非常感谢 TVK 和 Tolila + Gilliland 将以下内容授权gooood发行。更多请至：TVK on gooood, Tolila + Gilliland on gooood.
Appreciation towards TVK and Tolila + Gilliland for providing the following description:

由法国的建筑事务所TVK和Tolila + Gilliland共同设计的新文化街区刚刚揭开了其神秘的面纱。该文化街区位于巴黎的Clichy-Batignolles社区内，由一座电影院（自带文化空间并配有七个影厅）、一个社区中心（配有音乐表演空间和舞蹈工作室）、342个居住空间单元、一个共享花园、一系列定制的艺术品和零售空间等构成。

French architects studio TVK & Tolila+Gilliland just unveiled a new cultural block in Paris (Clichy-Batignolles area) : Seven-theater cinema with cultural space, community center with concert space and dance studios, 342 residential units, a shared garden, bespoke artwork, and retail space.

▼文化街区远景，distant exterior view of the cultural block

三座住宅楼分别位于这个多功能综合街区的三个角上，坐拥着巴黎的绝佳景观。街区的中心位置是全新的ZAC Clichy- Batignolles社区文化中心：由一座配有七个影厅的电影院和一个社区活动中心组成，值得一提的是，建成之后的文化中心即使是在久负盛名的巴黎第17区内也占据着一席之地。这些公共建筑体量锚固于地面之上，最大限度地预留出公共空间，并在上部设置屋顶花园。三座住宅楼拔地而起，建筑高度高达50米。这种简单的建筑局部有效地避免了高密度基地上可能出现的功能空间混乱的问题。

▼总平面图，三座住宅楼分别位于三个角上，公共空间位于场地中心位置，site plan, three residential buildings are located at three corners of the site, while the public spaces are at the center

Three residential buildings offering exceptional views of the great Parisian landscape anchor three corners of a mixed-use block. At the heart of the project is a cultural center for the new ZAC Clichy- Batignolles district in Paris’ 17th arrondissement: a seven-theatre cinema and a community center. These public volumes, anchored to the ground, give way to the public realm and are crowned with hanging gardens. Three residential blocks emerge from this base, climbing up to 50 meters. This simple distribution of masses effectively resolves the inscription of a complex program on a high-density site.

▼文化街区远景，三座住宅楼高低错落有致，distant view of the cultural block, the profiles of three residential buildings create a rhythm

▼从马丁·路德·金公园看文化街区，viewing the cultural block from the Martin Luther King Park

▼从公共公园的活动场地看文化街区，三座住宅的形式和外观各不相同，viewing the cultural block from the public park, three residential buildings distinguish from each other

新的Clichy-Batignolles社区在巴黎的城市景观中占据着独特的地位；它既是一个大型的开放空间，为城市提供了绿化，又将巴黎第17区与克里希工业区联系了起来。因此这个文化街区的首要任务便是塑造出这个区域的主要轴线：将Rue Mstislav Rostropovitch街道、Berthier大道、铁路轨道和公园组织在一起。然而本项目的基地却位于一系列城市基础设施之间，这意味着要实现上述目标并不是一件易事，但令人欣慰的是，基地本身具备着非凡的潜力，不仅可以将所有的功能空间集中分块布置，更能加强社会各部分的联系。

另外，得益于低密度的城市绿化空间和铁路地形产生的较高地平面，文化街区的可见度大幅度提升，即使相隔甚远，人们也能在视觉上感知到建筑群的存在。建筑师将基地的拐角空间与远近距离的可见度综合考虑，决定将建筑体量主要布置在拐角处，其中最高的体量可达50米之高。同时，基地的地形条件也创造出一个半地下的裙房体量，大部分的公共空间和所有的停车场空间都位于其中，随后三座集合式住宅楼从其上缓缓升起。这种空间布局明确地将直接位于地面之上的文化空间与在竖直方向上延伸、向更大的景观面开放的住宅体量区分开来。

▼文化街区鸟瞰图，bird-eye’s view of the cultural block

The new Clichy-Batignolles neighborhood occupies a unique place in the Parisian urban landscape; it both belongs to the large open space of the city’s green belt and links the neighborhoods of the 17th arrondissement to the town of Clichy. The cultural block is emblematic of the primary axes that first shaped this territory: Rue Mstislav Rostropovitch, Boulevard Berthier, the railway tracks and the park. Despite the difficulties of being trapped between infrastructures the site has extraordinary potential to centralize uses and strengthen social connections.

