© Luc Boegly

吕克·博格利

架构师提供的文本描述。现有大楼(剧院于1999年拆除)。

Text description provided by the architects. The Existing Building (Theater dekuvered in 1999).

该机构在1999年交付的大楼包括了大部分的特色，但与传统剧院相比，仍然没有为艺术家们提供一个排练室(由目前的延伸部分提供)。这第一个部分已经安装在保存的房子周围，在地块上可用的东西，采用了一个“S”形式复杂的这个上下文。地块的很大一部分自然是专门用于房间及其直接的附加房地(更衣室、后台、国家控制)，而北部最狭窄的部分则用于其余的功能，包括大堂、行政部门和配套设施(厕所、技术室)。.)。

The building delivered by the agency in 1999 included most of the features, but compared to a conventional theater, there was still missing a rehearsal room for the artists (provided by the current extension). This first piece has been installed «around» the conserved house on what was available on the plot, adopting a “S” form complicated by this context. A big part of the plot was naturally dedicated to the room and its direct additional premises (dressing rooms, backstage, state control) while the narrowest part of the north was for the rest of the functions, with the lobby, the administration, and the accompanying facilities (toilets, technical rooms. ...).

 © Luc Boegly

吕克·博格利

在底层实施一个稍微倾斜的地面，在最后一刻允许在房间花坛斜面下增加一个咖啡吧，以便为艺术家和公众创造一个友好的地方。为了抓住这一复杂而狭窄的场地的最佳位置，建筑概念是创造一个非常紧凑的项目，空间彼此靠近，便利从一个空间到另一个空间的迁移。这个节目被分成两部分，两个部分被尖锐地并列在一起：一个是为艺术家准备的，一个是在维克多雨果大道上开放的，另一个是面向面对11月11日大街的公众的。

The implementation of a slightly sloping ground at the ground floor has permitted to add at the very last moment a coffee bar under the slope of the flowerbed of the room, so as to create a friendly place, both to the artists and the public. In order to capture the best of this complex and narrow site, the architectural concept had been to create a very compact project with spaces close to each other, and facilitating the displacements from one space to another. The program was divided into two parts sharply juxtaposed: one intended for the artists, opening on the boulevard Victor Hugo, and the other one intended for the public facing the November 11th street.

 © Luc Boegly

吕克·博格利

第二部分是最小的，其更复杂的体积被插入艺术家的建筑：一楼的平面和规则层，从11月11日的街道下来，那里是大厅，直到沉陷的林荫大道维克多雨果，那里是酒吧。酒吧就在露天看台的斜坡下，整个布局创造了一个非常流畅和单一的空间，从一端滑到另一端。

This second part was the smallest, its more complex volume was inserted in the artists’ building: the flat and regular floor of the ground floor, came down from the November 11th street where is located the lobby, up to sunken the boulevard Victor Hugo where was the bar. The bar was under the slope of the bleachers of the room, the whole arrangement created a very fluid and unitary space, sliding from one end to the other of the plot.

在为艺术家设计的部分中，功能是紧密地联系在一起的：一边是后台，艺术家的所有木屋及其伴奏场所都叠加在舞台上，然后是场景、舞台前场，最后是由国家控制的、高于后排座位的房间。场景由一个240平方米的托盘组成，在同一表面上有一个舞台波纹管，在栅格和假网格之上。前台也有一个可以装备的网格。场景底部的最低点与网格的最高点之间的距离为21米。

Inside the section intended for the artists, the functions are linked and follow each other with rigor: on one side the back-stage, on which all the cabins of the artists and their accompaniment premises are superimposed, then the scene, the proscenium, and finally the room on which comes to settle in height the state control, above the back seats. The scene is constituted by a tray of 240 m 2 with a stage bellow on the same surface, and above the grid and the false grid. The proscenium also has a grid that can be equipped. The distance between the lowest point of the bottom of the scene and the highest point of the grid is 21 meters.

 © Luc Boegly

吕克·博格利

这座建筑体积很大，完全是深紫色的混凝土漆。这个体积的形状是轻微的弯曲和圆形，给它一个几乎宝贵的外观和一定的柔软性。曼纽尔·高特朗(ManuelleGautrand)并没有试图隐藏这座建筑的重要体积，而是要断言它的形状，并通过把它围起来，把它完全涂上紫色的清漆来改善它。这种温暖的颜色使用了几个参考：剧场，往往是红色的年代，一种永恒和强烈的颜色。

The building represents a very large volume entirely in concrete varnish in dark purple. The shape of this volume is slightly curved and rounded, giving it an almost precious appearance and certain softness. Manuelle Gautrand did not attempt to hide the important volume of the building, but to assert this shape, and improve it by rounding it and dressing it entirely in purple varnish. This warm color used several references: the theater, often red through the ages, a timeless and strong color.

