什切青愛樂音樂廳，什切青，波蘭

建筑設(shè)計：巴羅齊/韋加建筑事務(wù)所Architects: Barozzi/Veiga

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什切青愛樂音樂廳，什切青，波蘭

建筑設(shè)計：巴羅齊/韋加建筑事務(wù)所
Architects: Barozzi/Veiga

Szczecin Philharmonic Hall, Szczecin, Poland, 2014

愛樂音樂廳的建筑是一個復(fù)雜的綜合體，位于過去的音樂廳建筑所在的基地上，內(nèi)部容納一個演奏廳和一個室內(nèi)樂廳。項目具有很高的綜合性，和周邊的環(huán)境具備相近的特性。建筑的體量、豎直的線條和屋頂?shù)男螤疃际亲屢魳窂d能與城市街區(qū)融為一體的重要內(nèi)容。

建筑四周的沿街面和屋頂?shù)男螤罱梃b了中歐地區(qū)表現(xiàn)主義建筑的一些形式，具有卓越的表現(xiàn)力。

從外部看，玻璃幕墻使建筑的體量顯得非常輕——外表在形式上根據(jù)內(nèi)部功能時而透明、時而不透明。而在建筑內(nèi)部，沿建筑外圍設(shè)置的密集的服務(wù)區(qū)和交流空間創(chuàng)造出建筑與其外部的緊密聯(lián)系感，同時也留出一大塊空白空間供核心部分的交響樂廳和室內(nèi)樂廳使用。

與建筑物簡樸的外觀形成鮮明對比的，是內(nèi)部的主音樂廳如同打造金飾般精心雕琢的華麗外表，這也符合中歐地區(qū)音樂廳的傳統(tǒng)形式。音樂廳內(nèi)兼具觀賞性和功能性的裝飾都采用金葉子覆蓋的形式，并且都由當(dāng)?shù)氐墓そ硜硎止ご蛟?。出于聲學(xué)上的考慮，這些裝飾元素到舞臺的距離均按照斐波那契數(shù)列分段設(shè)置。

與過去的類似項目相比，什切青音樂廳的設(shè)計如同其平面展現(xiàn)的特質(zhì)一樣，體現(xiàn)了高度的自主性。設(shè)計希望讓建筑既是它所在的環(huán)境中的一個部分，同時又能具有獨立于環(huán)境的不一樣的性格。因此，設(shè)計不希望發(fā)明新的東西，而是試圖從根本上再次發(fā)現(xiàn)已經(jīng)存在的事物，挖掘它們新的特質(zhì)?！酰ㄋ抉R蕾 譯）

1 鳥瞰/Aerial view

2 愛樂音樂廳立面/Fa?ade, Philharmonic, Hall

3 總平面/Site plan

項目信息/Credits and Data

主持建筑師/Authors: Fabrizio Barozzi, Alberto Veiga

項目負(fù)責(zé)人/Project Leaders: Pieter Janssens, Agnieszka Samsel

項目團隊/Project Team: Marta Grz?dziel, Isaac Mayor, Petra Jossen, Cristina Lucena, Cristina Porta, Ruben Sousa

當(dāng)?shù)亟ㄖ?Local Architects: STUDIO A4 Sp. z o.o., Jacek Lenart

結(jié)構(gòu)工程/Structural Engineers: BOMA S.L., FORT POLSKA Sp. z o.o.

設(shè)備工程/Installations: GLA Engineering Sp. z o.o., ELSECO Sp. z o.o., ANOCHE Iluminacion Arquitectonica

聲學(xué)設(shè)計/Acoustics: ARAU ACUSTICA

幕墻設(shè)計/Facade: Ferres Arquitectos Y Consultores

總承建方/General Contractor: WARBUD S.A.

音樂廳容量/Concert Halls Audience: 交響樂廳/Symphony Hall: 951; 室內(nèi)樂廳/Chamber Hall: 192

基底面積/Site Area: 3800m2

使用建筑面積/Usable Floor Area: 13,000m2

體積/Volume: 98,200m3

設(shè)計競賽時間/Competition: 2007

預(yù)算/Budget: 118,918,000 Zloty （approx. €30,000,000）

開工時間/Start of Construction: 2009

竣工時間/Completion: 2014

攝影/Photos: Simon Menges

4 愛樂音樂廳轉(zhuǎn)角/Main corner, Philharmonic Hall

The Philharmonic Hall that houses a concert hall and a chamber music hall is a very complex building with the same space as the former music building. This is a synthetic project that shares identifiable traits with its surrounding context. Mass, verticality and the shape of the roo fl ines are dominant, connecting the hall with the rest of the city.

The expressive preeminence of the building, concentrated along its perimeter and the pattern that shapes its roof, results from the influence of some of Central Europe's expressionist architecture.

From the outside, the building is perceived as a weightless volume in which the glass facadesometimes translucid, sometimes opaquetransmits expressive qualities depending on the building's use. On the inside, the concentration of the service areas and communication elements along the perimeter creates a sensitive relationship of the building with the exterior while at the same time it delimits a large open space, set aside for the symphonic and chamber music halls to play their main roles.

