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Appreciation towards Manuelle Gautrand Architecture for providing the following description:

有故事的建筑
A BUILDING WITH A PRECIOUS HISTORY

自1992年起，由Agathe Alexis和Alain Barsacq掌管的这座剧院几度更名，先是被叫做“北加莱国家剧院”，之后改为“北国剧院”，最后更名为“贝休恩剧院”。剧院处在区域中心的街角，外形十分引人注目。

Firstly named “National Drama Center of the Nord Pas de Calais” then “Theater of the Northern Countries” and finally renamed “La Comédie De Bethune” by Agathe Alexis and Alain Barsacq who managed it from 1992, this theater distinguishes itself by its location in the heart of a territory marked by the crisis.

自1980年代起，文化成为北加莱区的首要发展对象。贝休恩剧院的出现正式体现了当地执政政府的这一政治意愿。剧院的地理位置优越，艺术气息浓郁，在那里建筑可以尽情地展示自我的形象，并将其营造的气质和氛围传递给观众，成为所在地区最有吸引力的所在，同时也是城市最具象征意义的文化设施。

Since the 1980s, culture has become a priority in the development of the Nord-Pas-de-Calais area; “La Comédie De Bethune” reflected the will of the elected representatives of the department to be equipped with a National Drama center.

Place of reference and artistic excellence where the theater can express itself in all its forms and reach all audiences, the building contributes strongly to the attractiveness of the area and represents the most emblematic cultural equipment of the city.

▽ 站在街角看建筑，view from crossroads

1992年成立之初的剧院仅仅是一个可容纳300座席的大帐篷，次年剧院搬至一个旧时的军火库，后者是由17世纪著名的军事工程师Vauban设计建造的，后来被改造成剧院工作室并沿用至今。1930年代，处在贝休恩剧院的位置上的是一家名为“宫殿”的电影院。该建筑与1990年代被拆毁，但立面被保留了下来。

Installed in a marquee with three hundred seats in 1992, the theater moved in 1993 in an old powder magazine, built by Vauban and refurbished into a «Studio Theater» which is still used nowadays.

There was initially a movie theater called «The Palace» built in the 1930s on the present site of “La Comédie De Bethune”. The facade of the building maintained by girders, was all that was left when it was demolished in the 1990s.

▽ 遗留自1930年代的立面，façade reserved from 1930s

1994年，MANUELLE GAUTRAND ARCHITECTURE赢得了剧院设计的竞赛。当时，项目就预测到将来会进行扩建（而今已然完成）：剧院的形制也体现了两个不同的功能分区，先施工的一部分包含了大部分功能用房，余下的部分因为牵扯到街角房屋拆除的工作不能同时开工。

2009年，街角的房屋被拆除，贝休恩剧院扩建及原有部分的翻新随即开始。MANUELLE GAUTRAND ARCHITECTURE再次赢得该项目的竞赛，得以利用这一机会来完善和提升剧院的功能，并通过新增的排练室，吸引更多的艺术家前来。

In 1994, the agency MANUELLE GAUTRAND ARCHITECTURE won the competition for the construction of the theater. From the beginning, the project anticipated what has now become an extension: it already was in the form of two functional sections, the first one containing most of the program, which was then carried out, the second one immediately unrealizable because it was positioned on the corner of the plot, involving the demolition of a house.

From 2009, the corner house having been demolished, the extension of “La Comédie De Bethune” was able to be realized at the same time as the renovation of the existing theater.

The agency MANUELLE GAUTRAND ARCHITECTURE, laureate of a new architectural competition for this extension, took advantage of this unique opportunity to improve and complete the global functioning of the theater and endow it with a rehearsal room allowing the presence of the artists on the site.

▽ 并置的新老建筑，the existing theater and the extension

原有建筑（于1999年交付使用的剧院）
THE EXISTING BUILDING (THEATER DELIVERED IN 1999)

1999年交付使用的剧院包含了大部分的功能，但相比传统的剧院建筑，它缺失了一间艺术家排练室。先行建造的部分呈S形，围绕在遗留房屋的周围。大块的区域被用来放置观演厅及其附属用房（化妆间、后台和控制室），门厅、办公室及其他附属及功能用房则位于北侧最狭窄的部分。

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. …).