它也是对北方砖块的参考，指的是从红色到棕色再到紫色的彩色正面。当砖块的颜色不足以与灰色的天空相矛盾时，它们通常会被粉刷，加上大而平的光亮，使城市更加明亮。因此，正面呈现出巨大的一面，并以其紫色缎子的颜色而与众不同。清漆的表面覆盖着一个模板，从地板到顶部，以非常生动的方式画出一层黑色的釉面砖。这种风格化的弗里泽使这个项目的这个部分的外观有了一定的规模。此外，另一个让人回想起环境规模的因素是前电影院的外观，因为它是白求恩居民历史遗产的一部分。

It is also a reference to the Northern bricks, to the colored facades that goes from red to brown through purple. When the color of the bricks is not bright enough to contradict the gray sky, they are often painted, reinforced with large flat glowing which is brightening up the city. The facades thus present a monumental aspect and distinguished themselves by their purple satin color. The surface of the varnish is covered with a pattern from stencil, drawing very graphically a frieze of black glazed bricks, from the floor to the top. This stylized frieze has allowed giving a certain scale to the facades of this part of the project. Furthermore, the other element coming to recall the scale of the environment is the facade of the former movie theater identically reproduced since it’s a part of the historical heritage of the residents of Bethune.

 © Luc Boegly

吕克·博格利

扩建和翻新的目标。

Goals of the extension and the renovation.

今天，街角房屋已被拆除，扩建工作16个月后才得以实现，部分地点已被占用。机构ManuelleGautrandArchitecture利用这一机会，将现行的建筑安全条例(自15年来已经有所改变)纳入其中。

Today, the street corner house having been demolished, the extension was able to be realized after 16 months of work, partially in occupied site. The agency Manuelle Gautrand Architecture took this opportunity to put in the current building safety regulations (which have changed since 15 years).

 © Luc Boegly

吕克·博格利

该项目实现了两个主要目标：

The project reached two main goals:

实现1994年以来计划的扩建，包括排练室

•Realize the extension, planned since 1994, including the rehearsal room

*制定新的安全条例，对剧院(行政、大厅.)进行翻修。

•Put in the new safety regulations and renovate the theater (the administration, the hall...).

 © Luc Boegly

吕克·博格利

1延期：

1/ The Extension:

延伸部分位于地块的拐角处，在三层：一层与天然地面相同的高楼，专门用于排练室；然后是一层办公室，与现有的办公室层连接到二楼。排演室的大小允许将大厅重新安置在11月11日大街和维克多雨果大道的拐角处，这一规定在1994年的比赛中已经存在。这个位置有几个优点：它可以给剧院提供更好的能见度，并使咖啡吧更容易到达。以前位于房间地板下面的咖啡吧，既不能从维克多雨果大道直接进入，也不能享受天然照明。现在，大厅角落的建设直接连接到咖啡，带来了自然的照明，使它成为一个充满活力和欢迎的通道。上面，由于从现有剧院的二楼延伸，行政当局有一个更大和更多的功能空间。

The extension is located on the corner of the plot, on three levels: a volume of high-rise located on the same level as the natural ground, and dedicated to the rehearsal room; then a level of offices, which links with the existing office floor to the second floor of the building. The size of the rehearsal room allows relocating the hall on the corner of the November 11th street and the Avenue Victor Hugo, a provision that already existed during the competition in 1994. This position has several advantages: it allows to give a better visibility to the theater and to make the coffee bar more accessible. The coffee bar formerly located under the volume of the room’s floor, could not benefit neither of a direct entrance from the Avenue Victor Hugo, nor a natural lighting. Now, the construction of the hall corner connects directly to the coffee, bringing a natural lighting and making it an animated and welcoming passageway. Above, the administration has a larger and more functional space thanks to the extending from the second floor of the existing theater.

 Courtesy of Manuelle Gautrand Architecture

由Manuelle Gautrand建筑公司提供

 © Luc Boegly

吕克·博格利

2改组现有的：

2/ Restructuring of the Existing:

现有建筑物内的许多空间也发生了变化。事实上，自十五年前原建筑物交付使用以来，安全条例已有相当大的发展。因此，这一项目涉及对整个大楼进行升级改造。一些安全条例受到关注，包括消防安全条例和残疾人进出剧院所有空间的问题。扩建还需要在未来大厅的右侧建造一条楼梯，在一楼、全国戏剧艺术国家学院(CNAD)排练室的上层及其额外的房舍以及二楼的办公室提供服务。最后，该建筑达到了最雄心勃勃的热能和能源法规。

Many spaces have also been changed within the existing building. Indeed, since the delivery of the original building fifteen years ago, the safety regulations have evolved considerably. This project therefore involved the upgrading of the entire building. Several safety regulations were concerned, including the fire safety regulations and the accessibility to all spaces of the theater for disabled people. The extension also required the construction of a staircase located on the right of the future hall and serving on the first floor the upper level of the rehearsal room of the CNAD (National Academy of the Dramatic Arts) and its additional premises, and the offices on the second floor. Finally, the building reached the most ambitious thermal and energy regulations.

