The Oignies coal mine closed in 1990, leaving a whole population and its industrial mining heritage in disarray (pithead buildings, industrial buildings, head frames). The project to reinstate this territory marked by decades of mining operations, began in 2005 with the competition mounted by the Hénin-Carvin Intermunicipal Council (14 municipalities, 125,000 population). Hérault Arnod’s competition-winning project proposes a program based on music and sound, in memory of the massive noise produced by this industrial site when in production, now fallen silent in its abandonment.
The project, with its emphasis on the touristic and cultural qualities of the site, consists of a general masterplan, a redrawing of the landscape and access routes, conversions of the listed machine building* and the entire “salle des pendus”, as well as the construction of new buildings: an office complex, in extension of an existing workshop, and the Métaphone®, a piece of experimental architecture that is simultaneously a concert hall and an urban musical instrument (completed in 2013). The different elements of the project were built successively over 10 years, with the changing-room complex building the last to be delivered.
The rebirth of this emblematic site is founded in artistic creativity and economic developments. It has been achieved through the combination of new architecture and the refurbishment of existing buildings in a way that preserves their integrity.
“Salle des pendus” (hanging room) complex: change of use and dialogue with history
The most recently renovated building consists of a complex of changing rooms, showers spaces and technical premises housed in the immense hall where the “pendus” are located. These are a system of ceiling-mounted hooks and pulleys that was used for the hanging and storage of the miners’ wet and dusty clothes when they emerged from the mine (up to 2200 miners a day in the 1950s). The “salle des pendus” is a 70-meter long nave. Its first part was built in 1931, the second in 1965. On either side of this nave are communal showers, one of which has been kept in its original state as an example.
The various building units, constructed between 1928 and 1970, differ in their construction, but are unified by their brick facades and large windows. In the oldest buildings, the metal frames are bolted together. The roofs are made either of mechanical tiles, or of cement fibre, or in some cases of glass.
Today, this complex houses the site’s administrative offices, music and dance spaces, rehearsal and seminar rooms, recording studios and a television studio.
The introduction of modern functions demanded a new spatial layout, the creation of a series of small, acoustically insulated spaces. To protect the integrity of the historic materials, the large spaces are “furnished” rather than partitioned, applying a principle of “nested boxes” which preserve the view of the existing volumes, the flowing expanses of the walls and roofs. These built-in structures are faced with polished aluminum panels that reflect the structures around them, so that the new volumes seem to absorb the materials of the original shell. Their aluminum envelopes give a furtive appearance to these objects arranged in space, a certain transparency that reduces the sense of mass.
The dialogue created by the reflection of the textures of the past in these contemporary surfaces symbolizes the shifts in the great social paradigms that have been underway since the last century.
The intervention on the old structures was designed to do justice to the existing materials and to maintain the atmosphere of the place. The interior arrangements are designed to be reversible, in recognition of the possibility of future changes.
Architectural components such as the metal structures, gantry cranes, the pulley system and technical grid in the nave, the brick walls, etc., have been retained and enhanced. Some original wall and floor tiles (cement tiles) have been restored. The water green colour of the nave walls, the so-called “hygiene green” commonly used in the first half of the 20th century in buildings linked with industry and health, has been restored.
The buildings needed heat insulation to make them habitable and manage energy consumption. Thermodynamic modelling was used to improve the efficiency of the envelope, maintaining a balance between unmodified surfaces and additional insulation. On the outside, the facades—restored in 2005—have not been changed. In most cases, the interior facades have not been faced, in order to retain the original textures. Insulation has therefore focused on the roofs, which have been entirely remade and insulated above the roof frames in order to leave them visible, on the glass roofs that have been rebuilt with double glazing, and on the windows, which have been reinforced with an internal frame that is invisible from the outside, in order to preserve the refinement of the structures. The underside of the roofs has been faced with timber panels (openwork, backed with acoustic cushions), to resemble 19th century, early 20th-century stations, which combine bolted metal frames and wooden ceilings.
* Since June 2012, the Nord-Pas-de-Calais (Hauts-de-France) mine sites, of which the 9-9 bis pits are a major element, has been inscribed on UNESCO’s World Heritage List as “a living evolutionary cultural landscape”.
Hénin-Carvin Conurbation Committee
3578 m2, total floor area
Cost of works
€9 million before tax
9-9 bis mine site, Oignies (Pas-de-Calais)
Hérault Arnod Architectes, lead architect Matthieu Ballarin and Laetitia Capuano, project managers
Café Programmation, programme Michel Forgue, economics
Cap Paysages, landscape
Nicolas Ingénierie, fluids
Maurice Auffret, acoustics
Gérard Plénacoste, signaletic design
Winner of project de nition: Dec. 2005
Preliminary design: June 2007
Inauguration: October 2016
Studio and TV studio, seminar rooms, music schooling rooms (recording and repetition studios), offices (former administration and changing rooms), landscaping
Hérault Arnod architectes
Hérault Arnod architectes
Hérault Arnod architectures
The studio comprises about fifteen architects with different profiles, from different nationalities, who share a discriminating and prospective vision of architecture.
The studio develops diverse programs, from micro to macro, from small architectural objects to territorial scale projects. The clients are both public and private. The studio escapes from the idea of programmatic specialization and design projects for working spaces, concert and theatre halls, sport and cultural equipment, housing buildings, mixed programs, etc.
Each time, the will to escape ready-made solutions or transposition of recipes implies a research process to offer pertinent and original solutions that draw their substance from the specificity of the milieu where the project is implanted. The architecture seeks to reveal existing forces, energies, to find each time the right solution to a given situation. This method, starting from the milieu, produces very diverse buildings; the recurrence comes from the process rather than from the formal result. In the field of technical aspects as well as that of new ways of inhabiting, research and innovation is a major part of the studio’s activity. The aim, amongst others, is to invent architectural gestures to answer social and urban contemporary issues such as densification, mixed and complex programs, organizing coexistence, improving everyday living conditions in relationship with nature and elements.
Technically, the studio brings together architects aiming for optimal mastering of the construction process. Every single detail is drawn and developed during the design phases, then controlled on-site to ensure fine quality finish so that the built structure remains true to the designed project. The objective, working with partner engineering offices, is to optimize the buildings for more energy sobriety. Their work is beginning to integrate a “low-carbon” process.
The studio’s work includes the Cité internationale de Rennes, the Brest Arena, the World Head Office of Skis Rossignol, the Bicycle Building, the 9-9 bis mine transformation in Oignies, concert halls [La Belle Électrique in Grenoble, the Metaphone®, the SMAC
in Évreux] or the Anglet Theatre. The main in-progress projects are the Espace Mayenne [an arena in Laval], offices in Nantes and Grenoble and the Trois Pays commercial and leisure centre for Unibail-Rodamco.
Alongside the architectural practice, Yves Arnod and Isabel Hérault also teach. Yves Arnod has taught for ten years at the Grenoble School of Architecture and Isabel Hérault at the École spéciale d’architecture in Paris. They regularly run international workshops and give lectures abroad.