巴黎Ga?téLyrique劇院準(zhǔn)備轉(zhuǎn)型，是為數(shù)字藝術(shù)和當(dāng)代音樂(lè)創(chuàng)造向公眾和藝術(shù)家開(kāi)放的場(chǎng)館，設(shè)立傳播、制作和創(chuàng)作空間。

我們的目標(biāo)是創(chuàng)造一個(gè)“寬容”的場(chǎng)所，包容一切隨意、不可思議的事物，一處定位自己而又不預(yù)定義任何事物的場(chǎng)所，實(shí)現(xiàn)相遇者的融合，打破數(shù)字藝術(shù)、當(dāng)代音樂(lè)和公眾與藝術(shù)家之間新交流模式的障礙。我們確定了兩種類型的空間，并為每個(gè)空間設(shè)想了一個(gè)完美的支撐：展示空間 這些是本項(xiàng)目的三大主要組成：大禮堂、媒體劇院和會(huì)議室。所有這些空間可以根據(jù)音樂(lè)、圖片或舞臺(tái)活動(dòng)對(duì)自己進(jìn)行重新的布置，并按照雙層基礎(chǔ)框架進(jìn)行設(shè)計(jì)，這種框架賦予的是開(kāi)放式的場(chǎng)所，場(chǎng)所內(nèi)沒(méi)有預(yù)先設(shè)定表演者與觀眾之間的關(guān)系，從而帶來(lái)一種新的體驗(yàn)形式。

呼吸空間 圍繞結(jié)構(gòu)輪廓，該項(xiàng)目由透氣性和彈性更佳的空間組成。這些空間將承擔(dān)接待、展覽、咖啡廳、休息室、媒體播放和藝術(shù)家專用區(qū)等職能。每一個(gè)組成的設(shè)計(jì)在時(shí)間上是不斷發(fā)展的，在空間上是移動(dòng)的，在其外觀、能力及與其他功能組成的聯(lián)系上，盡可能地保持靈活性。

'éclaireuse'單元 這個(gè)互動(dòng)原則一旦確定，那么問(wèn)題將轉(zhuǎn)向確保真正的移動(dòng)性，例如能夠輕松完成場(chǎng)館的轉(zhuǎn)變。‘éclaireuse’單元發(fā)揮作用，保證了這種移動(dòng)性和無(wú)盡的發(fā)明。它們由多個(gè)小規(guī)模的單元組成，利用技術(shù)將其集中到一起，可供藝術(shù)家和公眾進(jìn)行創(chuàng)作或者展示使用，并根據(jù)場(chǎng)館充滿活力的節(jié)奏來(lái)構(gòu)建和解構(gòu)眾多場(chǎng)景。

這些單元的大小如貨柜一般，采用可移動(dòng)設(shè)計(jì)，以體現(xiàn)其各種形式，并在可能的情況下表達(dá)游牧主義這一概念。

The Ga?té Lyrique theatre in Paris is up for conversion to create a venue for the digital arts and contemporary music, open to both the public and artists, with spaces for diffusion, production and creation.

Our objective was to create a ‘permissive’ place that includes whatever is random and unexpected, a place that def i nes itself without predef i ning everything, that enables encounters in fusion and breaks down barriers between the digital arts, the music of today and new modes of exchange between the public and artists.

We identif i ed two types of space, and imagined an ideal support for each of them:

Presentation spaces: These are the three main volumes of the project: the main auditorium, the media theatre and the conference room. All of these spaces lend themselves to reconf i guration for sound, image or stage events, and are designed as double envelopes which define open-ended places that never predetermine the performer-spectator relationship and thus enable new forms of experimentation.

Breathing spaces: Around the structuring contours, the programme comprises spaces that are more permeable and elastic. They assume functions such as reception, exhibitions, café, foyers,mediathèque, and spaces to be used by artists. Each of these sub-sets is designed to evolve in time,to move in space, and to be as fl exible as possible in its surface areas, capacities and links with other functional sets.

The ‘éclaireuse’ modules: Once this interacting principle had been def i ned, the problem was to ensure real mobility such as would enable the venue to evolve easily. The role of the ‘éclaireuse’ modules ensures this mobility and endless invention. They are comprised of small modules, concentrated in terms of technique, to be used by both the artists and the public for creation or presentation, and which construct and de-construct a multitude of scenographies scanned by the living rhythm of the venue.

These modules are the size of a container and are designed to move so as to embody by their form and possible functions the notion of nomadism.