Longitudinal Section

架构师提供的文本描述。Oignies坑于1990年关闭，使整个人口失业，经济困难。这些建筑是20世纪早期的一流工业遗迹，至今仍未消失。他们该怎么办？除了文物部分外，什么样的发展策略才是最适合这幅土地的呢？

Text description provided by the architects. The Oignies pit closed down in 1990, leaving a whole population out of work and in great economic hardship. The buildings, superb industrial monuments dating from the early 20th century, remained. What was to be done with them? Apart from the heritage component, what sort of development strategy would be best for the site?

 © André Morin

安德列·莫林

2005年，我们赢得了在Oignies的Fosses 9/9之二坑场改建比赛。该程序采取两阶段项目定义委员会的形式，第一阶段侧重于制定一个方案，第二阶段侧重于确定其建筑形式。客户的最初简报是Hénin-Carvin Interzone律师，内容非常广泛：“生活、工作、在公园中创造、人力资本作为新发展的框架，是一种模范的环境方法。”

In 2005, we won the competition to convert the Fosses 9/9bis pit site in Oignies. The procedure took the form of a two stage Project Definition Commission, the first stage focusing on establishing a programme, the second on defining its architectural form. The initial brief from the client, the Hénin- Carvin Interdistrict Counsel, was very broad: “Living, working, creating in a park, human capital as the framework for a new development, an exemplary environmental approach.”

 © André Morin

安德列·莫林

我们提出了一个以音乐和当代声音为主题的网站转换方案。音乐和声音的概念是在从社会和历史的角度分析了该网站过去的挖掘之后出现的，但也从社会和历史的角度分析了该地区的人口与音乐、音乐传统(扇子)和非常活跃的当代音乐场景之间的密切关系。

We proposed a site conversion programme based around the theme of music and and contemporary sound. The idea of music and sound emerged after an analysis of the site’s mining past from a social and historical perspective, but also of the regional population’s strong relationship with music, musical traditions (fanfares) and the very vibrant contemporary music scene.

 © André Morin

安德列·莫林

这一办法的目的是通过一个文化项目恢复9/9之二的正面形象，使之成为吸引人的中心，并恢复经济活动。

The aim of the approach was to restore the positive image of the 9/9bis through a cultural project, in order to make it a centre of attraction and to revive economic activity.

 © André Morin

安德列·莫林

改变形象：这一转变需要对现有建筑进行翻新，这些建筑由所有原始机器保存，并引入了创新的当代建筑。

Changing image: this transformation entails the refurbishment of the existing buildings, which are preserved with all the original machines, and the introduction of innovative contemporary architectures.

 © André Morin

安德列·莫林

改变用途：在回响了矿井和机器的噪音后，该网站现在致力于音乐和当代声音，目的是将一种形式的污染转化为一个创造性和前瞻性的主题。

Changing use: after echoing to the noise of the mine and the machines, the site is now dedicated to music and contemporary sound, with the aim of transforming a form of pollution into a creative and forward-looking theme.

 © André Morin

安德列·莫林

在建筑设计阶段，我们更进一步地提出了这样的想法：该项目的抱负是本地的，但也是国家的，甚至是国际的，以吸引游客和用户的混合。由于这个原因，除了振兴的历史遗产，该项目需要一个当代的行动，以明确该网站的新的声音和音乐位置。

In the architectural design phase, we took the idea further: the project’s ambition is local, but also national and even international, seeking to attract a mix of visitors and users. For this reason, in addition to the revitalised historical legacy, the project needed a contemporary act that would crystallise the site’s new acoustic and musical location. 

 © André Morin

安德列·莫林

为了实现这一点，我们创建了一个奇怪而神秘的欲望对象，它在其他任何地方都不存在：métophone。为了使这一想法成为可能，我们联系了音乐家和音响设计师路易斯·丹德雷尔，他与该机构密切合作，设计和开发了该建筑的音响和器乐方面。

To achieve this, we created a strange and mysterious object of desire, which exists nowhere else: the Métaphone®. To make this idea possible, we approached the musician and sound designer Louis Dandrel who, in close collaboration with the agency, designed and developed the sound-related and instrumental aspects of the building.