The parcel also benefits from its visibility at great distances, given the overall low density of the green belt and elevated position generated by the railway topography. These corner conditions combines with the potential for both close and distant visibility motivated the decision to concentrate the density at the corners of the site, up to a maximum height of 50 meters. The site’s topography allowed a large part of the public program and all of the parking to be located in a partially underground podium, from which the three collective housing forms ascend. This distribution of volumes makes a clear distinction between the cultural spaces, anchored to the ground, and residential programs that expand upward, opening up to the greater landscape.

▼文化街区外观，exterior view of the cultural block

▼文化街区外观，住宅楼在竖直方向上延伸，向更大的景观面开放，exterior view of the cultural block, the residential buildings expand upward, opening up to the greater landscape

▼文化街区临街立面，可见度较高，the street view of the cultural block with high visibility

Batignolles文化中心位于第17区和马丁路德金公园的交界处，朝向Berthier大道，即使是位于克利希门（Porte de Clichy）处的人们也能看到。它面对着巴黎歌剧院（Paris Opera）的Ateliers Berthier剧场，值得一提的是，该剧场如今隶属于奥德翁欧洲剧院（Théâtre de l’Odéon），承办着一系列演出。该街区的文化塑造由一座电影院和一个社区中心完成，其中“Les 7 Batignolles”电影院拥有七个影厅，而社区中心内则设置着一个音乐表演空间和一系列舞蹈室。这些公共空间将这个文化街区打造为整个区域内理想的自然空间。至此，该项目的文化目标得以实现，同时两条街的交角处也被赋予了特殊的含义，不仅让公共空间有了一种识别性，更为周边的人们提供了一个日常生活的好去处。为了让这个文化街区最大限度地对公众开放，社区中心和电影院的外立面都尽可能通透，置身于其中，透过透明的建筑外墙可以看到公园和街区中心位置的小路。值得一提的是，这条小路在公共空间和住宅楼之间构建起桥梁，为住户提供了一个全天候的放松的空间氛围。此外，这条小路还可以通往电影院前面的一个多功能文化空间，该空间完全由玻璃围合而成，朝向公园，具有较高的灵活性。人们抵达这个空间后便会面临着两个选择：他们可以向下走进入影院，也可以穿过大堂，到达Berthier大道。一条室内街道解决了下层空间地平高低不一的问题，并在基地的中心位置将项目空间与周边环境联系在了一起。社区中心包括一个位于下层的大型礼堂和一个俯瞰着街道的舞蹈工作室，并在屋顶上设置教学花园。电影院的屋顶则被作为住户们的共享花园。

The cultural center of Batignolles occupies a strategic position at the edge of the 17th arrondissement and Martin Luther King Park, facing Boulevard Berthier and visible from the Porte de Clichy. It fronts the Paris Opera’s Ateliers Berthier, which today host the Théâtre de l’Odéon. The block completes this cultural offering with “Les 7 Batignolles” a seven theater cinema and community center, which includes a concert space and dance studios. These public programs make the block a natural destination for the whole neighborhood. The cultural aim of the project confers a special status at the corner of two streets, giving the public space a recognizable identity and creating a destination. In order to open the block to the public, both the community center and cinema feature transparent façades looking onto the park and a footpath at the center of the block. This path encourages relaxing interactions between the public and residents throughout the day. It also gives access to a flexible space at the front of the cinema, a fully glazed multi-use cultural space facing the park. From this space, the public can descend into the theatres or cross through the lobby, connecting to Boulevard Berthier. An interior street that resolves the lower level change and connects the neighborhood through the center of the site. The community center completes the gesture with a large lower-level auditorium and a dance studio that overlooks the street. An educational garden on the roof of the community center supports its programs and the cinema rooftop operates as a shared garden for residents.

