The Cultural Block – Clichy-Batignolles

由法國的建築事務所TVK和Tolila + Gilliland共同設計的新文化街區剛剛揭開了其神秘的面紗。該文化街區位於巴黎的Clichy-Batignolles社區內，由一座電影院（自帶文化空間並配有七個影廳）、一個社區中心（配有音樂表演空間和舞蹈工作室）、342個居住空間單元、一個共享花園、一系列定制的藝術品和零售空間等構成。

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.

▼文化街區遠景，distant exterior view of the cultural block

三座住宅樓分別位於這個多功能綜合街區的三個角上，坐擁著巴黎的絕佳景觀。街區的中心位置是全新的ZAC Clichy- Batignolles社區文化中心：由一座配有七個影廳的電影院和一個社區活動中心組成，值得一提的是，建成之後的文化中心即使是在久負盛名的巴黎第17區內也佔據著一席之地。這些公共建築體量錨固於地面之上，最大限度地預留出公共空間，並在上部設置屋頂花園。三座住宅樓拔地而起，建築高度高達50米。這種簡單的建築局部有效地避免了高密度基地上可能出現的功能空間混亂的問題。

▼總平面圖，三座住宅樓分別位於三個角上，公共空間位於場地中心位置，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.

▼文化街區遠景，三座住宅樓高低錯落有致，distant view of the cultural block, the profiles of three residential buildings create a rhythm

▼從馬丁·路德·金公園看文化街區，viewing the cultural block from the Martin Luther King Park

▼從公共公園的活動場地看文化街區，三座住宅的形式和外觀各不相同，viewing the cultural block from the public park, three residential buildings distinguish from each other

新的Clichy-Batignolles社區在巴黎的城市景觀中佔據著獨特的地位；它既是一個大型的開放空間，為城市提供了綠化，又將巴黎第17區與克里希工業區聯繫了起來。因此這個文化街區的首要任務便是塑造出這個區域的主要軸線：將Rue Mstislav Rostropovitch街道、Berthier大道、鐵路軌道和公園組織在一起。然而本項目的基地卻位於一系列城市基礎設施之間，這意味著要實現上述目標並不是一件易事，但令人欣慰的是，基地本身俱備著非凡的潛力，不僅可以將所有的功能空間集中分塊佈置，更能加強社會各部分的聯繫。

另外，得益於低密度的城市綠化空間和鐵路地形產生的較高地平面，文化街區的可見度大幅度提升，即使相隔甚遠，人們也能在視覺上感知到建築群的存在。建築師將基地的拐角空間與遠近距離的可見度綜合考慮，決定將建築體量主要佈置在拐角處，其中最高的體量可達50米之高。同時，基地的地形條件也創造出一個半地下的裙房體量，大部分的公共空間和所有的停車場空間都位於其中，隨後三座集合式住宅樓從其上緩緩升起。這種空間佈局明確地將直接位於地面之上的文化空間與在豎直方向上延伸、向更大的景觀面開放的住宅體量區分開來。

▼文化街區鳥瞰圖，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.

▼文化街區外觀，exterior view of the cultural block

▼文化街區外觀，住宅樓在豎直方向上延伸，向更大的景觀面開放，exterior view of the cultural block, the residential buildings expand upward, opening up to the greater landscape

