架构师提供的文本描述。M9-C项目的设计面临两个挑战：必须将学校、文化、住房和停车场四种不同用途混合在一个复杂的地块上；以及在巴黎第13区边缘解决密度和塑造城市的问题。通过将这四个项目叠加在一起，该项目将最近的“上层”城市景观连接到通往加雷德奥斯特里茨铁路的铁轨上，并以行人升降机的方式连接切瓦莱特街沿线的地面低层城市。该项目鲜明的城市轮廓、不同风格的立面(沿城市开发区的线条平滑；褶皱、折叠和向地块中心方向划分)以及铁路轨道附近的严格结构，使这座建筑成为一座独特的建筑。它是建筑和土木工程的结合，隐藏了它的复杂性，使公共和私人空间的多样性，对细节的关注，以及一种令人惊讶的元素展现出来。

Text description provided by the architects. There were two challenges in designing the M9-C project: having to mix four different uses - school, culture, housing and parking - on one complicated plot; and addressing the issues of density and shaping the city on the edge of Paris’s 13th arrondissement. By superimposing the four projects on top of each other, the project connects the recent “upper” city landscape above the railways tracks leading to the Gare d’Austerlitz and the ground-level lower city along Rue Chevaleret by means of a lift for pedestrians. The project’s distinctly urban outline, the varying styles of façade (smooth along the line of the urban development zone; pleated, folded and divided towards the centre of the plot) and the strict structure due to the immediate vicinity of the railway tracks make this a unique building. It is a combination of architecture and civil engineering, concealing its complexity to allow the variety of public and private space, the attention to detail and an element of surprise to shine forth.

 © Sergio Grazia

塞尔吉奥·格拉齐亚

差异和统一的M9-C地块是左岸巴黎混合使用项目的典范。它包括一个九年级的学校综合体和两个职员公寓，位于大穆林斯街；一个224座的三层剧院，有一个切瓦列特街的入口；66个租用的社会住房单元，包括一个看守的公寓；和一个51个空间的地下停车场。

Difference and unity The M9-C plot is the Left Bank Parisian mixed-use project par excellence. It contains a nine-class school complex and two staff flats on Rue des Grands Moulins; a 224-seater, three-level theatre with an entrance on Rue du Chevaleret; 66 rented social housing units, including a caretaker’s flat; and a 51-space underground car park.

 © Sergio Grazia

塞尔吉奥·格拉齐亚

不可能把这个项目的各种要素分散到整个地块上。参加比赛的每一支队伍都意识到了这一点-[BP]，获奖者还有弗朗西斯·索勒(Francis Soler)、K建筑公司(K Architecture)和Ga tan Le Penhuel

It was impossible to spread the various elements of the project over the whole plot. Every team participating in the competition realized this - [bp], the winners, but also Francis Soler, K Architectures and Gaëtan Le Penhuel.

 © Sergio Grazia

塞尔吉奥·格拉齐亚

一部公共电梯将格兰德穆林斯街与Chvaleret街连接起来，因为该项目位于通往Gare d‘Austerlitz的铁轨上平坦的混凝土区域的尽头。这就是它如何处理斜坡造成的问题。

A public lift connects Rue des Grands Moulins to Rue du Chevaleret, since the project is at the end of the flat concrete area over the railway tracks leading to the Gare d’Austerlitz. This is how it deals with the problem posed by the slope.

 © Sergio Grazia

塞尔吉奥·格拉齐亚

从法兰西大道上看，这座建筑看上去就像被封闭了一样，裹着一件在阳光下闪闪发光的巧克力色砖块。但从格兰德街来看，它的复杂性和多样性令人眼花缭乱。剧院的石面与建筑物其他部分的砖块和金属形成鲜明对比。檐的轮廓遵循城市规划师布鲁诺·福蒂埃(Bruno Fortier)对弥撒那-切勒雷特地区的建议，特别是用于附近公共建筑的Buxy石(街道清洁服务和一堵墙)。

Seen from Avenue de France, the building looks as if it’s closed off, wrapped in a uniform cloak of chocolate-coloured bricks that twinkle in the sunlight. But from Rue des Grands Moulins its complexity and variety are dazzlingly apparent. The theatre’s stone facing contrasts with the brick and metal of the other parts of the building. The outline of the cornice follows urban planner Bruno Fortier’s recommendations for the Masséna-Chevaleret area, in particular the Buxy stone used for nearby public buildings (street-cleaning services and a holding wall).

 © Sergio Grazia

塞尔吉奥·格拉齐亚

至于大楼的外部上游，该项目选择了漆砖瓦，以确保与附近建筑物的布伦纳克丰扎雷斯和伊夫狮子的一些连续性。对砖、石和铝元素进行了短规格注册，以使其高度和宽度相匹配，从而确保它们是不同的，但也是一个整体。

As for the building’s outside upper reaches, the project has opted for varnished brick shingles in order to ensure some continuity with the nearby buildings by Brenac + Fonzalez and Yves Lion. Short specs registration has been carried out on the brick, stone and aluminium elements to match them heightwise and widthwise and thereby ensure that they are different but also form a whole.