 © André Morin

安德列·莫林

9/9之二项目的游戏规则是明确的：所有新建筑(MéTaphone，BT 01)在风格上都是现代和创新的，而现有的遗产(机器制造，整个悬空室)被保留，正面保持不变，所有内部现代干预措施都是可逆的，这使得建筑有可能在未来恢复到最初的状态。

The game rules of the 9/9bis project are clear: all the new constructions (the Métaphone®, BT01) are contemporary and innovative in style, whereas the existing heritage (the Machine Building, the entire Hanging Room) is retained, the facades left unchanged, and all the interior modern interventions are reversible, leaving the possibility of the building returning to its initial state in the future.

 © André Morin

安德列·莫林

整个9/9之二是采矿区的一部分，该矿区于2012年成为教科文组织的一个世界遗产，成为一个活生生的文化景观。

The whole of 9/9bis is part of the Mining Area, which in 2012 became a UNESCO World Heritage Site as a Living Cultural Landscape.

 © André Morin

安德列·莫林

Landscaping

9/9之二的最初入口位于雷工住宅区附近。它的标志是典型的机构立面上的机构性建筑。我们的建议是逆转主入口，并从高速公路创建一个新的通道，将注意力集中在人机座和MéTaphone上。

The original entrance to 9/9bis is located near the mineworkers estate. It is marked by the classical cornices on the institutional facade of the Machine Building. Our proposal was to reverse the main entrance and to create a new access from the motorway, focusing attention on the derricks and the Métaphone®.

 © André Morin

安德列·莫林

这条道路是按一系列顺序进行美化的：您穿过一个树木山谷，然后遇到林地公园，在远处，人行横道和MéTaphone直接位于道路的轴线上。

This road is landscaped in a series of sequences: you pass through a valley of trees, then encounter the woodland park and, in the distance the derricks and the Métaphone®, directly in the axis of the road.

 © André Morin

安德列·莫林

在开始施工之前，该地点的翻修工作开始于开发机械大楼和人行楼(列出历史古迹)和注册建筑群(行政大楼和悬挂室)之间的游乐园。公园由一条黑色的公共汽车混凝土车道和一个宽的行人区域组成，上面覆盖着红色和黑色的硬涂层。蓝色海诺特石条，板凳在同一材料和镶嵌照明点亮了表面，这是种植了黎明红木树。园地内衬着渗透沟渠，一边种上了芦苇，另一边则形成了青草的堤坝，另一边则是蓝色调的排水沟。

Before construction began, the refurbishment of the site began with the development of the esplanade between the Machine Building and derricks (listed Historical Monuments) and the registered complex (the administrative building and Hanging Room). The esplanade consists of a black concrete lane for buses and a wide pedestrian area covered in red and black hard coating. Strips of blue Hainaut stone, benches in the same material and inset lighting punctuate the surface, which is planted with dawn redwood trees. The esplanade is lined with infiltration ditches, planted with sedges on one side and forming grassy embankments with blues tone gutters on the other.

 © André Morin

安德列·莫林

Pithead广场的设计使用的材料与前厅相同，而在立面的底部则立着用苔藓和低植被种植的块状凝灰岩。

The design of the Pithead square employees the same materials as the esplanade, while at the base of the facades stand blocks of tuff planted with mosses and low vegetation.

 © André Morin

安德列·莫林

Concert前厅位于MéTaphone和Pithead会聚的地方。在这里，在广场上，以人行横车为背景，观众可以在MéTaphone的门廊下观看为这一场合而设的平台舞台上的表演。

The Concert Forecourt is located at the point where the Métaphone® and the Pithead converge. Here, on the square, with a view of the derricks as a backdrop, audiences will be able to watch performances from the platform stage set up for the occasion on the under the porch of the Métaphone®.

 © André Morin

安德列·莫林

这个景观项目是由皮埃尔·德·́(CapPaysages)设计的。

The landscape project was designed by Pierre Déat (Cap Paysages).