▼文化街區臨街立面，可見度較高，the street view of the cultural block with high visibility

Batignolles文化中心位於第17區和馬丁路德金公園的交界處，朝向Berthier大道，即使是位於克利希門（Porte de Clichy）處的人們也能看到。它面對著巴黎歌劇院（Paris Opera）的Ateliers Berthier劇場，值得一提的是，該劇場如今隸屬於奧德翁歐洲劇院（Théâtre de l’Odéon），承辦著一系列演出。該街區的文化塑造由一座電影院和一個社區中心完成，其中“Les 7 Batignolles”電影院擁有七個影廳，而社區中心內則設置著一個音樂表演空間和一系列舞蹈室。這些公共空間將這個文化街區打造為整個區域內理想的自然空間。至此，該項目的文化目標得以實現，同時兩條街的交角處也被賦予了特殊的含義，不僅讓公共空間有了一種識別性，更為周邊的人們提供了一個日常生活的好去處。為了讓這個文化街區最大限度地對公眾開放，社區中心和電影院的外立面都盡可能通透，置身於其中，透過透明的建築外牆可以看到公園和街區中心位置的小路。值得一提的是，這條小路在公共空間和住宅樓之間構建起橋樑，為住戶提供了一個全天候的放鬆的空間氛圍。此外，這條小路還可以通往電影院前面的一個多功能文化空間，該空間完全由玻璃圍合而成，朝向公園，具有較高的靈活性。人們抵達這個空間後便會面臨著兩個選擇：他們可以向下走進入影院，也可以穿過大堂，到達Berthier大道。一條室內街道解決了下層空間地平高低不一的問題，並在基地的中心位置將項目空間與周邊環境聯繫在了一起。社區中心包括一個位於下層的大型禮堂和一個俯瞰著街道的舞蹈工作室，並在屋頂上設置教學花園。電影院的屋頂則被作為住戶們的共享花園。

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 t oa 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.

▼社區中心外觀，屋頂上設置著教學花園，exterior view of the community center with an educational garden on its roof

▼電影院外觀，立面通透，位於住宅樓下層的裙房內，partial exterior view of the cinema with a transparent facade, located at the podiums of the residential building

景觀 | Landscape

建築的結構給人們提供了創造景觀的機會，使他們可以想像地質、創造地理地形、水文和生態系統等。儘管本項目的基地也有著諸多的限制，但人們仍然可以通過探索來創造一種微景觀，利用設計手法擴大和豐富其視覺效果，營造出一種時空旅行般的錯位感，置身於其中，感受當下的共鳴。在具體的設計上，建築師創需要造出一個極具感染力的自然環境，俯瞰著馬丁·路德·金公園、巴黎城市及其高低起伏的地平線。實際上要達到這種效果，設計必須具有很高的精確性。而在情感上這個景觀則是圖像、記憶和感官體驗的拼貼。這種概念通過樹木繁茂的山丘形成雛形，再通過一條蜿蜒曲折的小路、一系列景觀視野和空間肌理來實現轉化，使得充滿生機的自然環境遍布整個基地。

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 horizo​​ns . 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.

▼屋頂花園景觀，蜿蜒曲折的小路連接景觀點，the roof garden landscape with a winding pathway

▼屋頂花園景觀，the roof garden landscape

隨著季節的變化和時間的推移，景觀中的植被會愈加豐富，於是這些景觀花園便形成了一個自然與時間的劇場，成為了住戶日常生活的場所和記憶的承載地。花園精緻的組成結構為個人和群體提供了一系列高靈活度的使用空間。舉個例子，從住宅的角度來看，花園可以是一個日常閒逛放鬆或者獨自思考的場所。人們生活在自然之中，既可以在私人陽台上擺弄花草，也可以在共享花園內一同享樂，既可以以旁觀者的姿態欣賞自然，也可以以參與者的身份與自然互動，同時拉近鄰里之間的距離。而屋頂花園則像口袋一般，作為一種引入自然的空間形式，豐富了整個城市的面貌，為城市平添了幾分熱情好客之感。

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.

▼地面的綠化景觀，為個人和群體提供了一系列高靈活度的使用空間，the ground landscape, creating a rich variety of uses both individual and collective