▼社区中心外观，屋顶上设置着教学花园，exterior view of the community center with an educational garden on its roof

▼电影院外观，立面通透，位于住宅楼下层的裙房内，partial exterior view of the cinema with a transparent facade, located at the podiums of the residential building

景观 | Landscape

建筑的结构给人们提供了创造景观的机会，使他们可以想象地质、创造地理地形、水文和生态系统等。尽管本项目的基地也有着诸多的限制，但人们仍然可以通过探索来创造一种微景观，利用设计手法扩大和丰富其视觉效果，营造出一种时空旅行般的错位感，置身于其中，感受当下的共鸣。在具体的设计上，建筑师创需要造出一个极具感染力的自然环境，俯瞰着马丁·路德·金公园、巴黎城市及其高低起伏的地平线。实际上要达到这种效果，设计必须具有很高的精确性。而在情感上这个景观则是图像、记忆和感官体验的拼贴。这种概念通过树木繁茂的山丘形成雏形，再通过一条蜿蜒曲折的小路、一系列景观视野和空间肌理来实现转化，使得充满生机的自然环境遍布整个基地。

The structure of the building makes it possible to imagine a geology, to invent a geography, a topography, a hydrography, an ecology, uses—a landscape. This micro-landscape invites us to explore, despite a limited site, the impression of a larger landscape (miniaturization), to travel in space and time (heterotopy), and to feel the vibration of a present multiplied in time. An atmospheric nature is created overlooking Martin Luther King Park, an outlook onto the city and its layers of urban horizons. The creation of this nature requires great precision. The emotional construction of this landscape is a collage of images, memories, and sensations. This is translated via the forming of a wooded hill, a winding pathway, as well as views and textures that makes it possible for this living nature to climb hills or tumble down its slopes.

▼屋顶花园景观，蜿蜒曲折的小路连接景观点，the roof garden landscape with a winding pathway

▼屋顶花园景观，the roof garden landscape

随着季节的变化和时间的推移，景观中的植被会愈加丰富，于是这些景观花园便形成了一个自然与时间的剧场，成为了住户日常生活的场所和记忆的承载地。花园精致的组成结构为个人和群体提供了一系列高灵活度的使用空间。举个例子，从住宅的角度来看，花园可以是一个日常闲逛放松或者独自思考的场所。人们生活在自然之中，既可以在私人阳台上摆弄花草，也可以在共享花园内一同享乐，既可以以旁观者的姿态欣赏自然，也可以以参与者的身份与自然互动，同时拉近邻里之间的距离。而屋顶花园则像口袋一般，作为一种引入自然的空间形式，丰富了整个城市的面貌，为城市平添了几分热情好客之感。

These gardens become supports for the history and memories of residents by staging a theater of nature and time: plants growing more luxurious and sensual with variations throughout seasons and years. The sophisticated composition of the garden creates a rich variety of uses both individual and collective. For example, an active use like crossing the garden or a more contemplative one as when viewed from a dwelling. This physical contact with nature allows you to either garden privately on your own balcony or collectively in the communal garden, to either admire nature or engage with it, and to meet neighbors. These pockets of gardens on the rooftops are a form of nature that enriches the city which makes the city seem more hospitable.

▼地面的绿化景观，为个人和群体提供了一系列高灵活度的使用空间，the ground landscape, creating a rich variety of uses both individual and collective

Marbre d’ici（来自此间的大理石）是一个位于本项目核心地带的艺术性小路。它本是一个艺术概念，由艺术家Stefan Shankland提出，旨在改造施工中所产生的废弃物。而在本项目中，在艺术家的带领和施工团队的配合下，这个概念被变成了实物。该艺术品的辅料来自于不合格的预制构件，设计团队将这些构件回收进行二次利用，否则它们就会被像垃圾一样丢弃。这些被回收的构件首先被处理成粉末，再与水泥混合，最后才被当做艺术品的原材料逐层浇筑。在这种处理手法下，一系列各种各样的惰性废弃物被转变成了一种当地的新资源：一种稀有材料。通过关注成品的生成过程，“来自此间的大理石”将那些原先隐藏在城市表面之下的元素展现在了人们的眼前：建筑施工所需要的人力和物力被转变成了一种珍贵的建筑景象。实际上，这个名为“来自此间的大理石”的艺术品是一条贯穿了公共花园的带有横条纹的人行小路，由该项目施工过程中的混凝土废料打造而成，让人不禁想起由碎石构成的冰川构造。具有强大自然力量的冰川曾经凭借着一己之力塑造出大地景观，正如城市化、工业化、经济、人口、社会发展等一系列现代变革对我们所生活的环境所造成的影响。这些变革都立足于消耗自然原材料的基础之上，在潜移默化中影响着地球的气候，塑造着整个世界的形态，而在本项目中，设计团队尽可能对材料进行二次利用，减少消耗，这对于环境来说也是一件好事。