 © André Morin

安德列·莫林

一座小型办公大楼已在旧建筑附近启用。

A small office complex has been introduced near the legacy buildings.

 © Altimage

© Altimage

第一座办公楼BT 01正在建造中。它的建筑是通过在瓷砖屋顶上方的一个新的悬垂部分，将现有的一座小型建筑开槽而成的。老建筑反映在外墙和下侧的悬垂，这是内衬抛光不锈钢，创造了一个模糊的边界新旧。

The first office building, the BT01, is under construction. Its architecture is created by slotting a small existing building into a new overhanging section above the tile roof. The old building is reflected in the facades and underside of the overhang, which are lined with polished stainless steel, creating an ambiguous boundary between old and new.

 © André Morin

安德列·莫林

上市首页

The listed pithead complex

在机器大厦里，所有的机器都完好无损地保存了下来。该项目自项目定义阶段以来已发生变化，内容包括现场的一般接待、一家音乐会咖啡厅和一家餐厅、一条描述场地历史和机器工作情况的遗产线索、以及一个声音和视觉设计画廊。

Inside the Machine Building, all the machines have been preserved intact. The programme, which has changed since the project definition phase, contains the site’s general reception, a concert cafe and restaurant, a heritage trail describing the history of the site and the workings of the machines, and a sound and vision design gallery.

 © André Morin

安德列·莫林

码头建筑群包括机器制造和井架。后者被指定用于发展，作为场地改建的一部分，但最终被排除在项目之外，因为现在填补的老坑周围存在生存风险。

The Pithead complex includes the Machine Building and the derricks. The latter, which were earmarked for development as part of the site conversion, were in the end excluded from the project because of the risks of subsistence around the old pits, now filled in.

 © André Morin

安德列·莫林

我们的简介主要是设计机器制造的内部。2006年，在历史古迹总建筑师莱昂内尔·杜博瓦的指导下，所有建筑物的外壳、立面和屋顶都得到了修复。

Our brief is primarily to design the interior of the Machine Building. The shells, facades and roofs of all the buildings were restored in 2006 under the direction of Lionel Dubois, the chief architect of Historical Monuments.

 © André Morin

安德列·莫林

你怎么处理这么坚固的建筑物？由于多年的疏忽和水的渗透，室内受到了破坏。我们没有选择目前流行的废墟的浪漫主义，而是出于对那些1990年之前在工地工作的人的尊重，决定用原来的油漆，把场地恢复到他们的状态。

How do you tackle such a strong building? The interior is damaged by years of neglect and and water penetration. Rather than opting for the romanticism of the ruin currently in vogue, we decided, out of respect for those who worked on the site until 1990, to restore the spaces to their condition when the site was a working mine, using the original paints.

 © André Morin

安德列·莫林

所有仍在原地的机器都已保存好。它们是由前矿工雅库斯托·塞奇协会维护和恢复的。

All the machines still in place have been kept. They had been maintained and restored by the Acccusto Secci association of former miners.

额外的现代元素数量很少，易于识别。他们都被抛光铝包裹，吸收和反射周围的材料，使他们融入周围的环境。装饰元素被包裹在相同的材料中。为了避免把墙板弄得乱七八糟，我们让平面设计师GÉrard PléNaco ste在墙上刻上所有的文字：书名的模板或剪贴画，直接贴在墙上的海报，以获得更详细的文本。

The additional modern elements are few in number and easily identifiable. They are all clad in polished aluminium, which absorbs and reflects the surrounding materials so that they merge into their surroundings. The decorative elements are clad in the same material. To avoid cluttering up the space with panels, we asked the graphic designer Gérard Plénacoste to inscribe all the texts on the walls: stencils or cutouts for the titles, printed posters glued directly to the walls for more detailed texts.

 Ground Floor Plan

有关机器制造的研究正在进行中，工作定于2013年底开始。

The studies for the Machine Building are underway, and work is set to begin at the end of 2013.

