各具特色的类型，所有这些都需要量身定制的工作方法及特定的图像工具去进行重新解读。这些资源必须被分享给工程中的每一位参与者，让他们可以描述和计算，最终让整个项目成为现实。

The architectural project for the Quadrangle relies on both the very powerful historical nature of the site and on the campaign to upgrade it in compliance with codes – technical, safety, accessibility, and functionality. To implement this project, Bruno Gaudin’s office developed different typologies of “weaves”, which set up, depending on the type of space, a variety of dialogs between Architecture, History and Techniques. It was this “three-way conversation” that guided and accompanied the necessary and profound changes the Bibliothèque was to undergo.

Although the inherent constraints of the technical project sometimes occasioned immense difficulty because the building was so complex, the architect strove to take advantage of these same constraints and to use them as project tools. In fact, technical elements are not necessarily hidden: they are also revealed, and even staged. Underpinning the project, they determine the envelopes, justify the spatial and structural decisions taken, and even become integral architectural objects. Depending on the type of spaces to be treated, a whole range of solutions was developed, from the Lobby / Vestibule, all the way to the reading rooms, by way of the stacks and other storage areas of every kind.

The extreme diversity of the spaces to be treated, the variations in typologies of interventions, even within these different rooms, typologies themselves characterized by multiple interfaces, all required an adapted working methodology as well as specific graphic tools of representation. These necessary resources had to be made available to the various actors involved in the operation so they could describe, calculate and finally implement the project.

▼ 一层平面图，ground floor plan

▼ 上层平面图，upper floor plan

项目说明
PROJECT

四通八达的建筑
An architecture of distribution

最终评估显示，项目中建筑部分的主轴流线必须被重新组织。建筑师需设计一套新的分流原则，与构成基地地形的整体建筑环境相适应。

根据需求，在过去的几个世纪中，建筑中建造了大约30座不连续的楼梯。然而，如此大量的楼梯并不代表空间有着出色的流线，这些楼梯为了连接指定场所而随机分布在建筑之中，从一个画廊到另一个画廊，从储存室到阅览室，中间没有连接任何其他空间，只是为了回应无止境的需求而填满所有空隙，并没有组织和效率可言。

布鲁诺戈丹建筑工作室利用一系列垂直分布的柱子来组织这个巨大的建筑“千层糕”的垂直交通流线，以解决之前组织无序的问题。这些新的垂直和水平方向的流线贯通建筑的东西南北，在组织技术网格的同时，使使用者的参观线路变得更加便捷。新的布局需要在功能上具有超前意识，以适应任何使用者并能够应对任何分区的限制条件，保证建筑功能的长期运作。

因此，在不破坏建筑整体的情况下，楼梯和电梯被安置于主要房间之间的空隙中。巨大的混凝土桶中设有金属栅格板制成的楼梯，当光线穿过光井和柱子照射到楼梯上时，其透明度会发生变化，将这个安全升级的项目变成一座四通八达的建筑。

Armed with the finalized assessment, it became clear that a major axis of the architectural part of the project would have to be a reorganization of the distribution. Thus, new principles of distribution had to be defined in coherence with the larger architectural ensembles that structure the geography of the site.

Installed over the centuries and according to need, the site counts somethirty more or less discontinuous existing staircases. However, their important number did not indicate a genuine distributive space but rather a random organization in a succession of commissioned pieces, passing from one gallery to another, from a reserve to a reading room, with nothing in between; all the interstices having been filled up under the pressure of the constant requirements for additional surface areas.

Bruno Gaudin’s office responded to this fragmented system and these successions of rooms, with a series of de vertical distributive columns that enable the flow from the “cellar to the attic” of this vast architectural “mille-feuille.” These new vertical distributions as well as horizontal ones, oriented north/south and east/ west organized the technical networks as much as the movement of users and the easy access to the collections. This new layout had to ensure the longevity of the building’s functional purpose, whomever the users or whatever the limits of the departments may be, extending beyond the necessary requirements of the programming.

