© Cécile Septet

C.C.CileSeptet

架构师提供的文本描述。成立于1921年，今天的范维斯音乐会有40名教师，有700多名学生。这座名为Ode的新建筑取代了分散在镇上不同地方的拥挤、破旧的办公室，这既是质的飞跃，也是数量的飞跃。作为一所音乐学校和表演剧院，该设施既是音乐和戏剧艺术的传播者，也是教学中心。该项目既是一个建筑，也是一个公共空间，有一个可以举办露天展览的广场，坐落在一个小广场上，提供了该地区最缺乏的中心空间。

Text description provided by the architects. Founded in 1921, the Concervatoire de Vanves today has 40 teachers for over 700 students. The new building, named Ode, replaces the cramped, dilapidated offices scattered around various places in the town, representing both a qualitative and quantitative leap. Acting as a music school and a performance theater, the facility is as much a teaching center as a disseminator of the musical and dramatic arts. The project is both a building and a public space with a piazza able to host open-air shows, located on a small square that provides a centrality that is mostly lacking in the area.

 © Cécile Septet

C.C.CileSeptet

位于一个混合的城市结构组成的建筑，每个发挥各自的隔断，从房屋到高层建筑，新设施寻求绥靖和微妙，就像一个音乐作品组织不和谐的和声。白色的颜色在那些仍然令人印象深刻的书中建立了冷静和中立性，尽管其中一些位于广场下面。这座冰山的可见部分是一个柏拉图式立方体，作为一个整体上升到它的屋顶露台，第五堵墙覆盖着一个金属网，隐藏着技术设备和疏散空气通风口。

Located in a mixed urban fabric composed of constructions that each play their own partition, from houses to tall buildings, the new facility seeks appeasement and subtlety in the same way a musical composition organizes dissonant harmonies. The color white establishes calm and neutrality on volumes that nonetheless remain impressive, although some of it lies beneath the piazza. The visible part of this iceberg is a platonic cube that rises as an integral whole to its roof-terrace, a fifth wall covered with a metallic web that hides the technical equipment and evacuation air vents.

 © Cécile Septet

C.C.CileSeptet

涂层的目的是尽可能光滑的漆铝板运行从板坯到板坯，提供了一个生命的墨水在里面。所有的外部楼层都面对着石头，石头延伸到大楼的底层，沿着一条从街道通往礼堂的海湾窗户的指导线。

The coating is intended to be as smooth as possible with lacquered aluminum panels running from slab to slab, giving an inkling of the life inside. All exterior floors are faced with stone which extend to the building’s ground floor following a guiding line from the street towards a bay window opening onto the auditorium.

 © Cécile Septet

C.C.CileSeptet

一个正交的模式控制空间的高度不同的尺寸和功能，从专门的房间为打击乐器，放大音乐，钢琴，风或老式乐器，舞蹈和戏剧室，通过礼堂，这是一个剧院是开放给公众以外的教学时间。作为这个正交网格的一部分，分配方案在除底层以外的所有层次上都是重复的。宽敞的走廊两端都有楼梯，可以进入不同的房间，每个房间都配有气闸或双门，可根据其隔声需求配备。教学包括一个庞大的声谱，从用老式乐器演奏的音乐，到放大音乐或福音，无论是单独的房间，还是70位音乐家交响乐团的排练室。除了教室外，该中心还设有录音室和无线电广播室。

An orthogonal pattern controls the spaces with their highly varied dimensions and functions, from the dedicated rooms for percussion instruments, amplified music, piano, wind or vintage instruments to the dance and theatrical rooms, passing through the auditorium, a theater that is open to the public outside of teaching hours. As part of this orthogonal grid, the distribution scheme is repeated on all levels except for the ground floor. A generous hallway with stairs at either end provides access to the different rooms, each equipped according to its sound-proofing needs with airlocks or double doors. Teaching includes a vast sound spectrum from music played with vintage instruments to amplified music or gospel with either individual rooms or rehearsal rooms for a 70-musician symphonic orchestra. Besides the classrooms, the center also has a recording studio and a radio broadcast studio.

 © Cécile Septet

C.C.CileSeptet

 © Cécile Septet

C.C.CileSeptet

礼堂有一个舞台前场，可容纳221人；可供不同类型的演出(舞蹈、戏剧、合唱团、歌剧、音乐会和当代音乐)使用。这里有一个音光控制室，舞台上有一个装备齐全的栅格，大厅上方有技术走道，还有一个可伸缩的管弦乐坑，由凹壳形状的移动式板子组成，集中演奏交响乐的声音。

The auditorium has a proscenium stage and a seating capacity of 221; it can be configured for different kinds of shows (dance, plays, choirs, opera, concerts and contemporary music). There is a sound and light control room, an equipped grid above the stage, technical walkways over the hall and a retractable orchestra pit made of mobile panels in the shape of a concave shell to concentrate the sound for symphonies.

 © Cécile Septet

C.C.CileSeptet

声学约束施加了几种解决方案，即箱体法中的箱体隔音和与混凝土结构的分离。适用于天花板和墙壁或光滑的吸水性表面与凸起的表面交替，以提供最佳的声音。双窗加双层玻璃框架与单釉面框架相结合，消除了对周围环境造成噪声污染的风险。随着前窗永久关闭，双流通风确保空气保持新鲜。所有的通风口都是隐藏的，照明系统内置，通风网与墙壁齐平。空间中立的概念可以疏散视觉刺激，从而把重点放在声音和器乐线条上，把庭院的植物生命作为这个微观世界之外世界的唯一有形的提醒。除去城市的喧嚣，音乐占据了重要的位置。

Acoustic constraints imposed several solutions, i.e. sound-proofing with the box in a box method and separation from the concrete structure. Sound-proofing applied to the ceilings and walls or smooth absorbent surfaces alternate with raised surfaces for rendering optimal sound. Double windows with a double-glazed frame combined with a single-glazed frame eliminate the risk of causing noise pollution to the vicinity. With the front windows permanently shut, double-stream ventilation ensures that the air remains fresh. All air vents are hidden, the lighting system built-in and the ventilation grids flush with the walls. The concept of spatial neutrality evacuates visual stimuli so as to place the emphasis on sound and instrumental lines with the plant-life of the patios as the only tangible reminder of the world outside of this microcosm’s walls. Removed from city noise, music takes pride of place.

Architects Babin+Renaud

Location 21 Rue Solférino, 92170 Vanves, France

Category Music Venue

Area 3198.0 sqm

Project Year 2016

Photographs Cécile Septet

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