卢浮宫朗斯分馆
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为了保持场地的开放性并减少这个大项目的支配力，建筑被分解成几个空间。通过它们的大小和布局，跟随地形高程的渐变变化，建筑物与场地的规模和路径的形状达到平衡，景观特征唤起了其采矿历史。
为了在视觉和物理上打开场地，主要的玻璃区域设有一个建筑核心的中空。这个精致的玻璃盒子是博物馆的入口大厅，是朗斯市的真正公共空间。它是透明的，向场地的多个方向开放，可以穿过它到达城市的不同区域。
该项目避免了严格的直线形状，因为这种形状会与场地的微妙特征相冲突，也避免了自由形状，因为从博物馆内部运营的角度来看，这种形状过于限制性。空间的轻微弯曲与场地的长曲线形状协调一致，并在保持与艺术品的优雅关系的同时，对内部区域进行了微妙的扭曲。外立面采用阳极氧化、抛光铝制成，反映出模糊的轮廓，随着人们的漫步和景观以及可用光线的变化而变化。
主展览建筑位于入口大厅两侧，一侧是大画廊，另一侧是临时展览厅。入口大厅通往一个包含存储空间和艺术品恢复区域的下层。因此，博物馆向公众开放了后方区域。
在公园中，两座独立的建筑物容纳了行政办公室和餐厅，将博物馆与城市联系起来。博物馆的入口位于前坑的中心，是该场地的历史性入口，从保罗·贝尔特街缓缓上升。建筑物的透明区域可以看到周围的树木和朗斯市。
这个入口点提供了对整个建筑和在玻璃和铝表面反射的公园全景的视角。入口区域被设计为一个景观的一部分，并且从各个地方都可见。它接待了从北面主要入口进入博物馆的游客，以及从东面的草地和西面的树林进入的游客。这个68.5 x 58.5米的大型透明区域是博物馆访客的广阔空间，其中包含各种功能区。有书店、用于与朋友会面的咖啡厅、获取关于展览的信息的地方；或者简单地穿过大厅从公园或场地的一侧到另一侧。玻璃“气泡”高3米，在大厅内漂浮。它们主要用于与公众相关的功能，并提供个人体验的区域。»进入建筑物的第一个较低层位于大厅的中心，鼓励游客进入艺术品存储区和包含洗手间和更衣室的服务区。在第一个较低层还可以找到小组会议区，提供了一个特定的迎接地点，而不干扰个别游客的正常流动。员工区域有自己的入口，位于博物馆的中心，也在第一个较低层。休息室位于大厅的南部，位于一个玻璃气泡中。尽管它与所有博物馆活动都紧密相关，但它仍然是一个更加私密的独立空间。大厅的地板是一层浅色的混凝土。
喷漆成白色的细长钢柱支撑着金属屋顶结构。顶部的开口反映了大厅中存在的几何主题，在向下开口的板的右侧，反射光线到较低的层。天花板覆盖着轻质的穿孔铝板，反射自然光，漂浮在整个下表面上。立面是大型的、全高的双层玻璃窗。一个卷帘系统提供了阳光的保护。“SANAA”
In keeping with a desire to maintain the openness of the site and to reduce the ascendancy of this large project, the building was broken down into several spaces. Through their size and layout, which follow the gradual changes in terrain elevation, the buildings achieve balance with the scale of the site and the shape of the paths, landscape features evoking its mining history.
In order to visually and physically open up the site, the main glassed area features a hollow in the core of the building. This delicate glass box serves as an entry hall to the museum and is a genuine public space for the city of Lens. It is transparent and opens up to several directions of the site, and it can be crossed through to get to different quarters of the city.
The project avoids the strict, rectilinear shapes that would have conflicted with the subtle character of the site, as well as of free shapes that would have been overly restrictive from the perspective of the museum’s internal operations. The slight inflection of the spaces is in tune with the long curved shape of the site and creates a subtle distortion of the inner areas while maintaining a graceful relationship with the artwork. The spaces are contained by a façade of anodized, polished aluminum that reverts a blurred and fuzzy image of the sites contours, reflections that change as one strolls by depending on the landscaping and available light.
The main exhibition buildings flank the entry hall, the Grande Galerie on one side and the temporary exhibition hall on the other. The entrance hall leads to a lower level that contains storage space and artwork restoration areas. The museum thus opens its rear areas to the public.
In the park, two free standing buildings house the administration offices and the restaurant, linking the museum to the city. The entry to the museum is located at the center of the former pit and is the historical access to the site, rising gently from Paul Bert street. The transparent areas in the building provide views of the surrounding wood and the city of Lens.
This entry point provides a perspective of the entire building and of the panorama over the park reflected in the glass and aluminum surfaces. The entry area was designed as a void that is part of the landscape and visible from everywhere. It takes in visitors arriving at the museum from the main North entrance, as well as from the grassy areas to the East and the wood from the West. This large, transparent area of 68.5 X 58.5 meters is an ample space within which diverse functional areas exist for the museum’s visitors. There is a bookshop, a cafeteria for meeting friends, a place to obtain information about the exhibitions; or one can simply cross the hall to go from one side or the other of the park or the site. The glass «bubbles» are 3 meters high and seem to float within the interior of the hall.
They are primarily for publicrelated functions and provide areas for individual experiences.» Access to the first lower level of the building is at the center of the hall, inciting visitors to enter the art storage area and the services area containing washrooms and dressing rooms. Also on the first lower level may be found the group meeting area, providing a specific greeting location without interfering with the normal flow of individual visitors. Staff areas have their own entrance and are located in the center of the museum, also on the first lower level. The sitting room is located to the south of the hall, in one of the glass bubbles. Although it is closely connected to all museum activities, it is still a more intimate space apart. The floor of the hall is a layer of concrete with a light colored finish.
Slim steel columns painted white support the metallic roof structure. Openings overhead reflect the geometric themes present in the hall, to the right of openings in the slab that direct light to the lower level. The ceiling is covered with sheets of perforated aluminum of a very light color, reflecting natural light and drifting over the entire underside. The facades are large, full-height glass bays that are double insulated. A system of roll-down shades provides protection from the sun. (SANAA)