Thus, stairs and elevators are inserted into the interstices of the edifice, between the main rooms, without disturbing the unity. The great concrete cylindrical casks contain staircases made of metal grating, which play with transparency and with light penetrating through the columns of the light wells, transforming the safety upgrade project for the site into architecture of distribution.

▼过去的建筑流线极度分散，缺少效率，the existent distribution is inefficient as it is not continuous

▼ 改造整合了流线，提高交通效率，the project integrates the distribution, enhancing the connection of different spaces

有两个入口的大厅
Dual entrance lobby

在调整建筑分区的过程中建筑师重新定义、组织空间，并以清楚和明确的路径提高了空间的可达性。除了根据特定目标修缮房间和创造新空间外，建筑师必须将整个基地看做一个整体去解读与设计空间。

根据空间的历史形态，建筑师重新打通了连续房间间的隔断，以门厅来取代原有的公众接待区域。贯通的空间使参观者能够通过水平向的空间阅读，迅速了解整个建筑的结构和主体形态。

庭院一侧的入口和花园一侧的入口都通向同一个接待门厅，在图书馆外侧创造了一个舒适的过渡空间。贯通的门厅连接方院曾经脱节的两侧空间，以及一层的椭圆厅和二层的拉布鲁斯特阅览室这两个巨大的空间。

The restructuring of the major distributions was also organized in relation to the redefinition of the spaces made accessible to the public and thus required clarity and obvious indications of flows. Apart from the indispensable renovation of each of the rooms for their given purpose, or from the creation of new spaces, it was obviously essential that Bruno Gaudin’s office needed to provide a new understanding of the site as a whole.

Through a composition based on the history of the successive rooms, the architect redlined the public reception areas with a lobby, they key space enabling visitors to grasp the building’s overall spatial composition and its main entities, for a transversal reading of the Quadrangle.

Two entrances offer access to a single lobby: courtyard side, garden side, two beautiful rooms for creating the thresholds for access to the Bibliothèque. The reception lobby is imagined as a transversal space linking the two sides of the Quadrangle, heretofore disjointed, as well as two large reading rooms – The Salle Ovale” (BnF) and the “Salle Labrouste” (INHA) – the groundfloor and thepiano nobile.

▼ 入口大厅，entrance lobby

新楼梯的建设包含于即将在2017年开始的第二阶段工程的范畴之内。作为整个工程中不可分割的一部分，第二阶段工程意在提升建筑空间对公众的接纳能力以及其藏品的展示能力。门厅引导从Vivienne大街和Richelieu大街进入的人流，而新的楼梯将真正实现两侧空间、不同功能机构以及房间之间的融合。

从建筑符号和空间层面来说，建筑中的门厅与楼梯为人们提供了一种对于场地的新理解。

The creation of a new staircase included in the scope of phase 2 – for which construction will begin in 2017 – is indissociable from the overall project aiming to ensure improved reception of the public and a broader sharing of its rich collections. The lobby will be accessible from the rue Vivienne as it is from the rue Richelieu. The new staircase will create a veritable transversal space running from one side to the other, from one institution to the other, and from one room to the other.

On the symbolic and the spatial level, the goal is to provide a new grasp of the site through this lobby and its staircase in the architectures of which it is composed.

▼入口大厅与其他空间的连廊，历史与现代相结合，corridor connecting the lobby and other spaces, composed of both historic and modern elements

Labrouste阅览室
The Salle Labrouste

在方院更新升级的总体框架之下，Labrouste阅览室的翻新委托给了专注于历史古迹的首席设计师Jean François Lagneau。

Labrouste阅览室已经满足了具体功能的要求，例如读者可以根据要求，在图书管理员的帮助和监督下查阅所需印刷品。阅览室的功能在漫长的时间推移中始终未变，它的修复必须努力实现两个目标，首先，这是一个新项目，其次，它必须要符合如今已日趋严格的历史建筑规范。

建筑师以最小化的介入实现了这个目标，阅览室的变化并不显著但恢复如昔日般的色彩仍带来了无限的活力。建筑师也试图确保这个房间能够在当今的时代背景下，保留其原始的设计意图且能够一直使用下去。

Under the general framework of the Quadrangle’ upgrade, the project management for the renovation of the reading room known as the Salle Labrouste was entrusted to Jean François Lagneau, architect in chief of Monuments Historiques.