Marbre d’ici(Marble from Here), a work of art at the heart of the project. Marbre d’ici (Marble from Here) is an artistic protocol based on transforming construction waste conceived by the artist Stefan Shankland. This collaborative effort was piloted by the artist and assisted by the construction team on site. Secondary raw material came from prefabricated elements deemed defective and that would otherwise be discarded. The material was reduced to a powder and mixed with cement before being poured in layers. Thus, inert waste of different kinds is transformed into a new local resource: a noble material. By focusing on the production processes over the finished product, Marble from Here gives visibility to what usually remains hidden in the city: material and human resources for the construction transformed into a precious architectural object. Marble from Here is literally the remains of crushed concrete from the project, broken down from the precast concrete and used to create a pedestrian path crossing the communal garden: a striated horizontal sculpture reminiscent of glacial formations made of rubble and crushed rock. These monstrosities of ice that once sculpted our landscape throughout the successive ice ages recall other equally powerful contemporary phenomena—urban, industrial, economic, demographic, and social monstrosities. Phenomena, which in the Anthropocene Age, consume raw material, are influencing the climate and shaping the world.

▼“来自此间的大理石”小路局部俯视图，带有横条纹的人行小路贯穿了公共花园，partial top view of the Marbre d’ici, the striated horizontal sculpture creates a pedestrian path crossing the communal garden

▼“来自此间的大理石”小路局部，partial view of the Marbre d’ici

几何造型和材料 | Geometry and Material

出于对一致性的考量，每座住宅楼在立面上都使用预制混凝土。这种材料具有出色的坚固性和耐久性，为后续的立面装饰和颜色呈现提供了良好的材料基础。除了技术方法和材料性能外，预制混凝土还有助于项目融入巴黎的砖石建筑环境中。在工厂中进行预制减少了浪费，同时简化了现场的流程如材料的运输等，更减少了声音污染，从而可以最大程度地减小施工对环境的影响。此外，它还可以使建筑立面的颜色更加精准，而这一点对于本项目这种规模的建筑群来说尤为重要，因为这些体量不仅要求较长的生命周期，而且由于基地的范围较大，各处的气候条件也可能有细微的差别。通常情况下，建筑的颜色与它们的材料都有着密不可分的关系，尤其对本项目的三座住宅楼来说，混凝土通过覆以沙子和碎石块等材料，呈现出一种天然的色调。也就是说，这三座住宅预制的承重外立面系统没有使用任何人工添加的颜色，其所呈现的色彩皆是材料本身的颜色。

The desire for unity resulted in the use of prefabricated concrete on the façade of each building. This material, having great solidity and exceptional durability, allowed for a greater variety of finishes and colors. Beyond the technical approach that justified this choice the material also places the project within the continuity of Parisian masonry. Factory fabrication has a low environmental impact because it reduces waste and simplifies on-site logistics (traffic and sound pollution). It also allows for a greater precision over the colors of the building elements, an especially important aspect for projects of this size that have a long life span and a range of climatic conditions across the site. The buildings’ colors are inherent to their materiality, especially here, where the concrete is naturally colored by the sand and aggregates. No artificial colorants or additives tint the precast loadbearing façade system.

▼三座住宅楼外观概览，呈现出材料本身的颜色，exterior view of the three residential buildings that present the original colors of the materials

住宅楼加厚的外墙四周设置着一片宽敞的绿化凉廊。采用预制混凝土板作为建筑外立面，不仅使住宅楼和谐地融入了巴黎当地以石材和混凝土为主的传统建筑环境，更赋予了这三个建筑体量各不相同的形体表达：沙色的体量以扭转的造型拔地而起直插云霄，一个白色的体量拥有着轮廓分明的吧台空间与连续的阳台，另一个粉色的塔楼体量则呈现出褶状的渐进形式。15层的住宅楼有50米高，这就意味着要尽量避免传统的单一且重复化的静态楼层堆叠。因此，三座住宅楼都通过立面设计来创造从地面到天空的整体动态效果。沙子色 “扭转”体量的住宅楼呈现出一种向上包裹的视觉效果。从下到上，每一层的结构平面都遵循着同一规律逐渐变化，不仅在视觉上引人注目，更在形式上营造出一种大气运动般的自我盘绕的效果。