 © Luc Boegly

吕克·博格利

[3]坑上方的房间：

3/ The Room above the pit:

该机构利用所有这些工作，完成了这间在建造原大楼期间留下的原始房间，变成了第二间没有网格的彩排室，比主排练室还小，并通过提高办公室的楼梯提供了一条通道。

The agency used all these work to complete this room, which had been left «raw» during the construction of the original building, into a second rehearsal room without grid, and smaller than the main rehearsal room, with an access facilitated by the raising of the staircase of the offices.

 © Luc Boegly

吕克·博格利

扩展的架构指南。

Architectural Guidelines for the extension.

如前所述，城市和“白求恩城”希望延长这段时间，因为只有这一扩展才能完成这一雄心勃勃的计划。因此，扩建工程十多年来一直是漏掉的一块，2009年被市政府收购的转角地块最终得以实现这一主要目标。今天，剧院终于完成了一个伟大的工具的喜剧：这是一个全新的工具，为新一代演员和舞台导演.

As mentioned previously, this extension was wished for a long time by the City and by “La Comédie De Bethune”, because only this extension could complete this ambitious program. Therefore, the extension has been the missing piece for more than ten years, and the possibility of acquiring the corner plot by the City in 2009 had finally permitted to achieve this main goal. Today, the theater finally finished is a magnificent tool for the comedy: it’s a brand new «tool» ready for a new generation of actors and stage directors...

 © Luc Boegly

吕克·博格利

这个项目对该机构来说很重要，因为在交付15年后，很少能够再次干预一座建筑。及时了解该机构的工作情况，用户如何适应它，而在现实中，这是一个创造真正依恋的绝佳机会：一种对该机构设想的建筑的依恋，然后建造，然后延伸…。但这也是对使用者的依恋，对白求恩城的依恋，他们伴随着这两次建筑冒险。

This project was important for the agency because it’s rare to be able to intervene again on a building fifteen years after its delivery. It’s the timeliness to see how the work of the agency lived, how the users have suited it, and in reality, this is a wonderful opportunity that create a real attachment: an attachment to the building that the agency has conceived, then built, then extended... but it’s also an attachment to the users, to the City of Bethune who have accompanied these two architectural adventures.

 Ground Floor Plan

然而，要扩大剧院巨大的圆形和紫色的音量并不那么容易，特别是在20年之后.该机构不想以完全相同的风格扩展现有的体系结构，而是倾向于利用两个不同的时期。最后，这座建筑有着更长的历史，连接了三个时期：在1999年剧院之前，有一个20世纪30年代的电影院，该机构一直保留着这座电影院的正面。所以，这不是两个建筑时期，而是三个.

However, it was not that easy to extend the huge round and purple volume of the theater, especially after 20 years ... The agency didn’t wanted to extend the existing architecture with the exact same style, but preferred to exploit two different periods. Finally, the building had an even longer history, linking three periods: Before the theater in 1999, there was the movie theater of the 1930s, for which the agency had kept the facade. Therefore, it’s not two architectural periods, but three ...

 © Luc Boegly

吕克·博格利

作为延伸，ManuelleGautrand采用了一个简单的体积，几乎是矩形的建筑概念，它关闭了维克多雨果大道和11月11日街之间的角度。象征性地，这一延伸似乎连接了所有的功能，以方便用户的流离失所：大厅包围了新的彩排室，在两条街上开放自己。大厅先后连接历史纪念馆、新彩排室和花坛顶上的房间。它的长度允许安装几个酒吧，创造更多的休息场所，专门为艺术家或观众。

For the extension, Manuelle Gautrand took the architectural concept of a simple volume, almost rectangular, which comes to close the angle between the Boulevard Victor Hugo and the 11th November street. Symbolically this extension seems to connect all the functions, to facilitate the displacements of the users: the lobby envelops the new rehearsal room to open itself on both streets. The lobby connects successively the historic hall, the new rehearsal room and the room on top of the flower-bed. Its length allows installing several bars that create more places of breaks dedicated to the artists or the audiences.

 First Floor Plan

一层平面图

正面：黑色周围的一个微妙的舞台。

The facades: A subtle staging around the black.

立面的概念必须整合高度可见的部分，最初的项目，这个大的圆形体积与光滑的角，充分漆成紫色。要把一种新的风格搭配起来可不容易.

The conception of the facades had to integrate the highly visible part of the initial project, this large rounded volume with the smooth corners, fully lacquered in purple. And it was not so easy to juxtapose a renewed style...