 © Sergio Grazia

塞尔吉奥·格拉齐亚

共存的户外区域和公用设施是共享的，以确保这种混合。学校的紧急出口同时也是一些公寓的入口处。至于剧场的舞台，连同弹簧盒和其他绝缘材料，它被设计成一个盒子，把它与它可能受到限制的环境隔离开来。此外，通往停车场的一个通道沿着礼堂运行，起到缓冲作用。

Coexistence The outdoor areas and utilities are shared to ensure this intermingling. The school’s emergency exits are at the same time the entrances to some of the flats. As for the stage of the theatre, along with the spring box and other insulation materials, it is designed as a box within a box to isolate it from its potentially restrictive surroundings. In addition, one of the access ramps to the car park runs along the auditorium and acts as a buffer.

 © Sergio Grazia

塞尔吉奥·格拉齐亚

在操场方面，这些单位的设计是一系列的步骤，以保护人们的居住空间免受操场的骚动。相反，檐篷可以确保孩子们免受人们总是害怕的恶行的伤害。保持安全距离，不需要上网。

On the playground side, the flats are designed as a series of steps to protect people’s living space from the commotion of the playground. Conversely, canopies ensure that the children are protected from the kind of malevolent acts people are always afraid of. A safe distance is maintained without any need for netting.

 © Sergio Grazia

塞尔吉奥·格拉齐亚

这些安排也提供防晒，至少在夏天是这样。公寓的外墙有折叠式百叶窗，提供相同的隔热效果，并使情节中心呈现出统一的外观。

The arrangements also offer sun protection, at least during the summer. The façades of the flats have folding shutters that provide the same heat insulation and give a uniform appearance to the centre of the plot.

 © Luc Boegly

吕克·博格利

学校的悬空屋顶在学校操场上有一定的位置，保护学生免受从上面的公寓掉下来的任何东西的影响，还建造了一个有雕刻天花板的有盖操场。游乐场由木板和大花盆分成两部分-小学和托儿所。这是一个三角形的形状，指向巴黎的南部，最终形成一个植被的帷幕，这将逐渐殖民的小屏风墙。

School Overhanging roofs project some way out over the school playground and protect pupils from any objects that might fall from the flats above, as well as creating a covered playground with sculpted ceiling ridges. The playground is separated into two sections – primary and nursery – by wood panels and big flowerpots. It is a delta shape pointing towards the south of Paris and culminating in a curtain of vegetation that will gradually colonise the small holding wall.

 © Luc Boegly

吕克·博格利

教室沐浴在光线中，颜色不显眼，还配备了简单、略七十年代的家具。绿色和橙色是走廊的主要颜色，教室周围也点缀着绿色和橙色。木树脂板保护墙壁。综合起来，这些细节给项目带来了多样性和独特性。

The classrooms are bathed in light, painted in discreet colours and equipped with simple, slightly seventies furniture. Green and orange are the dominant colours in the corridors and they are also dotted around the classrooms. Wood resin panels protect the walls. Taken together, these details bring a sense of variety and uniqueness to the project.

 © Luc Boegly

吕克·博格利

公寓有三个入口处。虽然它们符合目前所有的防火、取水和取暖标准，但与正常的社会住房项目相比，它们的高度、布局和建筑面积都是“不寻常”的。

Flats There are three entrances to the flats. Although they comply with all current fire, access and thermal standards, they are ‘unusual’ in terms of their height, layout and floor area compared to normal social housing projects.

 © Luc Boegly

吕克·博格利

厨房一般半开着，有一个酒吧，可以向客厅望去。客厅延伸到相邻的房间，由于有半柔性的窗帘，可以关闭它来做一间办公室或一间卧室。每个公寓的走廊沿着窗户延伸，以确保灯火通明，也能欣赏到巴黎中心和蓬皮杜中心的美妙景色，也可以欣赏到东部象牙焚烧厂的烟囱。

The kitchens are generally half-open, with a bar that looks into the living room. The living room stretches into an adjacent room that can be closed off to make an office or a bedroom thanks to a semi-flexible curtain. The corridors in each flat run along the windows to ensure they are brightly lit as well as enjoying the wonderful views towards the centre of Paris and the Centre Pompidou, or else towards the chimneys of the incineration plant in Ivry to the east.

 © Luc Boegly

吕克·博格利

然而，这些公寓的主要特点是，阳台上有穿孔的铝制百叶窗，可以根据一天中的时间或阳光水平向后折叠，让居民在隐私和暴露在城市的声音和景色之间做出选择。阳台为居民提供了公寓的室外延伸部分。

The major feature of the flats, however, are their balconies with perforated aluminium shutters that can be opened and folded back according to the time of day or the level of sunlight, allowing residents to choose between privacy and exposure to the sounds and sights of the city. The balconies offer residents an outdoor extension of their flat.

 Courtesy of BP Architectures

BP建筑公司

剧院位于一楼，设计完全不同，有一个黑色224号座位的礼堂，一个未经加工的混凝土入口和一个棕色、黑色和金色条纹门厅。优雅，别致，朴素的晚礼服为附近的Thétre 13，现在有第二个礼堂。

Theatre The theatre is on the ground floor and completely different in design, with a black 224-seater auditorium, a raw concrete entrance and a brown, black and gold striped foyer. Elegant, chic, plain evening dress for the nearby Théâtre 13, which now has a second auditorium.

 Courtesy of BP Architectures

BP建筑公司