© Eugeni Pons

欧根尼·彭斯(Eugeni Pons)

架构师提供的文本描述。该项目是伯纳德·鲍尔德(Bernard Paurd)所采用的非常微妙的城市规划方案的一部分，目的是把不同的标志和痕迹拼凑在一起，就像在最矮的地方上的各种文字一样。该计划在两个历史轴的直角交汇处基础上重组了这个街区，从巴黎出发从圣米歇尔喷泉到圣丹尼斯大教堂，另一个从大教堂出发，朝圣卢西安教堂走去。这个X轴和Y轴的交叉突出了各种痕迹的出现-一座加洛-罗马墓地的遗迹-伤痕累累的风景见证了“拉威尔”和“普雷罗夫”两座公寓的拆除。2004年6月23日爆炸，好像地图上有纹身。

Text description provided by the architects. The project is part of the very subtle town planning scheme adopted by Bernard Paurd, in an attempt to pull together the different signs and traces that are superposed on the site like the various writings on a palimpsest.  The scheme reorganises the neighbourhood on the basis of the right-angled intersection of two historic axes, one leading from Paris– from the Saint-Michel fountain – to St Denis’ Cathedral, the other starting from the cathedral and heading towards St Lucien’s church.  This crossing of X and Y axes highlights the surfacing of various traces - ruins of a Gallo-Roman necropolis stand where the scarred landscape bears witness to the demolition of the ‘Ravel’ and ‘Presov’ blocks of flats, dynamited on 23 June 2004.  As if the map had marked the territory with a tattoo.

 © Olivier Nicollas

奥利维尔·尼科拉斯

这群学校占据了一片梯形的土地，这块土地被拆除的两座建筑中的一座建筑的非埃迪菲兰迪地区所摧毁。多米尼克·库伦与伯纳德·鲍尔德的计划和意图保持一致，但他似乎认为，这道伤疤是一种复原力的基础-鲍里斯·西鲁尼克(Boris Cyrounik)分析了这一心理过程，使其能够克服创伤局面-而非不可逆转的情况下的耻辱。因此，他自发地回到了自己关于扭曲形状的工作上，这个主题在他的项目中不断重复。

The group of schools occupies a trapezoid-shaped plot of land obliterated by the non-aedificandi area corresponding to the location of one of the two buildings that were demolished.  Dominique Coulon stays in line with the scheme and the intentions of Bernard Paurd, but seems to consider this scar as the substratum for an act of resilience – a psychological process analysed by Boris Cyrulnik that makes it possible to overcome traumatic situations – rather than the stigma of an irreversible situation.  He thus returns spontaneously to his work on twisting shapes, a theme that recurs constantly in his projects.  

 © Eugeni Pons

欧根尼·彭斯(Eugeni Pons)

由于不以土地地块的一个特点，即长方形来建造封闭的体积，再加上密度和高度的限制，使他对小学与幼儿学校分开的问题提出质疑，因此，他的建议勾勒出一个单一的组织架构。在由斜道连接的两极间空间的三维空间中，运用了精湛的技艺。因此，幼儿园教室被推往东面，在入口处的一层悬臂上，小学教室位于西面，可以俯瞰间隙花园。年纪较大的儿童游乐场合并进入了专供年幼儿童使用的区域。其中已经有共用食堂，而运动区则放在另一个街区的屋顶上，里面有两所学校共用的图书馆。

The requirement to refrain from constructing closed volumes based on the rectangle that is a feature of the plot of land, combined with the constraints in terms of density and height, has enabled him to question the separation of the primary and nursery schools in the brief.  His proposal therefore sketches out a unitary organisation, deployed with virtuoso skill in the three dimensions of the space between two poles linked by a system of ramps.  Thus the nursery school classrooms are pushed to the east, on a floor cantilevered above the entrance, and the primary school classrooms occupy areas to the west overlooking interstitial gardens.  The older children’s playground merges into the area reserved for the younger children, which already contains the shared canteen, while the sports areas have been placed on the roof of the other block, which contains the library shared by the two schools.

 © Eugeni Pons

欧根尼·彭斯(Eugeni Pons)

尽管建筑体积、褶皱和不对称，但它给人的第一印象是封闭的形状，几乎没有开口。小学教室堆叠在场地上，只会对旁边的花园开放到任何真正的程度。尽管从外部看，立面是占主导地位的，因为有许多凹痕打破了外墙。矛盾的是，水平的一面在入口处变得更加明显。仿佛一个无限的宇宙在一个严格限定的区域内开放，欢迎一个为孩子们保留的异域。在这里，学生可以被切断与成人世界的联系，这样他们就能采取必要的距离和动力，在适当的时候更好地投入其中。

Despite its sliding volumes, folds and asymmetry, the building gives a first impression of an enclosed shape with few openings.  The primary school classrooms, superposed on the site, only opens up to any real extent to their gardens at the side.  Although on the outside the verticality is dominant as a result of the many indentations that break up the façades, it is paradoxically the horizontal aspect that is more evident once through the entrance.  As if an infinite universe was opening up inside a strictly defined area, welcoming a heterotopia reserved for the children.  An initiatory place where the pupils can be cut off from the adult world, so that they can adopt the necessary distance and momentum the better to dive into it in due course.

