溫斯皮爾歌劇院，達拉斯，美國

建筑設計：福斯特及合伙人事務所

ARCHITECTS: Foster + Partners

1 從景觀廣場看歌劇院外景，歌劇院周邊設計了適當比例的室外空間供公眾使用/The opera house, viewed from the landscaped plaza. A good proportion of the outside spaces surrounding the Opera House are designed for public use.

達拉斯歌劇院公司以音樂劇劇場的卓越品質和創新而聞名，這種追求也體現在達拉斯藝術區的新總部上。該設計代表了一種對于傳統劇院體驗的激進的再思考，目的是為了回答 “什么是21世紀的歌劇院的本質？”設計的目標是要創造一個不僅可以成為達拉斯文化生活中心的大樓，而且可以變成一個不僅靠劇院吸引公眾的場所，設有咖啡廳、飯店和書店，人們在白天也可以進入。

歌劇院設計延續了達拉斯藝術區的總體規劃的布局，總體規劃包括其他3位普利茨克獎獲得者——雷姆·庫哈斯，貝聿銘和倫佐·皮亞諾設計的大樓，并提供了一個集會的場所，可供視覺和表演藝術以及戶外音樂節、青年教育活動和更多其他的活動使用。這些新建筑聚集在弗洛拉大街的“綠脊”兩側。溫斯皮爾歌劇院面向安妮特·施特勞斯藝術家廣場上的戶外表演空間，同時為整個區域提供了一個自然的焦點。

從組織上來說，溫斯皮爾歌劇院顛覆了傳統上封閉的、分等級的劇院結構，而創造了一系列圍繞紅色鼓形劇院的歡迎空間。禮堂遵從了一個對于劇院來說完美的馬蹄形布局，同時可以容納2 200人就座。它的音響效果通過特殊的工程設計滿足了歌劇院和音樂劇院的需要，但是舞臺也足夠靈活，能夠適用于芭蕾舞和其他舞蹈的表演。建筑立面是透明的，它的玻璃幕墻展現了大廳、上層休息廳和寬敞的樓梯間的景觀。觀眾經過延伸出來的天篷進入劇院，天篷為接待空間抵擋了德克薩斯的熾熱陽光，從廣場通過門廳到觀眾廳的轉變是為了有效提升觀看演出的戲劇性感受，“把劇院帶到觀眾面前”。□（彭星蕓 譯）

設計團隊/Design Team: Norman Foster, Spencer de Grey, Stefan Behling, Michael Jones, James McGrath,Bjorn Polzin, Laszlo Pallagi, Morgan Fleming, Leonhard Weil, John Small, Ingrid Solken, Hugh Whitehead,Francis Aish, Jason Flanagan, Simon Bowden, Paul Richards, Simone Gauss, Carsten Saelzer, Sebastian Busse, Scott Beaver, Anna Bergbom, Stephen Allison,Ramses Frederickx, Marcos de Andres

合作建筑師/Collaborating Architects: Kendall Heaton Associates

主承建商/Main Contractor: Linbeck Construction

結構/Structural: Buro Happold/Thornton-Tomasetti Engineers

造價/Cost: Donnell Consultants Incorporated (DCI)

機電工程/ME: Battle McCarthy/CHP & Associates

景觀/Landscape: Michael Desvigne/Kevin Sloan,Dallas /JJR, Chicago

照明/Lighting: Claude R. Engle Lighting Consultant

攝影（除標注外）/Photos(except as noted): Nigel Young/Foster Partners

2 總平面/Site plans

3 總平面/Site plans

4 新表演藝術區外景，歌劇院在右側/View of the new performing arts district, with the opera house on the right.

The Dallas Opera Company is renowned for its dedication to excellence and innovation in lyric theatre and that commitment was reflected in the brief for its new home in Dallas' Arts District.Representing a radical rethink of the traditional operatic experience, the design aimed to address the question: "What is the nature of the opera house in the twenty-first century?" The ambition was to create a building that would not only play a central role in the cultural life of Dallas, but could become a destination in its own right for a non-opera-going public, with a café, restaurant and bookshop that would be accessible throughout the day.

The design of the opera house follows the practice's formulation of a masterplan for the entire Dallas Arts District, which contains buildings by three other Pritzker Prize winners－Rem Koolhaas, IM Pei and Renzo Piano－and provides a venue for everything from the visual and performing arts to outdoor festivals and concerts, youth education programmes and much more. The new buildings are grouped along the "green spine" of Flora Street. The Winspear Opera House itself looks out on to the Annette Strauss Artist Square outdoor performance space and provides a natural focal point for the entire district.

Organisationally, the Winspear inverts the traditionally closed, hierarchical structure of the opera house to create a series of welcoming spaces that wrap around the rich red drum of the auditorium. The auditorium follows a horseshoe configuration, which is perfect for opera, and can seat up to 2,200 people. Its acoustics have been engineered specifically to suit opera and musical theatre, although the stage is flexible enough to accommodate performances of ballet and other forms of dance. In elevation the building is transparent, its glass walls revealing views of the concourse, the upper-level foyers and grand staircase. Entered beneath a spreading canopy that shades the reception spaces from the harsh Texan sun, the transition from the plaza, through the foyer to the auditorium is designed to heighten the drama of attending a performance－in effect, "to take the theatre to the audience". □

5 透過玻璃入口可以清晰地看到紅色鼓形的觀眾廳/The red auditorium drum is clearly visible through the glazed entrance.

6 一層平面/Tier one

7 二層平面/Tier two

8 三層平面/Tier three

9 屋頂層平面/Composite roof plan.

10 從舞臺看觀眾廳內景/View from the stage in the auditorium（攝影/Photo: Iwan Baan）

11 從主入口巨大的天篷下看鼓形觀眾廳和交通空間/The auditorium drum and circulation spaces seen from beneath the large canopy over the main entranceway.

12 玻璃立面與鼓形觀眾廳之間的交通空間/Circulation spaces between the glazed facades and auditorium drum.

13 玻璃立面與鼓形觀眾廳之間的交通空間/Circulation spaces between the glazed facades and auditorium drum.

14 玻璃立面與鼓形觀眾廳之間的交通空間/Circulation spaces between the glazed facades and auditorium drum.

15 觀眾廳剖面，面向舞臺/Section through the auditorium, facing the stage.

16 觀眾廳座席剖面/Section through the auditorium showing the tiered seating.

17 屋頂天篷下的水池/The donor pool beneath the roof canopy.

18 從玻璃大廳伸出向天篷下的開放空間出挑的平臺/A terrace projects from the glazed foyer into the open space beneath the canopy.

19 鄰接溫斯皮爾劇院的安妮特·施特勞斯藝術家廣場，提供了一個流行樂與舞蹈戶外表演的公園，廣場被樹木和淺水池環繞，其中一部分適當地被百葉天篷覆蓋/Adjacent to the Winspear, the Annette Straus Artists Square provides an external performance park for popular music and dance. The space is surrounded by trees and shallow water features, a good proportion of which is partially covered by the louvred canopy.