The apparent austerity of the ensemble stands in sharp contrast with the expressiveness of the main hall, which is conceived as a piece of goldsmith work, in line with the classic approach of Central European concert hall design. The décor-both ornamental and functional, a gold-leaf covered element, has been carried out thanks to the existing local craftsmanship. For acoustic reasons, this element's degree of fragmentation follows a Fibonacci sequence in relation to its distance from the stage.

In contrast to previous projects, Szczecin is designed with the aim of achieving the maximal degree of formal autonomy, like the plan shows. The idea was to materialize a building that is both a speci fi c part of its context and independent from it at the same time. Accordingly, the point was not to invent something, but fundamentally to discover what already exists and reveal a new reality.□

5 首層平面/Floor 0 plan

6 二層平面/Floor 1 plan

7 三層平面/Floor 2 plan

8 四層平面/Floor 3 plan

9 交響音樂廳剖面/Section, symphony hall

10 交響樂及室內(nèi)音樂廳剖面/Section, symphony and chamber halls

11 愛樂音樂廳夜景/Night exterior view, Philharmonic Hall

評論

盧向東：正如設(shè)計者所申明的那樣：設(shè)計不希望發(fā)明新的東西，而是挖掘已存在事物的新特質(zhì)。在這個想法下，設(shè)計在“聽覺”和“視覺”兩個層面展開，其中“聽覺”主要關(guān)乎音樂廳的廳堂設(shè)計，而“視覺”主要關(guān)乎建筑的形式設(shè)計。

如果想要發(fā)明新的音樂廳建筑的廳堂設(shè)計，了解音樂廳建筑歷史的人會明白那是一件極其困難的事情。至今比較成功的音樂廳廳堂模式是鞋盒音樂廳，而其他諸多音樂廳模式的探索卻很難達成共識——這很大程度上是由于廳堂的聲學(xué)設(shè)計所決定的。因此，在這個建筑中，設(shè)計師很坦率地接受了音樂廳建筑的歷史成果，即鞋盒音樂廳，并且精心打造了室內(nèi)聲學(xué)設(shè)施——手工制作的金葉子擴散體。

建筑的形式，尤其是屋頂形式顯然與周邊的建筑相似，考慮了與城市環(huán)境的對話，且富有表現(xiàn)力。

總之，這是一個“視覺”和“聽覺”兼顧、推陳出新的設(shè)計。

Comments

LU Xiangdong: Just as the designer has stated: the project was not meant to make new inventions, but to explore new characteristics of things already in existence. The overall design unfolds on two levels: the acoustic, which is mainly about the auditorium design, and the visual, which largely concerns the design of forms.

Those who know the architectural history of music halls will see that it would be extremely difficult to invent new forms of auditorium. So far a successful type of music hall has been the "shoebox" model; by comparison, experiments with other models have hardly reached any consensus, as the auditorium design is largely dependent on its acoustics. Thus in this project the architect frankly accepted the historical result of music hall architecture, namely the "shoebox" model, and carefully forged the interior acoustic facilities: handcrafted gold-leaf di ff users.

The architectural form has taken into account of the building's dialogue to its urban setting, as revealed in the expressive roof form that bears obvious resemblance to nearby buildings.

Overall, this is a novel design rooted in old model, integrating the visual with the acoustic.

鮑威：萊昂內(nèi)爾·費寧格的繪畫，將歐洲城市最典型的大教堂抽象成了簡單的幾何體，作品即為形式與色彩的構(gòu)成。本案與這種表達想法如出一轍，但這里的建筑更加抽象，干脆將色彩也去掉，變成純凈的白色。而唯一讓人們可以找到尺度感的就是建筑表皮：垂直向的格柵更加強調(diào)豎向的感覺。表皮與建筑室內(nèi)功能完全脫開，成為極具表現(xiàn)力的元素。這與什切青這樣的歐洲城市極為融合，無論是在建筑符號上還是城市尺度上，這種做法無疑給了如何巧妙地用現(xiàn)代語言表達傳統(tǒng)意向這一問題以有趣的解答。至于建筑的功能為音樂廳已不重要，或者說，也正是音樂廳這一完全封閉的建筑功能，使其在外形上有如此任性的表現(xiàn)。

BAO Wei: It seems that the architectural expression of this project is paying homage to the paintings of Lyonel Feininger: European cathedrals are abstracted into the composition of simple geometrical shapes such as triangles and quadrangles, although here such e ff ort is pushed even further: it strips away the colors and substitutes them with pure white. To add to this expression, the skin of the building is totally detached from the interior by means of a whole vertical array of louvers, which not only accentuates the verticality of a cathedral image, but also reminds people of the scale of the building. This project fi ts very well into the urban context of the city of Szczecin in terms of both architectural image and urban scale - a rather interesting answer to the familiar question of how to articulate a traditional image with modern vocabulary. The fact that the building functions as a philharmonic hall becomes less important, or rather, it is precisely the enclosed function of the music hall that renders possible a carefree architectural expression on the outside.

12 交響音樂廳主看臺視角/View from the main balcony, symphony hall

13 室內(nèi)音樂廳剖面/Section, chamber hall

14 主樓梯剖面/Section, main staircase

15 愛樂音樂廳轉(zhuǎn)角/Main corner, Philharmonic Hall