Thickened facades permit a band of generous loggias around the residential blocks. Architectural precast concrete on the buildings’ facades situate the project within the material tradition of Parisian stone and concrete and gives each of the three buildings a singular expression from the ground to the sky: the twisted form with its torqued effect (sand colored), the chiseled bar with continuous balconies (in white) and the pleated tower with its progressive fold (in white). Designing 50 meter residential buildings (15 floors) meant that the expression of height was specifically considered in order to avoid the traditionally repetitive and static effect of stacked floors. Thus, all three buildings use the façade to create an overall sense of movement and a dynamic effect from bottom to top; from the ground to the sky. The sand colored, or “twisted” building is conceived in an upward movement wrapping the building. This effect is produced by a regular shift in the structural span from one floor to the next. Thus, the form seems to curl upon itself, in the manner of an atmospheric movement.

▼沙子色 “扭转”体量的住宅楼，从下到上每一层的结构平面都遵循着同一规律逐渐变化，exterior view of the sand colored twisted building, the form follows a regular shift in the structural span from one floor to the next

▼沙子色 “扭转”体量的住宅楼局部，呈现出一种向上包裹的视觉效果，partial exterior view of the sand colored twisted building that is conceived in an upward movement wrapping the building

粉色的“褶状”住宅楼的特点则是从较低楼层的平坦立面逐渐过渡到较高楼层的褶状立面。这种变化和连接给予了建筑一种动态的轮廓，营造出一种“移步换景”的视觉效果。

The pink, or “pleated” building is characterized by the gradual transition from a flat facade in the lower floors to a pleated facade on the upper floors. This articulation gives the form a dynamic profile that changes depending on the viewing angle.

▼粉色的“褶状”住宅楼，从较低楼层的平坦立面逐渐过渡到较高楼层的褶状立面，exterior view of the pink pleated building with the gradual transition from a flat facade in the lower floors to a pleated facade on the upper floors

▼粉色的“褶状”住宅楼，设有屋顶平台和花园，exterior view of the pink pleated building with roof terraces and roof gardens

▼粉色的“褶状”住宅楼局部，建筑体量具有一种动态的轮廓，partial exterior view of the pink pleated building with the form in a dynamic profile

▼粉色的“褶状”住宅楼局部，每户均设有半室外的阳台，partial exterior view of the pink pleated building, each living unit has its own semi-outdoor balcony

而白色“凿状”的住宅楼则是视觉上存在感最强的体量。阳台的下端被融入进建筑的外轮廓，逐层变化。

The white, or “chiseled” building is best perceived from pedestrian height. The balcony soffits are carved into faceted profiles that gradually change throughout each floor.

▼白色“凿状”的住宅楼外观，阳台的下端被融入进建筑的外轮廓，exterior view of the white chiseled building, the balcony soffits are carved into faceted profiles

▼白色“凿状”的住宅楼外观局部，每户均设有阳台，partial exterior view of the white chiseled building, each living unit has its own balcony

▼白色“凿状”的住宅楼外立面，金属网的栏杆与白色的实体楼板形成对比，facade of the white chiseled building, mesh balusters contrast with the solid white decks

此外，每座住宅楼的顶层都经过特别的设计，使其成为独一无二的“王冠”。

Each building also treats the last floor differently to establish a “crown”.

▼住宅楼屋顶，设置金色的木制空间，丰富住宅楼的视觉效果，the roof of residential building with a “crown”

户外生活 | Outdoor Living

三座住宅楼分散在三角形基地的三个角上，得益于其地理位置，每层空间都能享受到绝佳的景观视野和自然光线。建筑体量在空间的设计上格外重视斜向的视线交流和自然采光，并致力于最大限度地在体量的转角处设置居住单元。宽敞的阳台挑出于建筑加厚的外墙之上，平均算来，每个居住单元都有14平方米的室外空间。这些阳台好似额外的房间，让住户们可以肆意地欣赏一览无余的城市景观，同时其不透明的栏杆也恰到好处地保护了每个家庭的隐私。阳台的最小深度为1.6米，足以放下一张桌子和四把椅子，因此所有的住户都可以尽情地享受户外生活。此外，这些向室外的悬挑还创造出一系列独特的空间场所，如位于15层的双层通高的凉廊、位于10层的一系列室内露台和位于11层的私人露台等。同时，2层和11层还设有所有住户都能进入的共享平台。具体来讲，电影院屋顶与住宅楼的二层楼板处于同一水平位置，被设计成一个大型花园，花园内一条蜿蜒的小路引导着人们在树林间穿梭，仿佛公园在竖直方向上的延伸。