Labrouste had responded to the requirements of a relatively precise program, i.e., to enable readers to consult the printed matter of their choice, which, upon request, was brought to them from the stacks by library personnel, under the watchful eye of curators. The reading room being particularly encrusted with dust from the passage of time and, its uses remaining the same, a simple restoration that would have been both faithful and functional could have been imagined had two issues not arisen to eliminate this possibility: the first being the new program and the second the obligation to meet the inevitable necessity of upgrading the building to be compliant with the building code, which is nowadays particularly strict for this type of institution.

We have managed to achieve this goal and the very slight visible transformations in the reading room made it possible to restore the colors to the original vibrancy Labrouste intended, while enabling this room to continue to play, under the conditions of our times, the role for which it was designed.”

▼ 宏伟的阅览室的历史建筑特征得到了保留，the historical architectural features of the Salle Labrouste is restored

中央图书陈列室
The Central Book Reserve

从Petits-Champs大街一侧的庭院延伸而出的房间包括门厅、阅览室和从图书保管室扩建出的礼品中心等功能，这一系列空间由Henri Labrouste在1857到1868年间设计建造。建筑上下结构的扩建由Michel Roux-Spitz分两个阶段设计。首先，建筑师在1936到1938年之间创造了两层地下空间，随后在1954年到1959年之间完成了地上五层的扩建。地下的两层保管室为钢筋混凝土结构，可以支撑上部加建楼层的金属框架。在项目最初的研究阶段，建筑师们就提出了是否要保留中央陈列这一问题。从安全方面来说，铸铁结构在防火性上难以满足要求；而从功能上看，有人提议将这里改造成阅览室，成为拉布鲁斯特阅览室的延伸。大家意见不一，始终无法决定如何处理这座11层高的巨大“宝库”。唯一可以确定的就是，这里与拉布鲁斯特阅览室不同，并没有被纳入法国建筑遗产保护名单之列，建筑师可以选择将其拆除；而如果将其保留，也没有条令规定建筑必须保持其原有的样貌。但无论如何，中央图书陈列室都是黎塞留的重要元素之一，其独特的空间反映了建筑悠久的历史。

The suite of beautiful rooms extending from the main courtyard of the rue des Petits-Champs is comprised of a Vestibule and Reading room, an extension of the Book Reserve (the Magasin Central). This ensemble designed by Henri Labrouste was built between 1857 and 1868. The extensions in infrastructure and superstructure were designed by Michel Roux-Spitz in two stages: first, the creation of two underground levels between 1936 and 1938, followed by the addition of five upper levels between 1954 and 1959. The two underground levels of the reserves are comprised of a structure in reinforced concrete capable of supporting the metal framework of the additional levels above. During the preliminary study phase of the project, the question of whether the conserve or eliminate the Central Reserve was raised, owing to issues of safety and security that came to light – in particular, the stability in case of fire of cast iron structures – and of functionality, with the idea proposed of turning this space into a public reading room as an extension of the Salle Labrouste. Thus, from the start of the studies, conservation of the 11 superimposed levels of this immense “treasure chest” was far from certain. All the more so given the fact that, unlike the Salle Labrouste, this architectural ensemble is not inventoried by the Monuments Historiques and therefore not protected.It could even be demolished (!). On the other hand, if it were kept, there would be no restrictions requiring its restoration be perfectly identical to the original (which is also the case for many other areas of the site, see maps p. 10 & 11. In any case, the Central Book Reserve, a key element of the Richelieu site, is a unique space in the history of architecture.