由于基地有轻微的倾斜，建筑师在成坡度的观演厅下方设至了一间咖啡厅，为艺术家和公众提供了一个友好交流的场所。为了充分利用复杂和狭窄的基地，建筑师在概念生成阶段提出了一个空间非常紧凑的方案。该方案有两个截然分离的部分：仅供艺术家使用的面向Victor Hugo大街开放的部分，以及供公众使用的面向11月11号街道开放的部分。第二部分所占的基地面积是最小的：平整而方正的地面层面向从11月11号街的入口大厅一直延伸到下沉的Victor Hugo大街一侧的咖啡厅，后者位于座席的下方。整个空间布局集中而流畅。

在专为艺术家使用的空间内，功能房间的设置环环相扣：后台位于一层空间的一侧，上方一层层叠加的是艺术家休息室和其他附属用房，然后是场景区和前台，最后是剧场及后座上方的控制室。场景区的面积有240平方米，下方是舞台，上方是各种电机设备，包括前台的上方也配有一些设备。场景区的最低点距离电机网络最高点的距离是21m。

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 displace- ments 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.

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.

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 m2 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.

▽ 剧场，the room

这座被刷成紫红色的混凝土建筑体量相当可观。独特的圆角造型，赋予它别致而柔和的气质。Manuelle Gautrand并不想将这栋建筑隐藏起来，而是用紫红色的漆料来装点和彰显它的存在。这种暖暖的颜色由多种由来：古往今来，剧院常常使用红色这一浓烈和永不过时的颜色；另外它类似于一种特殊的法国北部红砖的色彩，后者会从红色逐渐过渡到紫色最后呈现棕色。当砖的颜色在灰暗的天空下显得不再明亮时，经过粉刷，又能重新装点城市的空间。

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. 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.

▽ 原有建筑，the existing theater

建筑的外墙因此具有某种纪念意义，也因其特殊的颜色从环境中脱颖而出。建筑师将一部分砖块漆成黑色，从底部到顶部，形成独特的几何图案。这一做法降低的建筑本身具有的巨大的尺度感，使其更平易近人。

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.

▽ 原有建筑外墙上的几何图案，the pattern on the façade of the existing theater

此外，另一回应周围尺度的要素是遗留下来的原电影院的立面，它是贝休恩居民历史遗产的一部分。

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.

▽ 遗留自老电影院的立面，the façade of the former movie theater

改扩建的目标
GOALS OF THE EXTENSION AND THE RENOVATION:

街角的房屋被拆除之后，改扩建工程得以开展，并于16个月后完工。Manuelle Gautrand Architecture在项目中加入了对新建筑规范的考量。

该项目要达到的目标主要有两个：
-实现自1994年开始规划的扩建工程，增加一间排练室；
-改造原有建筑使其符合新的安全规范。

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).

The project reached two main goals:
– Realize the extension, planned since 1994, including the rehearsal room
– Put in the new safety regulations and renovate the theater (the administration, the hall…).

1/扩建：
1/ THE EXTENSION:

扩建的部分是位于街角处的三层体量：包括一间两层通高的排练室及其上方与原有办公楼层相连通的办公室。新建筑所在的地理位置有几方面的优势：首先是让整个剧院更醒目；其次让咖啡厅更容易到达和方便使用。之前的咖啡厅位于剧场座席的下方，没有直接从Victor Hugo大街达到的入口，也不能够摄入自然光。现在，大厅的一角直接同咖啡厅相连通，为其带去了自然光，并使其更具流动性和亲和的氛围。位于上方的办公室通过与原有建筑部分相连接而拥有了更大、更实用的空间。

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.

▽ 从11月11号街道看向扩建体量，view from the November 11th street to the extension

▽ 入口，entrance

▽ 排练厅，rehearsal room

2/原有建筑改造
2/ RESTRUCTURING OF THE EXISTING:

原有建筑内的许多空间也发生了改变。竣工后的十五年间，安全规范不断升级，因此整座建筑都需要随之更新。相关举措包括增强防火性能和为残疾人提供方便使用的设施和空间。工程还包括在扩建部分的右侧建造一座楼梯，服务于楼上的CNAD排练厅及附属房间和2层的办公室。值得一提的是，建筑师努力让整座建筑都满足现行的隔热及节能规范。

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.

3/剧场上方的排练厅
3/ THE ROOM ABOVE THE PIT:

这一房间在原有建筑中完全未被利用，而今成为了另一个排练厅，通过办公区的楼梯可以到达。其面积比主排练厅小一些，且没有相应的悬挂在天花上的电机设备。

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.

扩建部分的设计准则
ARCHITECTURAL GUIDELINES FOR THE EXTENSION:

无论是城市还是贝休恩剧院，都对此次扩建工程期待已久。15年后，这座剧院的功能得到了进一步的完善，它将以全新的设施和姿态迎接新一代艺术家。对建筑师来说，能够在工程交付的十五年后再次对其进行改造是非常难得的。这座剧院见证了建筑师的成长，见证了使用者适应它的历程，也见证了城市在其影响之下如何变迁。

在20年后对这座大体量的、紫红色建筑进行扩建，绝非一件容易的事。建筑师并不想要使用同样的风格，而是倾向于塑造两种不同时代的对比。最终，这座剧院呈现出了比自身历史更悠长的印记：1930年代的电影院立面同1994年的剧院以及新扩建的部分并置在一起。

Manuelle Gautrand沿着街角设计了一个简洁的长方形体量，连接起所有的功能空间，方便用户到达任何要去的地点：新的大厅围绕在排练厅的周边，面向两条街道开放，同时将原有的门厅、剧场和排练厅按序列连系在一起。大厅中设置有咖啡厅和休息区，方便艺术家和观众自由交流。

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…

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.

