© Roland Halbe

罗兰·哈贝

架构师提供的文本描述。在其文化发展政策框架和对穆林斯社区的改造中，里尔市于2009年开始建造一种新的文化设备，使穆林斯现有的Maison Folie得以发展，缺乏执行其所有项目的具体空间，并创建一个欧洲区域城市文化中心(Flow-House of Hip-Hop)，由于与这一做法有关的活动的重要性，这种结构是必要的，在此之前没有任何地方可以展开。这个项目的重要性使它有理由在靠近市中心的地方进行整合。将这两种设备统一在一个地方的意愿给这两个机构带来了许多好处，包括有可能确保事实上的协同作用，它们的目标是共同的。在其存在的五年中已经征服了自己的公众的Maison Folie，由于缺乏空间，被迫拒绝或推迟了许多项目(舞蹈、戏剧、造型艺术和视觉艺术)。

Text description provided by the architects. 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

梅瑟福利是一套文化遗址，以里尔大都会为基础，在北部，帕斯-德加来和比利时。它们是里尔2004年的遗产，在这几年里，里尔(及其城市地区)是欧洲文化之都。可用作展览厅、音乐厅、为儿童和成人组织工作坊等。它们构成了北方文化生活中的一个重要网络。

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.

前咖啡馆Maison Folie de Mouings，包含了围绕着两个庭院的一定数量的部分。在我们进行干预之前，已经进行了第一次部分康复。我们的任务是完成互补的工作，结束展览和多样化的活动室，就像建造一座建筑一样，创造出的虚无，在前面的地段。另一方面，我们选择把这座新建筑从丰特诺伊街搬回来，我们创建了一个游乐园，供居民使用，音乐会和其他艺术活动也可以在此举行。

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

罗兰·哈贝

因此，这股潮流具有双重野心，那就是在街头勾勒和推广艺术实践。它是关于建立一个特定的地方，一个“共同的房子”，它汇集了几个学科，同时也唤起了这些习俗产生的城市世界。与嘻哈相关的地方往往是回收空间，而与实际音乐场景(SMAC)相反的是，没有这样一个项目代表的项目类型。

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

我们采用的原则是在全球范围内考虑该项目的要求，并与该地区的现有和未来联系起来。因此，我们用条子工作，阿拉斯街西侧的建筑物被拆除，从而创造出接受设备服务功能的空间。从东北向南，在杜伊斯特-周尔斯街的一侧，我们进行了要求的修复穆林斯的梅森福里，保留了大部分砖墙正面，在后面的人行桥和楼梯略显，以确保其透明的科尔滕钢墙，在庭院和与新建筑物的交界处的景观。以“纽约风格”的氛围为标志的Hip-Hop住宅庭院既是水平和垂直的纽带，也是户外活动的环境。因此，它提供了在它的许多访问网关和甲板上托管公共的可能性。标点符号的横梁有一个重要的部分：它们是为了接收场景设备和支持用于展览的元素。这是整个街区的故事，我们试图延续，通过这种工业设计，另一方面，适合自然嘻哈和城市文化。

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

罗兰·哈贝

保留了空间和现有的各种通道，允许通过从东或西步行路径进入部分或全部，主要入口位于南方。取决于一个空间或另一个空间是否向公众开放，如果需要，可以关闭建筑物的其他功能。因此，用户和/或观众通过特定的入口进入建筑物。当空间处于“免费占用”模式时，可根据来源地选择入口处。

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.

新大楼的运作模式非常简单，在四层楼，包括一层地下室。每个楼层对应着程序的精确功能。在底层，接待和娱乐的功能与游乐园有着直接的联系。地下室有音乐工作室；二楼是行政室；三楼是舞蹈室；四楼是格拉夫工作室及其户外延伸部分。因此，每个楼层都可以根据用户的需要完全自主地工作。

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

公共广播室是故意从正面，在包裹的中心向后放的。透过希普霍普之家的接待处或建筑物的底层，它就像是第二个院子。

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.

我们设想的建筑结构是以钢筋混凝土为基础，以柱-梁体系为基础的。只有广播室的屋顶由格子梁式钢架支撑。在承重砌体中进行了一些具体的工作.播音室的外部由30厘米厚的混凝土面板组成，可移动的内挡板是固定的，由水平钢平台和固定在独立结构上的石膏板组成。Hip-Hop房屋的外墙是用VEC型铝型材制造的，有热声三重玻璃窗，有隐蔽的栅格和商店(由圣戈班开发的产品)。

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

罗兰·哈贝

广播室几乎呈立方体形，周围环绕着两层网关，而烤架则延伸到整个地面：技术人员的工作非常方便(我们甚至在表演期间设置了一条从一层到二层的楼梯)。容量从225座位不等，看台开放到600至700的站立能力，没有看台。这种空间和比例有意鼓励舞台上的艺术家和音乐家与他们的观众交流：表演可以是正面的，双正面的，也可以使用“环”效应，这要归功于外围阳台。声学校正由多种尺寸的垫子提供，保证了声音的吸收、混响和绕射。

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.

这些设备在很大程度上保留了街区的父权特征，以及典型的北方城市的砖墙立面，这些设备还借用了工业设计，在里尔和整个地区非常流行，它的词汇与城市的做法相呼应，它提供了一个原始的地方，没有法国的等价物。在尊重昨天和采用先进技术的同时，欧洲区域城市文化中心准备欢迎新的用途，其使用灵活性是最佳的。它与公共空间的透明度鼓励艺术家和公众占有我们希望非常愉快的空间。

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

罗兰·哈贝

创新的媒体外观

An innovating media-facade

应该指出的是，该建筑物配备了第一个数字玻璃正面，这是有史以来出现的规模。LED采用玻璃幻灯片，通过看不见的电源连接到由用户领航的计算机上(这将允许邀请这类表演的专家随意为这个外观动画)。玻璃中加入的LED非常令人信服地唤起了Hip-Hop之家的活动，使它的皮肤成为它的标志。LED不冻结正面的装饰-这些装饰是故意透明的，以通知街道与由此产生的艺术之间的空隙，从这个意义上讲，LED似乎很可能为Cecu增添重要的语义价值。

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.

墙壁在外观上会有规律的变化，与活动中心的活动相呼应。然后，涂鸦者和舞者将在一个不仅与周围空间直接接触的地方受到欢迎，并通过自己的建筑方法、艺术信息和不断的进化来表示其功能。“媒体外观”的概念已经开始在世界范围内取得巨大的成功，这个概念是由一个原始的过程发展而来的，它也是为了加强建筑和城市空间之间的互动，这种互动是通过将特定的信息具体化，在移动和诗意的视觉中转化而丰富的。

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.

Architects atelier d’architecture King Kong

Location Lille, France

Category Cultural Center

Architect in Charge Frédéric Neau

Project Manager Nicolas Broussous

Area 4050.0 sqm

Project Year 2014

Photographs Roland Halbe