▼ 中央图书陈列室，改造整合了空间的设备和交通区域，使其更为完整通透，the project renovated the service area of the Central Book Reserve, making the space more open and integrated

中央图书陈列室是基地分层历史中的典型，其出色的建筑元素极具价值，因此布鲁诺戈丹工作室决定对这座由Henri Labrouste设计建造的工业建筑进行重新挖掘，为它寻找新的意义。二十世纪时，Michel Roux-Spitz对这里进行了重大改造，使得建筑师必须将陈列室与各种因素综合起来进行考虑，而这或许是布鲁诺戈丹工作室的设计最想传达的内容。他们把现行标准作为完善建筑的工具，将技术、建筑与历史编织在一起，在满足当下需求的同时保留历史建筑的价值。基地中未列入保护名单的建筑给予了建筑师更大的重新思考空间，而Labrouste陈列室的改造则提供了重新解读基地中主要历史空间的机会。设计工作首先剥离了那些在加建过程中添加的电梯，货梯，附加层，包层和吊顶等元素，使Roux-Spitz加设于陈列室中的复杂金属结构暴露出来。在这里，历史元素的保护和铝格栅，不锈钢网，LED照明，配线管道，通风系统等现代建筑语言结合在了一起，形成了综合的建筑空间。

The Central Book Reserve is a particularly emblematic example of the site’s stratified history. Given its value as an exceptional element, Bruno Gaudin’s office decided to “rediscover” this industrial architecture Henri Labrouste imagined and built. However, as the Reserve had undergone a major transformation in the 20th century, carried out by Michel Roux-Spitz, a composite ensemble would have to be delivered in 2016.Here is perhaps the best expression of the architectural project conceived by the office of Bruno Gaudin, i.e., a “weaving” together of techniques, architecture and history, a moment when upgrading to current building standards becomes a tool of architecture to be implemented in spaces of high value in terms of heritage. The unlisted spaces provided the basis for an architectural rethink, and the work on the Labrouste Reserve offered an opportunity to illustrate the reinterpretation of a major historical space of the site. This work began first of all with a very deep stripping down of the elements that had been added over the course of densifications (multiple elevators, and book elevators, additinal stacks, cladding, drop ceilings, etc.). This offered the opportunity to expose the metal additions made by Roux-Spitz (1930s and 1950s), which he had intricately woven into Labrouste’s structure. Here, the determination to highlight the history of the Reserve is associated with the use of a contemporary architectural vocabulary (aluminum grates, stainless steel mesh, LED lighting, ductwork for wiring, ventilation, etc.)

▼陈列室的历史结构被保存并暴露出来，设备被更新以满足规范要求，the historic structure of the book reserve is uncovered and restored, while the technology equipments are renewed to meet the building code

如今，由于新天花的反射作用以及铸铁楼板上排烟铝格栅的透明性，高处的灯具可以有效照亮下部空间，使得过去的照明得以被保存。而由Roux-Spitz设计的柱子也被保留下来，诉说着图书馆曾经的改造历史。

最终，建筑师通过中央大堂和巨大的室内透明窗保留了阅览室和陈列室之间的连接，将陈列室内部的诗意全部展现在了人们面前。

Today, the Reserve has seen its overhead lighting (artificial) restored thanks to the new ceiling, which is now reflective, as well as to the transparency that is part of the cast iron floors, contrasted with the aluminum grates (smoke removal and accessibility). Roux-Spitz’s columns, which tell the story of time and the history of the transformations the library has undergone, have also been revealed.

Finally, the link between reading room and its reserve has been restored through the central “nave” and the transparency of the very large interior window. Thus, the project and tools implemented have revealed all the poetry of the interior spaces.