 First Floor Plan

一层平面图

挂号吊房建筑群

The registered hanging room complex

该建筑群将改建为ILTV(当地电视公司)的工作室、研讨会室、场地管理、音乐和舞蹈培训和排练室、录音室。

This complex will be converted to house the studios of ILTV (the local television company), seminar rooms, the site administration, music and dance training and rehearsal rooms, recording studios.

 Second Floor Plan

二层平面图

注册建筑群由不同年代的连续和相对不同的建筑组成。它最初设在工地办公室、技术房舍、吊顶室和行政淋浴房。新的功能需要比机器制造更多的实质性干预，空间更小和更多。我们没有划分现有的结构，而是设计了包含新房间的大盒子。它们是由轻金属框架制成的，将来可以拆除，以便如果愿意，建筑物可以恢复原状。已登记建筑群的工作应于2013年秋季开始。

The registered complex is made up of continuous and relatively disparate buildings dating from different eras. It originally housed the site offices, technical premises, the Hanging Room and the executive shower room. The new functions require more substantial interventions than those in the Machine Building, with smaller and more numerous spaces. Rather than partitioning the existing structure, we have designed large boxes that contain the new rooms. They are made of light metal frames and can be dismantled in the future so that the buildings can be restored to their original state if desired. Work on the registered complex should begin in autumn 2013.

 Cross Section

MetaPhone

The Metaphone®

MéTaphone是一座音乐建筑，是世界第一。

The Métaphone® is a musical building, a world first.

 Exploded Axonometric

爆炸轴测

这是当代的重点，整个项目，体现了网站的新的音乐和声学的作用。它是一座由材料、声音和光线组成的建筑，是9/9之二的标志性空间：一座有待观察和聆听的建筑，一种由音乐家们演奏的巨大乐器，他们可能是看不见的，也可能是在舞台上表演的。就像音乐一样，它在时间上进化，它是流动的、短暂的、不断变化的声音和光的和谐的载体。

It is the contemporary keystone of the whole project, embodying the site’s new musical and acoustic role. An architecture of materials, sound and light, it is the iconic space of 9/9bis: a building to be looked at and listened to, an immense instrument played by musicians who may be invisible or perform live on stage. And like music, it evolves in time, a vector of fluid, ephemeral and constantly shifting harmonies of sound and light.

元电话机是一个活生生的机器，无论是音乐厅和“城市乐器”，其墙壁产生和传播的声音，与光的发挥和谐。音乐厅和它的附件包含在一个体积的黑色混凝土，本身包裹在一个钢结构，由不同的材料组成的鳞片：透明和未抛光的玻璃，Corten钢，木材。这个有鳞片的信封向外延伸，在游乐园上方打开，形成一个保护入口和露台的大门廊。在混凝土质量和鳞片皮之间，连接着一种精细的金属结构，技术走道提供了用于安装和维护的音响和照明设备。在屋顶上，鳞片的晶格延伸到600平方米的集成光伏电池中。在门廊下，仪表控制舱的红色结构从黑色的façade中戏剧性地显现出来。

The Metaphone is a living machine, both concert hall and “urban musical instrument”, whose walls generate and diffuse sound, in harmony with the play of light. The concert hall and its annexes are contained within a volume of black concrete, itself wrapped in a steel structure covered by light skin made up of scales of different materials: clear and unpolished glass, Corten steel, wood. This scaly envelope extends outwards and opens above the esplanade, forming a great porch protecting the entrance and terrace. Between the concrete mass and the scaly skin, attached to a fine metallic structure, technical walkways provide access to the sound and lighting equipment for installation and maintenance. On the roof, the lattice of scales extends into a 600 m2 sheet of integrated photovoltaic cells. Under the porch, the red structure of the instrument control cabin emerges theatrically from the black façade.

一个悬垂的楼梯和露台结构，由Corten钢制成，完成了布置，提供了另一个聆听平台。

An overhanging stairway and terrace structure, made of Corten steel, completes the arrangement, providing another listening platform.