Marbre d’ici（來自此間的大理石）是一個位於本項目核心地帶的藝術性小路。它本是一個藝術概念，由藝術家Stefan Shankland提出，旨在改造施工中所產生的廢棄物。而在本項目中，在藝術家的帶領和施工團隊的配合下，這個概念被變成了實物。該藝術品的輔料來自於不合格的預製構件，設計團隊將這些構件回收進行二次利用，否則它們就會被像垃圾一樣丟棄。這些被回收的構件首先被處理成粉末，再與水泥混合，最後才被當做藝術品的原材料逐層澆築。在這種處理手法下，一系列各種各樣的惰性廢棄物被轉變成了一種當地的新資源：一種稀有材料。通過關注成品的生成過程，“來自此間的大理石”將那些原先隱藏在城市表面之下的元素展現在了人們的眼前：建築施工所需要的人力和物力被轉變成了一種珍貴的建築景象。實際上，這個名為“來自此間的大理石”的藝術品是一條貫穿了公共花園的帶有橫條紋的人行小路，由該項目施工過程中的混凝土廢料打造而成，讓人不禁想起由碎石構成的冰川構造。具有強大自然力量的冰川曾經憑藉著一己之力塑造出大地景觀，正如城市化、工業化、經濟、人口、社會發展等一系列現代變革對我們所生活的環境所造成的影響。這些變革都立足於消耗自然原材料的基礎之上，在潛移默化中影響著地球的氣候，塑造著整個世界的形態，而在本項目中，設計團隊盡可能對材料進行二次利用，減少消耗，這對於環境來說也是一件好事。

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 horizo​​ntal 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.

▼“來自此間的大理石”小路局部俯視圖，帶有橫條紋的人行小路貫穿了公共花園，partial top view of the Marbre d’ici, the striated horizo​​ntal sculpture creates a pedestrian path crossing the communal garden

▼“來自此間的大理石”小路局部，partial view of the Marbre d’ici

幾何造型和材料 | Geometry and Material

出於對一致性的考量，每座住宅樓在立面上都使用預製混凝土。這種材料具有出色的堅固性和耐久性，為後續的立面裝飾和顏色呈現提供了良好的材料基礎。除了技術方法和材料性能外，預製混凝土還有助於項目融入巴黎的磚石建築環境中。在工廠中進行預製減少了浪費，同時簡化了現場的流程如材料的運輸等，更減少了聲音污染，從而可以最大程度地減小施工對環境的影響。此外，它還可以使建築立面的顏色更加精準，而這一點對於本項目這種規模的建築群來說尤為重要，因為這些體量不僅要求較長的生命週期，而且由於基地的範圍較大，各處的氣候條件也可能有細微的差別。通常情況下，建築的顏色與它們的材料都有著密不可分的關係，尤其對本項目的三座住宅樓來說，混凝土通過覆以沙子和碎石塊等材料，呈現出一種天然的色調。也就是說，這三座住宅預製的承重外立面系統沒有使用任何人工添加的顏色，其所呈現的色彩皆是材料本身的顏色。

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.

▼三座住宅樓外觀概覽，呈現出材料本身的顏色，exterior view of the three residential buildings that present the original colors of the materials

住宅樓加厚的外牆四周設置著一片寬敞的綠化涼廊。採用預製混凝土板作為建築外立面，不僅使住宅樓和諧地融入了巴黎當地以石材和混凝土為主的傳統建築環境，更賦予了這三個建築體量各不相同的形體表達：沙色的體量以扭轉的造型拔地而起直插雲霄，一個白色的體量擁有著輪廓分明的吧台空間與連續的陽台，另一個粉色的塔樓體量則呈現出褶狀的漸進形式。 15層的住宅樓有50米高，這就意味著要盡量避免傳統的單一且重複化的靜態樓層堆疊。因此，三座住宅樓都通過立面設計來創造從地面到天空的整體動態效果。沙子色 “扭轉”體量的住宅樓呈現出一種向上包裹的視覺效果。從下到上，每一層的結構平面都遵循著同一規律逐漸變化，不僅在視覺上引人注目，更在形式上營造出一種大氣運動般的自我盤繞的效果。

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 spa n from one floor to the next. Thus, the form seems to curl upon itself, in the manner of an atmospheric movement.

▼沙子色“扭轉”體量的住宅樓，從下到上每一層的結構平面都遵循著同一規律逐漸變化，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 “扭轉”體量的住宅樓局部，呈現出一種向上包裹的視覺效果，partial exterior view of the sand colored twisted building that is conceived in an upward movement wrapping the building

粉色的“褶狀”住宅樓的特點則是從較低樓層的平坦立面逐漸過渡到較高樓層的褶狀立面。這種變化和連接給予了建築一種動態的輪廓，營造出一種“移步換景”的視覺效果。

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“褶狀”住宅樓，從較低樓層的平坦立面逐漸過渡到較高樓層的褶狀立面，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“褶狀”住宅樓，設有屋頂平台和花園，exterior view of the pink pleated building with roof terraces and roof gardens