▼ 铝格栅地面和金属栏杆被保留，栏杆间设置金属网以提高安全性，the aluminum grate floors and handrails are restored, metal mesh is applied to improve safety

▼ 高处的灯光可以通过反射和透明楼板照射到下层空间，the high lighting could illuminate the lower lower through reflection and the transparent grate floors

▼ 地下陈列室采用完全现代的设计，underground reserve rooms in contemporary design

阅览室
The reading rooms

建筑师对于项目第一阶段内的六间阅览室都进行了与基地历史特征相适应的设计介入。有些阅览室是新建的，如位于一层的表演艺术室和文献室；有些则是在原址上进行了修复，如被列入历史建筑保护名单的手稿室和阅览室。在最终的设计成果中，建筑师保留了图书陈列室原本的金属和木材自承重结构和由铸铁格栅构成的地面，并且在其中设置阅读区，让读者可以藏品间穿梭。

Each of the six reading rooms located within the scope of phase 1 has undergone an architectural intervention adapted to its specific heritage features. Some are new, like the one of the performing arts and the Ecole des Chartes on the ground floor; others have been maintained in their original locations, like the Salle des Manuscrits (inventoried by Monuments Historiques) and the Salle Labrouste (listed by the Monument Historiques). Finally, the Labrouste Reserve has kept its old wood/ metal self-supporting stacks and flooring of cast iron grates, while henceforth also receiving readers’ places, which are in places slipped into the stacks, in the heart of collections.

▼ 中央图书陈列室的阅览区穿插在书架之间，与藏品亲密接触，reading area of the central reserve slipped into the stacks, being close to the collections

学院的第二阅览室被设置在Petits-Champs翼楼的木制走廊中，其中应用了另一项翻新技术，使之可以适应新的建筑规范。建筑师根据空间的不同在墙面、天花和窗户中使用了多种更新建筑的手段，有些隐蔽，有些外露。改造后的或新或旧的房间都体现了设计的核心理念，将历史与现代编织在了一起。

Applying another approach to renovation, the second reading room of the École des Chartes has been nestled in the wood gallery of the Petits-Champs wing.
The works for upgrading to code have been adapted in a way that is architectured according to the spaces. They are either visible or hidden, sculpturing the walls, ceilings, and windows. New or installed in heritage areas, these rooms are always inspired by the genus loci.

▼ 历史与现代相结合的阅览室，characteristic reading rooms combing history and modern technologies

Viennot画廊和Petits Champs画廊
The Viennot Gallery & the Gallery des Petits Champs

两个美丽的画廊均出自Henri Labrouste之手，里面保存下来的储藏空间与中央图书陈列室不同，为书架发明之前的旧形式，由承重木材和金属搁架以及铸铁栅格地面组成。Viennot画廊中存储着表演艺术类藏品，人们可以通过公共流线上的玻璃幕墙一窥其中的奥秘。建筑师从涂料、灯光和技术方面对这个空间进行了翻新，使其能够满足现行规范的要求。由于这里不对公众开放，因此铸铁栅格和护栏得以维持原貌。

The two beautiful galleries by Henri Labrouste, old models for storing collections prior to the invention of book stacks of the type found in the Central Book Reserve, have been preserved. They are comprised of self-supporting wood and metal shelving and a floor covered in cast iron grates. The Viennot Gallery, which houses the collections on the Performing Arts, is placed on display through the glass curtain wall of the public circulations. The space has been completely renovated and made compliant with code (paint, lighting and diverse technical integrations). It is not open to the public, which explains why the cast iron grates and guardrails remain unchanged.

▼ 不对外开放的画廊空间，其历史结构按原样保存，the gallery which is not open to the public, the historic structures of cast iron grates and guardrails remain unchanged

Petits- Champs画廊被改造成为巴黎文献学院的第二阅览室，其中的设备得到了全面更新，面向公众开放。因此，这里采用了与中央图书陈列室中相同的维护措施：铸铁栅格上覆盖铝材以防止氧化，护栏被加高并设置不锈钢网，保证人们使用的安全。和中央图书陈列室一样，阅读区穿插于藏品架之间，让人们可以近距离接触这里的文献。

每个画廊的修缮都需要建筑师对Labrouste时期的天花装饰画进行重新挖掘，整合其中的技术，翻新家具，并通过透明的铝铁格栅地面加强空间的采光，使其能够适应现在的需求。

Entirely renovated and brought up to code, the Gallery des Petits- Champs is adapted to serve as a second reading room that is accessible to the public for the École des Chartes. Thus, the cast iron grates are covered with aluminum rates and the guardrails heightened and covered with stainless steel mesh (same arrangement for the Central Book Reserve). Like the Central Book Reserve, reading places are slipped in among the collections in the stacks.