 © Eugeni Pons

欧根尼·彭斯(Eugeni Pons)

特别注意的似乎是从一个空间到另一个空间的通道，以及门槛：进入学校，脱掉外套，挂起来，然后穿过门进入教室，坐在老师面前；离开教室时大笑，玩耍时在操场上大声喊叫，这就是建筑从入口处开始，以一种微妙的进退两重运动的方式运作的。

Particular attention seems to have been paid to passages from one space to another, to thresholds: entering the school, taking off your coat and hanging it up before going through the door into the classroom and sitting down in front of the teacher; laughing as you leave the classroom, and shouting out in the playground at playtime.  That is how the building works, from the entrance onwards, in a subtle two-fold movement of advance and retreat.  

 © Eugeni Pons

欧根尼·彭斯(Eugeni Pons)

这一安排让人回想起弗朗西斯科·波尔罗米尼于1667年完成的圣查尔斯-奥克斯-夸特雷-方丹教堂(St-Charles-aux-quatre-Fontaines)外墙的曲线和反曲线。作为一种保护姿态，上层建筑向前伸出，欢迎孩子们，当玻璃地板撤退和挖掘以缓解孩子和父母分离的戏剧性时，走廊改变了形状，在教室门前扩张，从天顶接收到丰富的自然光，似乎更好地将自己定义为减压区域，然后深呼吸并深入工作区域。最后，。操场的天篷远远超出通往屋顶运动区的坡道。这种压缩和膨胀的游戏，给混凝土结构带来了一种有机的感觉，但由于使用了橙色，它的作用进一步突显出来。它覆盖地板，偶尔会洒到墙壁和天花板上，发出一丝阳光白炽灯，照亮屋顶区域的光线。

An arrangement that recalls the curves and counter-curves of the façade of the St-Charles-aux-Quatre-Fontaines church completed in 1667 by Francesco Borromini.  In a protective gesture, the upper floor projects forwards to welcome the children, while the glazed ground floor withdraws and digs in to defuse the drama of separating the child from its parents.  The corridors change shape and expand in front of the classroom doors and receive abundant natural light from the zenith, as if the better to define themselves as areas for decompression before taking a deep breath and plunging into the work areas.  Lastly, the canopy of the playground thrusts out well beyond the ramp that leads up to the rooftop sport areas.  This play of compression and expansion, giving an organic feel to the concrete structure, is further accentuated by use of the colour orange.  It covers the floors and occasionally spills over onto the walls and ceilings, rendering the slightest ray of sunshine incandescent and lighting up the roof area.

 © Eugeni Pons

欧根尼·彭斯(Eugeni Pons)

在互补的蓝色天空下，这是一只张开的手，展现在它的所有力量之下。就像朱尔斯·弗里(Jules Ferry)时代那样，学校似乎经常被设计成人面积缩小到儿童规模的区域。交通路径和教室的顺序在这里见证了孩子的身体和空间之间的不同关系。“约瑟芬·贝克”学校的教室、走廊和操场伸展开来，围绕着一个无限期的身体，一个永恒的变体。一种感觉的身体，准备被最轻微的阳光所触摸，并在天气的微小变化中感受到一千个玩耍的机会。

This has the appearance of an open hand beneath the complementary blue of the sky, revealed in all its power.  All too frequently, as in Jules Ferry’s time, schools seem to be designed as areas for adults reduced to the scale of children.  The sequences of traffic paths and classrooms are witness here to a different relationship between the child’s body and space, one that is all the more fused together in that is it not yet totally mediatised by language.  The classrooms, corridors and playgrounds of the ‘Josephine Baker’ schools stretch out and break up around an indefinite body, a body in perpetual transformation, a body of feelings ready to be touched by the slightest ray of sunshine and to perceive a thousand opportunities for play in the slightest variation in the weather.

 © Eugeni Pons

欧根尼·彭斯(Eugeni Pons)

天然产品的使用-比如地板上的油毡，门窗框上的木料-以及对哪怕是最小细节的关注，都有助于使这座建筑成为一个几乎豪华的地方。一群渴望翻开拆迁之页、坚定地展望未来的家长和学生，对这座建筑的落成充满了热情的欢迎。

The use of natural products – such as linoleum on the floors, and wood for the door and window frames – and the attention paid even to the smallest details contribute to making the building an almost luxurious place, a place hailed enthusiastically at its inauguration by a population of parents and pupils who are keen to turn the page of the demolitions and look resolutely to the future. 

Architects Dominique Coulon & associés

Location 55 Rue Maurice Ravel, 93120 La Courneuve, France

Category Schools

Architects in Charge Dominique Coulon, Olivier Nicollas

Assistant Architects Sarah Brebbia, Benjamin Rocchi, Arnaud Eloudyi, Florence Haenel

Area 6500.0 sqm

Project Year 2010

Photographs Eugeni Pons, Olivier Nicollas