樂之韻音樂廳，城市劇院，阿納姆，荷蘭

建筑設(shè)計(jì)：范·東恩–科舒奇建筑與規(guī)劃事務(wù)所

1 外景/Exterior view

2 總平面/Site plan

正如一個(gè)家庭中的問題兒童那般，即使新的問題不斷出現(xiàn)，但它仍比沒有惹麻煩且行為規(guī)范的好孩子能夠獲取到更多的愛和關(guān)注。自1847年建造以來，樂之韻音樂廳（“獻(xiàn)給音樂”）就需要經(jīng)常變換和翻新。然而，它洋蔥狀的圓形屋頂卻成為了阿納姆居民們的軟肋，這也是它從未被拆除的原因。經(jīng)過最新的修復(fù)工程，包括由范·東恩-科舒奇建筑與規(guī)劃事務(wù)所新近設(shè)計(jì)的“公園房”，如今這棟建筑確實(shí)值得愛戴。

通過全面興建設(shè)施并連接地下遺跡，公園房猶如一座獨(dú)立的指揮臺(tái)，佇立在博物館公園的對面。為了達(dá)到最佳的聲學(xué)效果，大廳里有近1000張座椅。乍看上去，這里就像一個(gè)帶頂層陽臺(tái)的木制盒子。墻上的木條可幫助擴(kuò)散聲音。在沒有交響樂演出時(shí)，座位可以拆分并移動(dòng)；在必要時(shí)，地板可以升高。古跡內(nèi)的歷史音樂廳設(shè)置有870張座椅。

新建的房間越過指揮臺(tái)看向窗外，可眺望公園。厚實(shí)的玻璃窗后墻可以完全移到一邊。如果管弦樂隊(duì)轉(zhuǎn)過身來，舞臺(tái)和房間瞬間可變?yōu)椴季埃珗@可充當(dāng)露天劇場。□ （呂德·布勞韋斯 文，王單單 譯）

3 外景/Exterior view

It is comparable to a family's problem child.New issues keep coming up in the building, but it still receives the most love, more than the good child that causes no troubles and shows exemplary behavior. Since it ws built year in 1847, the concert building Musis Sacrum ("dedicated to the music")required constant changes and renovations.However, the citizens of Arnhem kept a weak spot for the property with its onion-shaped domes,which explains why it was never demolished. After its latest restoration, including the new Park Room designed by Van Dongen-Koschuch Architects and Planners, the building now really warrants this affection.

By completely creating facilities and the connection to the monument underground, the Park Room stands like a separate podium on the opposite side of the Museum Park. For optimal acoustics, there are almost 1000 chairs in the hall.At a first glance, it seems like a wooden box with balconies on the top rim. Wooden strips on the walls diffuse the sound. The seats can be detached and removed on the occasion of non-philharmonic concerts. The floor can also be elevated if necessary.The historical concert hall in the monument houses 870 chairs.

The new room looks out across the podium,over the park. The rear wall of thick glass windows can be entirely moved to the side. If the orchestra turns around, the stage and room suddenly becomes the set and the park an open-air theatre. □ (Text by Ruud Brouwers, Translated from Dutch by Li-Anne Krol, Proofread by Rens van Hedel)

4 首層平面/Ground floor plan

5 剖面/Section

6 外景/Exterior view

項(xiàng)目信息/Credits and Data

客戶/Client: 杰梅因·阿恩霍姆/阿恩霍姆音樂廳及城市劇院/Gemeente Arnhem, Musis & Stadstheater Arnhem

建造面積/Built Area: 新建：5950m2，現(xiàn)存：3870m2，擴(kuò)建：3700m2/New: 5950m2, Existing: 3870m2, Extension: 3700m2首席建筑師/Lead Architects: Frits van Dongen, Patrick Koschuch

設(shè)計(jì)團(tuán)隊(duì)/Design Team: Ralph Van Mameren, Elisabetta Bono, Rui Duarte, Hesh Fekry, Maikel Super, Casper De Heer, Daan Vulkers, Klaas Sluijs, Olga Moreno