For each of these galleries, the intervention involved the rediscovery of the original paint from the Labrouste period on ceilings (painted beams and ceilings), technical integration, the refurbishing of furniture, and finally the highlighting of these rooms with adapted lighting, further enhanced by the interplay of light with the transparency of floors in aluminum and cast iron grating.

▼ 手稿阅览室，历史结构基本保留，栏杆间设置金属网以提高安全性，manuscript room, which historic structures are remained, adding metal mesh to the guardrail to enhance safety

圆厅
The rotundas

Petit-Champs圆厅由三个圆厅叠加而成，具有鲜明地建筑特征。建筑师对这些相互连接的历史空间进行了翻修，使其在满足需要的功能的同时，展现属于自己的话语特征。

The Petit-Champs rotunda is a superposition of three rotundas, the result of which after the works clearly illustrates the typologies of the architectural choices. These linking heritage spaces have been reworked to serve the desired functionality and each one features an adapted vocabulary.

▼ 连接不同历史空间的圆厅，rotundas connecting different heritage spaces

改造后，位于首层的圆厅成为了巴黎文献学院的入口，建筑师在其中运用了木材、石头、玻璃和金属等一系列现代语汇，以适应新的功能并满足当今技术上的要求。走廊和弯曲的隔墙被人工照亮，强调出了建筑的空间。位于二层的历史陈列室曾经被叫做“捐赠室”，现在其中储藏了文献学院的珍贵工作成果，并设置了一间特殊的工作室。

建筑师对Labrouste设计的装饰进行了清理，使其重新展现于人们面前。房间内唯一可见的现代技术元素为一座精密的不锈钢吊灯，由钢索悬挂在空中。灯光经过室内材料的反射，照亮了天花上的装饰画，同时让人们能够更清楚地欣赏专为这个美丽房间设计的巨大圆桌。

Thus, the rotunda located on the ground floor is now the entrance to the l’École des Chartes: its adaptation to the new program and technical upgrading to code is expressed through an architectural project utilizing a contemporary vocabulary of wood, stone, glass and metal. The corridors and curved partitions have been raised and highlighted with artificial light. On the first floor, the heritage reserve referred to as the “salle des donateurs” (donors’ room) has become the reserve room for the precious works of the École des Chartes and an exceptional working room.

Here, the original décors by Labrouste have been uncovered and cleaned. The only visible element of the delicate work of technical integration, the modern stainless steel chandelier floats above, suspended by steel cables. The interplay of its scattered reflections and the materials in the room throw light onto the paintings on the ceiling. It also sheds its lights on the great round table planned for this beautiful room.

▼ 圆厅中的铸铁元素被保留，并和玻璃、木材等现代建筑语汇结合在一起，the cast iron elements are restored in the rotundas, combining with the modern architectural vocabulary of wood and glass

三层屋顶下的圆顶陈列室被改造成了办公和会议空间，其中裸露的木制结构经历了彻底翻修，在人工照明和天窗采光的共同作用下如展品一般呈现在世人面前。

Finally, on the second floor, the dome of the reserve is located under the roof and has been transformed into a working and meeting room, displaying its entirely reconstituted wood architecture, now highlighted by the interplay of artificial light and light from the skylight.

▼ 人工照明和天窗创造明亮的空间，artificial lighting and skylight create bright space

Photographers: Marchand Meffre, Takuji Shimmura
Drawings: Bruno Gaudin Architectes
English text: Bruno Gaudin Architectes
Chinese text: gooood

More: Bruno Gaudin Architectes，更多请至：Bruno Gaudin Architectes on gooood

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