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 …

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.

▽ 主立面，main façade

立面设计：遍布黑色体块的菱形暗纹
THE FACADES: A SUBTLE STAGING AROUND THE BLACK

立面设计必须能够让新建筑同原来引人注目的紫红色的大体量建筑体块完美地整合在一起。最终，建筑师为扩建体量穿上了一件深沉、有力的黑色的外衣。作为对原有建筑的呼应，新建筑的立面使用一种带有编织纹理的菱形金属板。板材上的纹理有两种不同的走向，看上去这些菱形仿佛从一个体量移动到另一个体量上去。在原有建筑的表面，菱形是被画上去的；而在扩建部分，菱形是由亮面和哑光面交错出现的金属面板拼成的，两种不同质感的菱形在交界处衔接在一起。这样做的灵感来自艺术家Pierre Soulages的作品。当阳光直射到扩建部分的立面上时，黑色的面板变得闪亮耀眼，发出近乎白色的光芒，整个体量因此变得轻盈。它精炼而棱角分明的外形，同原有建筑形成对照，二者共同塑造了一个多变的完整的几何造型。

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…

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. 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.

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.

▽ 扩建部分的外立面，cladding of the extension

▽ 新老建筑的交汇处的立面细部，detail of the connecting part of the existing theater and the extension

这一项目的挑战在于如何提高新老建筑的保温和节能性能。事实上，原有建筑的隔热性能已然十分优良。建筑师在扩建部分的外墙和金属覆板之间设计了相当厚度的保温层，从而确保了整座建筑的高效节能。

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.

该项目的核心在于在色差强烈的体量之间保持连贯性：建筑师为室内设计了一系列深色的（从黑色到紫红色）色调组合。只有布置在过道一侧的吧台和桌子使用亮眼的白色，将社交空间照亮。白色的家具元素还出现在黑色的墙面上，发出炫目的光。天花板上的光源是一根根悬吊下来的日光灯管，让人联想起立面上的被日光“漂白”了的外立面覆板。

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.

▽ 大厅，lobby

设计要解决的最后一个问题是如何不着痕迹地“抹去”1930年代电影院遗留下来的立面。在原有建筑中原样下来的立面，如今如同被吞噬了一般被紫红色的涂料覆盖，象征着“新事物的诞生必将导致旧事物的淡隐”这一宿命的命题。

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!

▽ 平面图，plans

▽ 剖面图，sections

PROJECT:
Extension – restructuring of the National Drama Thea- ter « Comédie de Béthune ». Boulevard Victor Hugo, Corner rue du 11 Novembre – Béthune (Nord-Picardie) CONTRACTING AUTHORITY:
COMMUNAUTE D’AGGLOMERATION DE BETHUNE (Artois Comm) USER:
LA COMEDIE DE BETHUNE ARCHITECT: MANUELLE GAUTRAND ARCHITECTURE Manuelle Gautrand, representative architect ENGINEERS & CONSULTANTS:
Stage design: BATI-SCENE Structural engineering: KHEPHREN Acoustics: Jean-Paul LAMOUREUX Fluids engineering & economy: HEXA INGENIERIE Scheduling and coordination: HD PROJECT OTHER PARTICIPANTS: Control Office: PREVENTEC MAIN FIRMS: Shell : RAMERY Façades : DITER Partitions – ceilings : C4M Woodwork : BARA MENUISERIE Painting-wall coatings : VANDENDRIESSCHE HVAC and plumbing : BONNEL Electricity – Networks : EIFFAGE ENERGIE Stage equipment: CAIRE-MANGANELLI FIGURES: Surface : 2.0820 sqm in total, including extension of 720 sqm Extension & restructuring cost: about 3,6 million Euros including all taxes Theater of 350 places, with grid, 15-meter high and 14-meter large scene frame, 15,50-meter large and 13,50-meter deep theater floor with trap room, grid and fake grid. Rehearsal space with grid. DATES: – Initial building : competition: 1994, delivered in 1999. – Extension-restructuring: competition : 2009, Stu- dies: 2010-2013, Construction: 2013-2014, Opening of the new theater with its rehearsal space : september 2014.

Drawings: Manuelle Gautrand Architecture
English Text: Manuelle Gautrand Architecture
Chinese Text: gooood

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