© Roland Halbe 从穆兰街区文化发展政策框架和翻新工程中，里尔市在 2009 年开始建设新文化设施，以促进穆兰市内现有的缺乏空间进行所有项目的Maison Folie的发展，并创建一个 城市文化中心。这是一种针对缺乏空间资源却又须满足必要的活动的结构。这个项目的重要性在于高度集中性及近市中心的位置上。将两个设施合二为一有许多的优点，包括确保协同作用和目标的可实现性。Maison Folie这个已经存在5年之久并已被其居民认同的地方，由于缺乏空间，被迫拒绝或推迟舞蹈、 剧院、 塑料及视觉艺术等许多项目的建设 。
© Roland Halbe
从穆兰街区文化发展政策框架和翻新工程中，里尔市在 2009 年开始建设新文化设施，以促进穆兰市内现有的缺乏空间进行所有项目的Maison Folie的发展，并创建一个 城市文化中心。这是一种针对缺乏空间资源却又须满足必要的活动的结构。这个项目的重要性在于高度集中性及近市中心的位置上。将两个设施合二为一有许多的优点，包括确保协同作用和目标的可实现性。Maison Folie这个已经存在5年之久并已被其居民认同的地方，由于缺乏空间，被迫拒绝或推迟舞蹈、 剧院、 塑料及视觉艺术等许多项目的建设 。 From the architect. In its cultural development policy framework and renovation of the Moulins neighbourhood, the City of Lille started in 2009 the building of a new cultural equipement that could enable the development of Moulins’s existing Maison Folie, that lacked specific spaces to carry out all of its projects, and to create a Euroregional Center of Urban Cultures (The Flow – House of Hip-Hop), a structure made necessary by the importance of activities linked to that practice that had until then no place to unfold. The importance of this project justified its integration in a site close to the town center. The will to unite these two equipments in a same place presented numerous advantages for both structures, including the possibility to ensure de facto synergy, their objectives being common. The Maison Folie, that had already conquered its own public in five years of existence, was forced to refuse or postpone numerous projects (dance, theatre, plastic and visual arts) due to lack of space.
Master Plan/总规划
The Maisons Folie是在大都市里尔的基础上，在北部加莱海峡大区和比利时的有一系列文化区。这些文化区是在 2004 年里尔（市区）成为欧洲文化之都时遗留下来的。它们被用作展览，音乐厅，举办儿童或成人讲习班等。它们构成中北部的文化生活的一个重要部分。 The Maisons Folie are a set of cultural sites based on the Lille metropolis, in the Nord, Pas-de-Calais, and Belgium. They are the legacy of Lille 2004, years of events during which Lille (with its urban area) was the european capital of culture. They are used as exhibition spaces, concert halls, organize workshops for children and adults etc. They constitute an important network in the cultural life of the Nord.
© Roland Halbe
在穆兰的福利房屋曾是一个咖啡馆，一定规模的建筑围绕着两个庭院。在我们对此进行翻新前，这里已经进行过一部分重建。我们被邀请完成配套工程、 展览收尾工程和营造各种活动室，相当于我们重新创造设计一些新的工程。另一方面，通过选择在丰特努瓦街道重建这新的大厦，我们腾出一块空地，旨在方便居民开展音乐会和其它艺术活动。 The Maison Folie de Moulins, a former café, contains a certain number of parts articulated around two courtyards. A first partial rehabilitation had taken place before our intervention. We were charged to accomplish complementary works, end exhibition and diverse activity rooms, parallely to the construction of a building created ex nihilo, on the front of the lot. On the other hand, by choosing to implant this new building set back from Fontenoy street, we created an esplanade meant to be used by inhabitants and on which concerts and other artistic events can take place.
© Roland Halbe
设计师在设计这座流动的房屋时，在其框架和促进艺术发展方面有着双倍的信心。这里被认为是创建一个"共同的家"的特殊的地方，同时唤起人们对城市生活的向往。嘻哈往往与空间的二次利用相关，并与实际音乐的场景相反，从来没有这样典型的一个项目能代表出此规划。 The Flow has thus a double ambition to frame and promote artistic practices from the street. It is about created a specific place, a “common house”, that gathers several disciplines, while evoking the urban world in which these practices were born. Hip-hop related places are often recycled spaces, and contrary to scenes of actual music (SMAC), there is no typology of project representative of such a program.
