漢堡易北愛樂音樂廳

漢堡易北愛樂音樂廳的所在地漢堡港口倉(cāng)庫(kù)A雖然眾所皆知，但之前卻鮮有人關(guān)注。如今，因?yàn)樾碌囊魳窂d落地，它儼然成為了德國(guó)城市漢堡人們社會(huì)、文化、日常生活以及游客們的另一個(gè)熱門聚集地。

其實(shí)，傳統(tǒng)理念里的文化中心常常只是為貴賓們服務(wù)的場(chǎng)所，為了讓新的交響樂團(tuán)音樂廳成為了一個(gè)名副其實(shí)的民眾聚集地，設(shè)計(jì)引人注目的建筑以及提供方便使用的公共空間變得尤為重要。這個(gè)建筑綜合體包含了一個(gè)交響樂音樂廳，一個(gè)室內(nèi)音樂廳，一個(gè)可以觀賞漢堡城市全景的觀景平臺(tái)，以及各種餐廳、酒吧、公寓、酒店和停車設(shè)施。當(dāng)人們?cè)谄渲畜w驗(yàn)時(shí)，就會(huì)發(fā)現(xiàn)這些多功能的集合如同一個(gè)囊括了無(wú)數(shù)功能的城市。港口倉(cāng)庫(kù)A和音樂廳在功能上雖格格不入但是建筑師卻做到了有機(jī)結(jié)合，充分展現(xiàn)了建筑內(nèi)部空間的豐富性；一方面，古香古色的港口倉(cāng)庫(kù)基座保持了整個(gè)建筑和港口的關(guān)聯(lián)；另一方面，優(yōu)雅剔透的音樂廳建筑又表現(xiàn)了另一個(gè)奢華夢(mèng)幻的世界。兩者之間，充斥著振奮人心的公共和私密空間，變換著空間個(gè)性和尺度：巨大的港口倉(cāng)庫(kù)露臺(tái)，就像一個(gè)公眾廣場(chǎng)，延伸向遠(yuǎn)處，默默相望著頂端內(nèi)向的交響樂音樂廳。

綜合體的核心就是易北愛樂廳， 這個(gè)空間積極地把音樂創(chuàng)作者和傾聽者融合在一起，以至于他們的存在就可以代表建筑本身。其實(shí)，易北愛樂廳的建筑形態(tài)經(jīng)歷了非常激進(jìn)的建筑變革，宛如一個(gè)足球場(chǎng)。前所未有地強(qiáng)調(diào)著藝術(shù)家們和觀眾之間的親密關(guān)系。

新的交響樂音樂廳不僅僅是為音樂設(shè)計(jì)的，它也是一個(gè)設(shè)備齊全的住宅和文化綜合體。在奢華的公寓以及五星酒店之間坐擁著2100個(gè)座位的音樂廳、550個(gè)座位的室內(nèi)音樂廳、餐廳、健身房、醫(yī)療養(yǎng)生中心、會(huì)議室等等，設(shè)施齊全。過去緘默于世，鮮有活動(dòng)的戰(zhàn)后歷史遺跡如今一躍成為一個(gè)充滿生機(jī)的國(guó)際化文化中心，不僅為音樂愛好者們，也為游客和商務(wù)世界開辟了新天地。易北愛樂廳已經(jīng)成為了漢堡的一個(gè)地標(biāo)建筑，也成為了音樂廳的典范。它將為日益發(fā)達(dá)的哈芬港口帶去空前的活力，讓該地區(qū)不再僅僅是一個(gè)漢薩同盟的小地方，而是一個(gè)個(gè)性分明的城市組成部分。

The Elbphilharmonie on the Kaispeicher marks a location that most people in Hamburg know about but have never really noticed. It is now set to become a new centre of social， cultural and daily life for the people of Hamburg and for visitors from all over the world.

Too often a new cultural centre appears to cater to the privileged few. In order to make the new Philharmonic a genuinely public attraction， it is imperative to provide not only attractive architecture but also an attractive mix of urban uses. The building complex accommodates a philharmonic hall， a chamber music hall， restaurants， bars， a panorama terrace with views of Hamburg and the harbour， apartments， a hotel and parking facilities. These varied uses are combined in one building as they are in a city. And like a city， the two contradictory and superimposed architectures of the Kaispeicher and the Philharmonic ensure exciting， varied spatial sequences： on the one hand， the original and archaic feel of the Kaispeicher marked by its relationship to the harbour; on the other， the sumptuous， elegant world of the Philharmonic. In between， there is an expansive topography of public and private spaces， all differing in character and scale： the large terrace of the Kaispeicher， extending like a new public plaza， responds to the inwardly oriented world of the Philharmonic built above it.

The heart of the complex is the Elbphilharmonie itself. A space has emerged that foregrounds music listeners and music makers to such an extent that， together， they actually represent the architecture. The philharmonic building typology has undergone architectural reformulation that is exceptionally radical in its unprecedented emphasis on the proximity between artist and audience – almost like a football stadium.

The new philharmonic is not just a site for music; it is a full-fledged residential and cultural complex. The concert hall， seating 2100， and the chamber music hall for 550 listeners are embedded in between luxury flats and a five-star hotel with built-in services such as restaurants， a health and fitness centre， conference facilities. Long a mute monument of the post-war era that occasionally hosted fringe events， the Kaispeicher A has now been transformed into a vibrant， international centre for music lovers， a magnet for both tourists and the business world. The Elbphilharmonie will become a landmark of the city of Hamburg and a beacon for all of Germany. It will vitalize the neighbourhood of the burgeoning HafenCity， ensuring that it is not merely a satellite of the venerable Hanseatic city but a new urban district in its own right.