承包商/Contractor: Mertens Bouwbedrijf Bv, Weert &Homij, Groningen

劇院顧問/Theatre Advisor: Theateradvies Bv, Amsterdam

建筑物理及聲學(xué)/Building Physics & Acoustics: Peutz Bv,Zoetermeer

設(shè)施顧問/Installations Advisor: Nelissen Ingenieursbureau Bv, Eindhoven

結(jié)構(gòu)工程/Structural Engineer: Aronsohn /Vandelaar

預(yù)算/Budget: 13,600,000€

繪圖/Drawings: Van Dongen-Koschuch Architects and Planners

攝影/Photos: Bart van Hoek

7 夜景/Exterior view at night

8 內(nèi)景/Interior view

9 音樂廳/The music hall

評論

李文麗：樂之韻音樂廳的新建部分，既是對原有音樂廳空間形態(tài)的延續(xù)，包括空間比例與尺度、觀眾廳采用的挑臺(tái)回廊，以及為聲音增加回響的內(nèi)部凹槽裝飾。而最重要的變化在于面向公園的可開啟的透明玻璃窗的設(shè)置，改變了舞臺(tái)和觀演席的室內(nèi)封閉感，形成以舞臺(tái)為中心，室內(nèi)外兩種空間領(lǐng)域。一方面，將公園作為室內(nèi)表演的舞臺(tái)背景，另一方面，室內(nèi)成為從公園觀看的對象。而可升起的舞臺(tái)、音效及燈光技術(shù)，使音樂廳滿足了當(dāng)代流行與古典音樂，乃至舞臺(tái)劇的表演要求。如上，一個(gè)小型音樂廳，以其簡潔的技術(shù)手段，完成了空間類型的突破，改變了大眾對音樂廳的刻板印象。似乎可以推測，這一轉(zhuǎn)變來自于戶外音樂活動(dòng)的流行，及對參與感的重視。

10 內(nèi)景/Interior view

史洋：樂之韻音樂廳是在1847年老建筑的旁邊加建了新劇場，非常具有特點(diǎn)。新加建的部分做得特別的輕盈，尤其一層的空間采用了通透的玻璃幕墻，令整個(gè)建筑有一種漂浮起來的視覺效果，與厚重的古典建筑形成強(qiáng)烈的對比，與此同時(shí)，即使新建筑處理手法非常的簡潔與原始，體量上卻出落穩(wěn)重，與老建筑形成了呼應(yīng)與協(xié)調(diào)的關(guān)系。

一層公共區(qū)域透明的玻璃幕墻將整個(gè)建筑外的花園景觀更好地引入到室內(nèi)的公共空間。當(dāng)觀眾在室內(nèi)觀看演出或聽音樂的時(shí)候，看到的不只是舞臺(tái)上的活動(dòng)場景，還能夠透過玻璃觀察到室外景觀從白天到黑夜的不斷變化。玻璃幕墻因此成為一個(gè)自然的布景，配合舞臺(tái)不斷的聯(lián)動(dòng)。路人在花園的開放空間里能同時(shí)看到正在室內(nèi)舞臺(tái)上演出的場景。整個(gè)舞臺(tái)由此變成了一個(gè)既對內(nèi)又對外的雙向表演介質(zhì)。

11 座無虛席/Full of people

12 內(nèi)景/Interior views

13 內(nèi)景/Interior views

Comments

LI Wenli:The new hall of the Musis Sacrum is a developed model of the original one，which is based on the special scale and proportion, the raised cloister of the auditorium, and the concave-convex for reverberation and decoration. The most important change is actually about the opened window system behind the stage, which could be turned to an open space facing the park. Furthermore, the technics of the sound and lighting, the raised stage floor, would really make the stage to become the centre of two auditoriums, one inside and the other outside. And it is highly qualified as a small scale concert hall, which has changed the imagination of the closed music space,evoked by the ideas of the pop outdoor music.

SHI Yang:Musis Sacrum is a new theater as well as the extension of the old buildings from 1847, and it is very characteristic. The newly added parts are particularly lightweight, especially the space of the first floor with transparent glass curtain walls, giving the whole building a visual effect of floating that contrasts strongly with the thick classical architecture.Meanwhile, although the treatment of the new building is very simple and primitive, the volume is stable, forming the relationship of echoes and coordinations with the old building.

The transparent glass curtain walls of the public area on the first floor invite the garden landscape outside the building into the indoor public space. When the audience watches performances or listens to music indoors, they see more than the scene of activities on the stage, but also observe the continuous changes of the outdoor landscape from day to night through the glass. The glass curtain walls become a natural setting,which continuously coordinate with the movements on the stage. Passers-by in the open space of the garden can also see scenes that are being performed on the indoor stage. The whole stage becomes a twoway performance medium for both inside and outside.(Translated by CHEN Yuxiao)