松本市民艺术馆

  • 来源:建筑创作
  • 关键字:松本,艺术馆
  • 发布时间:2014-04-11 15:57

  松本表演艺术中心建在长野县松本市,主要有两个不同大小的厅堂。位于离车站800米左右的城市中心,这里曾经建有市民会馆。该计划有10个团队参与竞赛。1800个座位的大厅堂除了举行戏剧表演等各种各样的活动以外,每年夏天还要举办斋藤纪念音乐节,所以需要满足歌剧表演的要求。240个座位的小厅则是以满足市民的日常使用需求为主,所以规模较小,且更人性化。除了厅堂以外,还要求有排练室和工作室等多种功能项目。在南北方向呈长葡萄酒瓶状的特殊形状的场地上,如何将这些功能项目进行布置,乃是最大的课题。场地周边地下水位较高,使用井水的家庭也较多,所以必须尽量避免使用地下空间。根据场地的宽度和道路斜线等条件,大厅只能布置在场地的南侧。按照普通的布置方法,舞台应该布置在场地的最里面,那样就会让建筑物的背面,朝向南侧的一片住宅区。而且,为了方便物品从舞台搬进搬出,需要对南侧的道路进行扩张,因此不得不砍伐现有的所有树木。对各种各样的方案进行分析后,我们找到了将厅堂进行反转,让舞台位于中央的方案。那样的话,场地南侧就是观众席及环绕其间的休息区,因此对周边而言,就不存在正面和背面的问题。而且,把搬物品的出入口放在中央,就可以保留南侧现有的所有树木。场地北侧布置通往休息区平缓的台阶入口和小厅,大厅和小厅之间营造出宽敞舒适的大堂空间。大堂和休息区的顶上是屋顶花园,各个排练室面向屋顶花园分布。通过将厅堂的布局反转,营造出没有正面和背面之分的流动空间,整个建筑物宛如一座公园。我们提交给竞赛主办方的方案,被评委们以满票评为一等方案,那些为场地和功能项目的关系而苦恼的相关人士,也对该方案赞不绝口。

  The Matsumoto Performing Arts Centre is comprised of one small and one large performance hall and is located in Matsumoto City,Nagano Prefecture, on the site of the former theatre in the city center. The plan was drawn up for a competition among ten designteams. The larger hall, which seats 1800, was required to accommodate opera performances for the annual summer Saito KinenFestival, as well as a variety of theatrical performances and other events. Smaller local events and citizens’ meetings are housed inthe more intimate space of the 240 seat hall. In addition, the facility includes rehearsal rooms and studios that serve as venues fora wide variety of activities. The biggest challenge was in finding a way to fit the entire program into an unusually shaped site thatstretches from north to south like a wine bottle. The area surrounding the site has a high groundwater level and there are many homesusing this well water, we had to avoid using that well water. The site width and other conditions, including the diagonal placementof the road, necessitated that the larger hall run along the southern side of the site. Although intuitively this would have placed thestage at the back edge of the site, such a configuration would turn the back of the building toward the residential area to the south.What is worse, in order to secure enough space for the loading zone for the stage, it would be necessary to widen the southern roadand remove all existing trees. After studying a variety of patterns we came up with the idea of turning the hall around and placing the stage in the center. This configuration places the seating area and surrounding foyer on the south side of the site, alleviating the problem of front and back with respect to the neighboring residential area. Moreover, since the loading area has moved to center, itallowed preserving all the existing trees. An entranceway with a gentle sloping staircase into the foyer and the smaller hall were thenplaced along the site’s northern edge and a lobby space for relaxing was inserted between the large and small halls. The roof abovelobby and foyer serves as a rooftop garden, and each rehearsal room is arranged facing the rooftop garden. By reversing the directionof the large hall we were able to create a fluid design without a front or a back, transforming the architecture into a park-like space.Our design was unanimously selected as 1st prize by the competition jury and also highly honored by the client who was seriouslyconcerning about the relation between site and program.

  经过设计阶段,计划的若干部分发生了变更,但是大的部分还是沿袭了竞赛时的结构。与竞赛时相比,变化比较大的部分是,包在建筑物外面的外墙。竞赛时,建筑物被乳白色的双层玻璃覆盖。但是,随着设计的进展,由于场地四周的整个周边环境并不是非常良好,作为通往剧场这一非日常空间的通道,需要营造出有高昂感的次序,所以要求装饰性更强,需要更具特征性的外墙。我们追求的是,“以同样的系统和素材,营造出适应各种次序的光线状态”,“并非通过几何学,而是通过无规则的、自然印象的演绎”。最终选择的是镶嵌玻璃纤维增强混凝土面板,从无规则布置的玻璃发出的柔和的光线,被引导至内部。根据玻璃的数量和外墙的朝向方位,呈现各种各样变化的光线,流动于连续的空间中,营造出各种各样的场所,将人们引入剧场。

  Although some changes were added to the original scheme during the designing progress, it still reflects our original proposal at the time of competition. The major change we did was to the exterior wall that wraps up the building. Initially, for the competition, we proposed a milkywhite double glass glazing for the building. After beginning the actual design process however, we realized that the surroundings were notuniformly attractive and that the interior spatial sequence leading up to the theatre deserved a more remarkable and inspiring fa.ade. Wewanted something that “used the same system and materials to create a lighting situation responsive to a variety of sequences,” and whichwould give “not a geometric impression, but a random and natural one.” The glass-inlaid GRC panels that we finally chose introduce softlight into the interior through randomly placed glass. The lighting shifts according to the amount of glass and the orientation of the outerwalls to create a variety of places within a fluid and continuous space, beckoning visitors on towards the theatre.

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