▼粉色的“褶狀”住宅樓局部，建築體量具有一種動態的輪廓，partial exterior view of the pink pleated building with the form in a dynamic profile

▼粉色的“褶狀”住宅樓局部，每戶均設有半室外的陽台，partial exterior view of the pink pleated building, each living unit has its own semi-outdoor balcony

而白色“鑿狀”的住宅樓則是視覺上存在感最強的體量。陽台的下端被融入進建築的外輪廓，逐層變化。

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“鑿狀”的住宅樓外觀，陽台的下端被融入進建築的外輪廓，exterior view of the white chiseled building, the balcony soffits are carved into faceted profiles

▼白色“鑿狀”的住宅樓外觀局部，每戶均設有陽台，partial exterior view of the white chiseled building, each living unit has its own balcony

▼白色“鑿狀”的住宅樓外立面，金屬網的欄杆與白色的實體樓板形成對比，facade of the white chiseled building, mesh balusters contrast with the solid white decks

此外，每座住宅樓的頂層都經過特別的設計，使其成為獨一無二的“王冠”。

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

▼住宅樓屋頂，設置金色的木製空間，豐富住宅樓的視覺效果，the roof of residential building with a “crown”

戶外生活 | Outdoor Living

三座住宅樓分散在三角形基地的三個角上，得益於其地理位置，每層空間都能享受到絕佳的景觀視野和自然光線。建築體量在空間的設計上格外重視斜向的視線交流和自然採光，並致力於最大限度地在體量的轉角處設置居住單元。寬敞的陽台挑出於建築加厚的外牆之上，平均算來，每個居住單元都有14平方米的室外空間。這些陽台好似額外的房間，讓住戶們可以肆意地欣賞一覽無餘的城市景觀，同時其不透明的欄杆也恰到好處地保護了每個家庭的隱私。陽台的最小深度為1.6米，足以放下一張桌子和四把椅子，因此所有的住戶都可以盡情地享受戶外生活。此外，這些向室外的懸挑還創造出一系列獨特的空間場所，如位於15層的雙層通高的涼廊、位於10層的一系列室內露台和位於11層的私人露台等。同時，2層和11層還設有所有住戶都能進入的共享平台。具體來講，電影院屋頂與住宅樓的二層樓板處於同一水平位置，被設計成一個大型花園，花園內一條蜿蜒的小路引導著人們在樹林間穿梭，彷彿公園在豎直方向上的延伸。

▼住宅樓的屋頂平台，the roof terraces of the residential buildings

▼住宅樓的屋頂平台，可俯瞰城市景觀，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 fl oor, 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.

▼粉色住宅樓的陽台外立面局部，partial exterior view of the pink building’s loggias

▼粉色住宅樓的陽台，pink building’s loggias

▼沙子色體量住宅樓的雙層通高陽台，the sand-colored building’s double height loggias

▼沙子色體量住宅樓的雙層通高陽台內部，interior view of the sand-colored building’s double height loggias

▼白色住宅樓的陽台，white building’s loggias

▼白色住宅樓的陽台內部，interior view of the white building’s loggias

▼白色住宅樓的陽台細節，陽台樓板的下方呈現折線形，details of the white building’s loggias, the lower surface of the loggia’s deck presents a fold line shape

▼住宅樓外立面細節，details of the facade of the residential buildings

▼沙子色體量住宅樓室內局部，雙層通高，partial interior view of the sand-colored building with a double-height space

▼沙子色體量住宅樓雙層通高的室內空間，the double-height interior space of the sand-colored building

▼沙子色體量住宅樓室內局部，享有絕佳的景觀視野和自然採光，partial interior view of the sand-colored building with a good scenery view and natural light

▼住宅樓室內空間局部，partial interior view of the residential building

▼住宅樓室內空間細節，interior details of the residential buildings

▼首層平面圖，ground floor plan

▼剖面圖，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 更多請至：TVK www.zoscape.com, Tolila + Gilliland www.zoscape.com.