▼住宅楼的屋顶平台，the roof terraces of the residential buildings

▼住宅楼的屋顶平台，可俯瞰城市景观，the roof terraces of the residential buildings with a good city view

The positioning of the three residential blocks at the corners of the triangular site permits views and light at every floor. The building volumes are carved to privilege diagonal views, daylight, and to maximize the number of corner units. The area of each unit is extended by an average of 14 m2 of exterior space per unit with a generous balcony occupying the thickened façade (instead of the typical 9 m2). These spaces, effectively an additional room, provide uninterrupted views of the landscape while maintaining privacy with opaque balustrades. Here, outdoor living is possible; with a minimum depth of 1.6 m these spaces can comfortably accommodate a table and four chairs. These external extensions of the living spaces resulted in several unique conditions, such as the double height loggias at the fifteenth floor, internal patios on the tenth, and private terraces on the eleventh. Collective terraces are also accessible to residents at the second and eleventh floors. At the second floor, for example, a large garden hangs above the cinema featuring a path meandering between the trees as if it were a vertical extension of the park.

▼粉色住宅楼的阳台外立面局部，partial exterior view of the pink building’s loggias

▼粉色住宅楼的阳台，pink building’s loggias

▼沙子色体量住宅楼的双层通高阳台，the sand-colored building’s double height loggias

▼沙子色体量住宅楼的双层通高阳台内部，interior view of the sand-colored building’s double height loggias

▼白色住宅楼的阳台，white building’s loggias

▼白色住宅楼的阳台内部，interior view of the white building’s loggias

▼白色住宅楼的阳台细节，阳台楼板的下方呈现折线形，details of the white building’s loggias, the lower surface of the loggia’s deck presents a fold line shape

▼住宅楼外立面细节，details of the facade of the residential buildings

▼沙子色体量住宅楼室内局部，双层通高，partial interior view of the sand-colored building with a double-height space

▼沙子色体量住宅楼双层通高的室内空间，the double-height interior space of the sand-colored building

▼沙子色体量住宅楼室内局部，享有绝佳的景观视野和自然采光，partial interior view of the sand-colored building with a good scenery view and natural light

▼住宅楼室内空间局部，partial interior view of the residential building

▼住宅楼室内空间细节，interior details of the residential buildings

▼首层平面图，ground floor plan

▼剖面图，section

MIXED PROGRAM:
– Seven-theatre cinema with cultural space
– Community center with separate concert space and dance studios
– 342 residential units (153 social, 80 controlled rent and 109 market rate)
– Retail space
– Communal garden
– Artwork
CONTEXT: Lot O8, ZAC Clichy-Batignolles
ADDRESS: Rue Mstislav Rostropovitch and Allée Colette Heilbronner 75017 Paris, France
AREA: 29,240 m2 net
BUDGET: 54,300,000€ pretax
PERFORMANCE & CERTIFICATIONS
– RT 2012
– Paris Climate Action Plan
Housing:
– Label Effinergie + Profil A – European Project Laureate CoRDEES (Feder)
STATUS: Complete
SCHEDULE: Delivered end of 2018
DESIGN TEAM:
TVK: Lead architect
Tolila+Gilliland: Associate architect
Praxys: Landscape architect
Elithis: MEP and Environmental engineer
DEVELOPER: Paris Métropole & Aménagement (ex Paris Batignolles Aménagement)
OWNER: Linkcity, Nexity, SNES/Pathé, Ville de Paris
END USERS: Perl, Batigere, Elogie, Vilogia, SNES/Pathé/Miroir Magique, Ville de Paris
ARTWORK: Marbre d’ici (Marble from Here)/Stefan Shankland
CINEMA CONSULTANT: Olivier Mouton, Marc Rouquier, Ana Moussinet
COMMUNITY CENTER CONSULTANT: G+

More: TVK and Tolila + Gilliland 更多请至：TVK on gooood, Tolila + Gilliland on gooood.

Project Specs

Tolila + Gilliland Atelier d’Architecture

TVK

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