Floor Plan/平面图
我们的设计原则就是该项目和现存建筑及将来环境全面结合在一起。因而我们将原建筑分成不同区域，分别着手。 我们将位于西阿拉斯街西边的原建筑拆除， 腾出来的空间用来容纳服务设施。我们按要求对原建筑从东北一直到珀蒂-图阿尔 街南侧部分进行了修复，保留了大部分砖墙立面，后面的行人天桥及楼梯隐约可见，并以耐候钢墙为终点，院子透明性与新的大厦衔接保证其美观性。在"纽约风格"的影响下，嘻哈房屋的庭院和户外不管从哪里来看都是联系在一起的。因此它有了许多接待访客的通道和空间。该建筑中画龙点睛的梁有一个重要的部分：它们是用于布景和支持展览的元素。这是我们对于项目构想的全部，另一方面，通过工业设计，适应嘻哈和城市文化。 The principle we adopted consisted in thinking globally about the requirements of the program in connection with the existing and the future of the place. We thus worked by strips, the buildings on the west on the Arras street side being demolished, the space thus created receiving the service functions of the equipement. From the north-east towards the south on the Dupetit-Thouars street side, we conducted the requested rehabilitation of the Maison Folie of Moulins, conserving most of the brick facades, behind which footbridges and stairs show through slightly, to end at a wall of Corten steel assuring by its transparence a view on the courtyard and also the junction with the new building. Marked by a “New York style” atmosphere, the courtyard of the house of Hip-Hop is both a horizontal and vertical link and the setting for outdoor activities. It thus offers the possibility to host public on its many access gateways and decks. The beams punctuating the structure have an important section: they are meant to receive scenographic equipements and to support the elements used for exhibitions. It is the whole story of the neighbourhood that we tried to perpetuate, through this industrial design which, on the other hand, suits naturally hip-hop and urban cultures.
© Roland Halbe
不同房屋之间的空隙和各种不同的通道被保留了下来，需要的话，可以走东西方向的小径进入到各个房屋。主要入口位于南边，是否开放是依需要而定，如果要去建筑的其他功能区，这里很可能要关闭。如此一来人们就要通过特定的入口进入大楼。当这里处于"免费开放"模式时，会根据选择开放大楼入口。 这个四层的新大楼包括地下室的一层，看上去十分简单。每一层楼到对应精确的功能区。在大楼一层，接待和娱乐区位于广场对面。地下室用作音乐工作室 ；二楼是行政部门 ；三楼用作舞蹈室 ；四楼是格拉夫研讨室带户外拓展。每一层楼根据用户的需求有充分的运作自主权。 Interspaces and diverse existing accesses were preserved, allowing access to part or all according to needs by walking paths from east or west, the main entrance being located south. Depending on wether one space or the other is open to public, it is possible to close if needed the access to other functions of the building. Users and/or spectators thus enter the building via specific entrances. When the space is in “free appropriation” mode, entrance in the building is chosen according to provenance. The new building’s mode of operation, developing on four levels including one basement floor, is very simple. To each floor corresponds a precise function of the program. On the ground floor, functions of reception and conviviality are in direct contact with the esplanade. On the basement floor are the musical studios; on the second floor, the administration; on the third floor, dance; and on the fourth floor the graff workshop with its outdoors extension. Each floor can thus work in full autonomy according to the needs of users.
Floor Plan/平面图
普通直播间特意设置在房屋的心脏位置，通过嘻哈之家或 Maison Folie de Moulins建筑一层可见，就像是第二个庭院。 该建筑的设计构思就是在梁柱体系的基础上采用钢筋混凝土结构。只有直播间屋顶是钢梁式框架结构。一些具体的部位建立在承重砌体基础上。直播间的外观是30 厘米厚的混凝土板，可移动室内由横向钢平台和石膏板打点固定在一个独立的结构上。嘻哈之家的外墙由 VEC 铝型材制成，有隐形网格三层热声学玻璃窗和商店 。 The common broadcast room is intentionally set back from the facades, in the heart of the parcel. Visible through the reception of the house of Hip-Hop or the ground floor of the building Bulle of the Maison Folie de Moulins, it seems like a second courtyard. The structure of the building we conceived is made of reinforced concrete and based on a system of columns-beams. Only the roof of the broadcast room is supported by a steel frame of the lattice beam type. Some specific works are made in load-bearing masonry. The exterior of the broadcast room is made of 30cm thick concrete panel on which removable inside dubblings are fixed, made of horizontal steel platforms and plasterboards fixed on an independent structure. The facades of the house of Hip-Hop are made with type VEC aluminium profiles and have thermo-acoustic triple glazing windows with concealed grid and stores (product developed by Saint-Gobain).