仪器部件的设计采用两种声音产生原理：机械原理，由电子接口控制的声学仪器；或电声元件，其扬声器驱动器安装在板上，从而成为声音扩散膜。这些板块分布在建筑的周边，创造了一个巨大的弹奏面，一个声音可以在周围移动的质量。可生产的支架种类繁多。

The instrumental components are designed with two principles of sound production: mechanical, with acoustic instruments controlled by electronic interfaces; or electroacoustic with speaker drivers mounted on plates that thereby become sound diffusing membranes. These plates are distributed on the perimeter of the building, creating an immense playing surface, an acoustic mass around which the sounds can move. The variety of timbres that can be produced is vast.

这些系统是通过制作一个音乐立面的原型来开发和测试的，该模型由8个1平方米的模块组成，每个模块都装有一半音量的声学仪器和另一半的振动板。

These systems were developed and tested by making a prototype of the musical facade, composed of eight 1 m2 modules, each fitted with an acoustic instrument on half its volume and a vibrating plate on the other half.

用这种乐器可以产生什么组合物？它的目的是给一个建立在一个音乐网站上的音乐厅提供一个完全的音乐形式。这些原则考虑到建筑空间、材料和光线，还考虑到建筑的环境、使用、维护和成本。声音和建筑是而且必须是不可分割的。

What compositions can be produced with such an instrument? The aim is to give a totally musical form to a concert hall built on a site dedicated to music. The principles take account of architectural space, material and light, but also the environment, use, maintenance and cost of the building. Sound and architecture are and must remain inseparable.

MéTaphone是一个特殊的空间，可以在那里发明与体系结构相称的音乐形式。该项目的原创性和威力将由音乐家来维护和加强，他们将为MéTaphone创建作品。对公众来说，这将是一种“好奇”。人们会来奥基尼斯看和听。它的作用就像一个世俗的钟声，标志着时间，中午或黄昏。这将标志着音乐会的开始或间隔，成为一个周边的声音空间，虽然谨慎，以避免打扰邻居.它也可以用作管弦乐作曲中的乐器，音乐家在门廊下演奏。

The Métaphone® is an exceptional space where musical forms can be invented that are commensurate with the architecture. The originality and power of the project will be maintained and reinforced by the musicians who, in their turn, will create pieces for the Métaphone®. For the public, it will be a “curiosity”. People will come to Oignies to see and hear it. It will act like a secular bell, marking the hours, midday or twilight. It will signal the beginning of a concert or the interval, become a peripheral sound space, though discreet so as not to disturb the neighbours ... It could also be used as an instrument in an orchestral composition, with the musicians playing under the porch.

厅内采用模块化，可容纳500人的“坐”式和1000人的“坐/站”式。墙壁内衬羊毛毡，形成了一个背景，从红团的阳台出现。这个结构与酒吧相连，酒吧通向露台。阳台的红色延伸到酒吧和控制舱的空间，从外面窥见室内的气氛。

Inside, the hall is modular, able to accommodate 500 people in “seated” format and 1000 in “seated/standing” format. The walls are lined with wool felt, forming a background from which the red mass of the balcony emerges. This structure connects with the bar, which opens onto the terrace. The red of the balcony extends into the spaces of the bar and control cabin, providing glimpses of the interior atmosphere from outside.

技术细节

Technical details

建筑尺寸：最宽的部分(遮阳篷)长53米x 30米宽，最窄的部分(后台)宽16米。高度：主段12米，遮阳棚尾14米。

Building dimensions: 53m long x 30m wide in its widest part (awning), 16m wide in its narrowest part (back-stage). Height: 12m in the main section, 14m at the end of the awning.

表演大厅-主要致力于现代音乐-及其附件，被安置在一卷黑色油漆混凝土中。

The performance hall – largely dedicated to modern music – and its annexes, are housed in a volume of black painted concrete.

隔音从外面加强了悬挂我的́汽油天花板。立面结构：固定在悬挂式双钢板上的面板，直径10至15米x1.5米。

Sound insulation from the outside enhanced by a hanging Mégastil ceiling. Facade structure: panels fixed on hanging double steel plates measuring 10 to 15m x 1.5m.