最后，它是黑色的，该机构涂上了这个延伸：一种深而有力的颜色。为了创造一个与初始体积的软链接，这个黑色是以一种编织金属面板的形式实现的，这些金属面板正在绘制大的菱形，以提醒那些紫色圆形的形状。因此，菱形似乎从一卷到另一卷；它们以两种不同的形式被拒绝。实际上，在现有的建筑上，菱形是用模板在混凝土上画出来的，而在延伸部分，菱形则是在交叉金属包层中画出来的，分别混合了“黑色垫子”和“光泽黑色”板。

Finally, it’s in black that the agency coated this extension: a deep and powerful color. To create a soft link with the initial volume, this black is implemented in the form of a kind of weaving metal panels, which are drawing large rhombuses, to remind the ones of the purple rounded shape. The rhombuses thus seem to go from one volume to another; they are declined in two different forms. Indeed, on the existing building the rhombuses are drawn using stencils on the concrete, and on the extension, the rhombuses are drawn in crossed metal cladding, mixing successively “black mat” and “glossy black” panels.

 © Luc Boegly

吕克·博格利

现有的建筑物是在对角线框架上组装的，它允许连接这些形状的面板。这些面板的波浪，垫和光泽，采取不同的光，取决于它们的发光程度和它们对光的方向。除了这个巨大的菱形延伸画在现有的紫色正面，有一个微妙的灵感来自艺术家皮埃尔苏拉奇的作品。

The existing building is assembled on a diagonal frame which allows attaching those shaped panels. The waves of these panels, mat and glossy, take the light differently, depending on their degree of shine and their orientation to the light. Besides this extension of the huge rhombuses drawn on the existing purple facade, there is a delicate inspiration taken from the artist Pierre Soulages’ work.

最后，这个美丽的角落完成了这个项目的深黑色和强大的音量：一种方式，以断言剧院的锚在白求恩市。同时，这种“黑暗”的黑色有时非常明亮，当日光对着建筑物的正面时，就像它在“灵魂之画”中所做的那样。黑色变亮，明亮，几乎变成白色。该建筑是精细化和减轻，它几乎变成水晶，从而完成圆形现有的体积，更严格和更几何的形状。该项目的挑战还在于改善结构调整和扩建的热性能和环境性能。由于隔热效果好，现有的建筑已经有了很好的热性能。作为扩展，这些质量是改善了非常厚的外绝缘涂层金属包层。

Finally this beautiful corner piece completes the project with a deep black and powerful volume: a way of asserting the theater’s anchor in the city of Bethune. And at the same time, this “dark” black is sometimes extremely light when the daylight faces the façade of the building, as it does in the paintings of Soulages ... The black becomes shiny, bright, and almost white. The building is refined and alleviated; it becomes almost crystalline, thus completing the round existing volume with a stricter and more geometric shape. The challenge of the project was also to improve the thermal and environmental performances of the restructuring and the extension. The existing building already had very good thermal performances, thanks to an effective insulation. For the extension these qualities are improved with a very thick outer insulation coated with the metal cladding.

 © Luc Boegly

吕克·博格利

这个项目的核心仍然是最初颜色的一致性：由黑色到紫色的混合色调。只有沿着小路网格的酒吧和桌子的家具，涂上了一层非常明亮的白色，照亮了这些友好的地方。家具的白色也在墙壁上，在黑色的墙壁上产生了明亮的几乎荧光的插入物。天花板的光线是由长的荧光灯管组成的，它提醒人们黑色包层在日光下漂白的褶皱。草案中最后的选择之一是考虑逐步删除电影院前正面的存在。就像一代人在追赶前一个人一样，在以前的工程中保存和修复的外观，加上填充物的颜色和一些过时的东西，都被紫色的漆完全覆盖着，就像圆形的船体把它吞没了一样。这就是这个剧院，这个剧团变得如此的依恋，为一个新的生活做好了准备！

The heart of the project remains in the coherence of the initial tints: A mixture of dark shades, going from black to purple. Only the furniture of bars and desks, which meshes along the path, is coated with a very brilliant white, which illuminates these friendly places. The white of the furniture is also on the walls, creating bright and almost fluorescent inserts in the black walls. The light of the ceiling is constituted with long fluorescent tubes that remind the folds of the black cladding bleached by the daylight. One of the last choices in the draft was to think about progressively erasing the presence of the former facade of the movie theater. As if a generation was chasing away the previous one, the facade preserved and restored in the previous project, with its fillers pastels and a little outdated, has been completely covered with the purple lacquer, as if the rounded hull had swallowed it. And here is this theater, to which the agency became so much attached, ready for a new life!

Architects Manuelle Gautrand Architecture

Location 138 Rue du 11 Novembre, 62400 Locon, France

Category Extension

Architect in Charge Manuelle Gautrand

Area 2082.0 sqm

Project Year 2014

Photographs Luc Boegly