© Roland Halbe
该直播间几乎是立方体结构，钢构框架上安装着透明玻璃，整个直播间有两个入口。我们在放映过程中甚至建了一个从一层到二层的楼梯，使得该建筑技术人员的工作得到极大地保证。这里原先只有225坐席，将露天看台改造后，可以容纳600到700人。空间的大大开放极大鼓励了艺术家和音乐家与观众之间的互动，这要得益于外部舞台，表演可以达到正面，侧面或者环形舞台效果。声学设计校正提供了大量的可变尺寸，保证吸收、 混响和声音衍射。 The broadcast room, almost cube-shaped, is surrounded by two levels of gateways, while the grill is extended on the whole surface: the work of technicians is greatly facilitated (we even set up a staircase from the level 1 to level 2, it is raised during shows). The capacity varies from 225 seats with the bleachers open to 600 to 700 of standing capacity without bleachers. This space and these proportions deliberately encourage exchanges between artists and musicians on stage and their audience: shows can be frontal, bi-frontal or use the “ring” effect thanks to peripheral balconies. The acoustic correction is provided by a multitude of cushions of varied dimensions, guaranteeing absorbtion, reverberation and diffraction of the sound.
Section/剖面图
保留很大一部分的砌砖立面是北部的典型城市风格，设备同样有很强工业感，这在里尔和整个地区的城市建设中数量很可观，它提供了一种脱离法式的简约风格。历史与现代的结合，采用先进技术，这个城市文化的欧式中心准备好迎接它的新功能，而且用途是很灵活的。公共空间的透明设计出自艺术家的慷慨相助，我们希望公众空间有足够的活泼性。 Preserving for a big part the patrimonial identity of the block with its brick facades typical of the cities of the Nord, the equipement borrows also to industrial design, very present in Lille and the whole region, its vocabulary, in resonance to urban practices to which it offers an original place, with no French equivalent. With a blend of respect for yesterday and adoption of state-of-the-art technology, the Euroregional Center of Urban Cultures is ready to welcome new uses, its flexibility of use being optimal. Its transparencies with the public space encourage the appropriation by the artists and the public of spaces we wished extremely convivial.
© Roland Halbe
创新的媒体立面 该建筑中，大量使用的玻璃幕墙值得一提。发光二极管在玻璃中通过无形的电力供应设施，与用户电脑联系（这将邀请在这一领域的艺术家随意控制此幕墙）。在玻璃中的二极管照亮嘻哈之家，使其外观非常明亮。外立面看上去并不是毫无生机 — — 这是故意为之，将街道和艺术中心突显的很有活力。从某种意义上讲，二极管在整个 CECU 中起到了至关重要的作用。 An innovating media-façade It should be noted that the building is equiped with the first digital glass facade that ever appeared to that scale. LEDs are in glass slides and via invisible electrical supply are linked to a computer piloted by users (which will enable to invite artists who are specialists of this type of performance to animate this facade at will). LEDs incorporated in the glass evoke very convincingly the activities of the house of Hip-Hop, making its skin its sign. Not freezing the decor of the facades – that are deliberately transparent to notify the porosity maintained between the street and the arts that spring from it, LEDs seem in that sense likely to add significant semantic value to the CECU.
Section/剖面图
建筑的墙外观会依据中心的活动特点做不断改变。这里会试图吸引涂鸦者和舞者，其艺术气息和不断的改进有利于这里的创作氛围。"媒体墙"的概念在世界范围内获得巨大的成功，在这里通过原始的过程，增强项目与城市空间的互动，其外延通过外化特定的信息，转化为行动和诗意的印象得以丰富。 The walls will regularly change in appearance in resonance with the mobility proper to the activities unfolding in the Center. Graffers and dancers will then be welcomed in a place not only in direct contact with the space around them, but signifying its function by its own construction methods, and its artistic message and constant evolution. The concept of “media-facade” that is starting to meet great success throughout the world is here developed by an original process also to reinforce interactions between the building and the urban space that the device enriches by externalizing certain informations, transformed in moving and poetic visions.
Site Plan/场地平面图
Floor Plan/平面图
Floor Plan/平面图
Floor Plan/平面图
建筑设计事务所：atelier d’architecture King Kong 项目地点：法国 里尔 总建筑师：Frédéric Neau 项目经理：Nicolas Broussous 面积：4050.0 平米 年份：2014年 摄影师：Roland Halbe 透视图设计：Ducks Scéno technical 工程公司：Projex Ingénirie Heq：Diagobat 声学设计：Kahle Acoustics |