遮阳篷结构：悬挂玻璃屋顶和墙壁的4个改造和焊接钢型材(悬吊10米)。

Awning structure: hanging glass roof and walls supported on 4 reformed and welded steel profiles (10m overhang).

正面由712块面板组成：东面和西面各311块，北面90块。这些面板是由Corten钢，落叶松层，透明玻璃和蛋白石玻璃制成。它们由4或6个钢夹板连接到结构上，这取决于它们的大小。

The facade consists of 712 panels: 311 on each of the eastern and western facades, 90 on the northern facade. These panels are made of Corten steel, larch ply, clear glass and opal glass. They are attached to the structure by 4 or 6 steel cleats, depending on their size.

音乐立面

Musical facades

声音的安装占据了Mé挂毯的整个外部，并且构成了一个巨大的仪器。全文共分三部分：

The sound installation occupies the entire exterior of the Métaphone, and constitutes a single immense instrument. It is divided into 3 parts:

 © André Morin

安德列·莫林

-外部立面上的振动板：东面和西面各有23块用落叶松制成的音乐板，每个板上都支持4个音频驱动器，并与其背面接触-2个宽带驱动器和2个高音器。这些驱动程序直接由音频信号提供。声板附件安装在静音块上，以防止振动被传送到整个正面。振动板在两个不同的高度均匀分布在正面。他们是伴随着两个低音盒在每一边。这个系统形成了一个移动声音的空间，创造了一个声音宇宙，使建筑“呼吸”。

- The vibrating plates on the external facades: the eastern and western facades each have 23 musical panels made of larch ply, each of which supports 4 audio drivers screwed onto and in contact with its back – 2 wideband drivers and 2 tweeters. These drivers are fed directly by an audio signal. The sound plates attachments are mounted on Silentblocs to prevent the vibrations being transmitted to the whole facade. The vibrating plates are distributed evenly across the facades at 2 different heights. They are accompanied by 2 bass boxes on each side. The system forms a space of moving sound, creating an acoustic universe that makes the building “breathe”.

门廊下的机械仪器：天篷两侧各有12种仪器，分布在1平方米的板上：跨栏-鼓声、大鼓、马林巴、藏语唱盘、风琴、雨棍、颤音、汤姆、鼓、共鸣管、中国钹、骑钹、锣。安装在每个仪器上的音响系统可以根据需要进行放大。

- The mechanical instruments under the porch: on the inside of each side of the awning are 12 instruments distributed on 1 m2 panels: hurdy-gurdy, big drum, marimba, Tibetan singing bowls, organ, rain sticks, vibraphone, tom-tom, drums, resonating tubes, Chinese cymbal, ride cymbal, gong. A sound system installed on each instrument can be used to amplify them as required.

-控制室，整个系统由MIDI键盘(机械仪器)和计算机(振动板)控制。该系统可编程为自动操作或手动控制。

- A control room from which the whole system is controlled by MIDI keyboards (mechanical instruments) and a computer (vibrating plates). The system can be programmed to operate automatically or be controlled manually.

灯板

Light panels

每侧正面安装14个灯板，北面有6个。这些面板由一组LED组成，上面覆盖着蛋白石玻璃面板。LED可以从控制室单独编程，以产生不同强度的光效应，从柔和到壮观。就像声音一样，光线和阴影可以穿过建筑物的外部外壳，为其作为“活生生的机器”的个性做出贡献。

Each of the side facades is fitted with 14 light panels, the northern facade with 6. These panels consist of a set of Leds covered with an opal glass panel. The Leds can be individually programmed from the control room to create light effects of varying intensity, from gentle to spectacular. As with the sound, light and shadow can be made to run across the external envelope of the building, contributing to its personality as a “living machine”.

Architects Hérault Arnod Architectes

Location Chemin du Tordoir, 62590 Oignies, France

Category Renovation

Area 10695.0 sqm

Project Year 2014

Photographs André Morin, Altimage