建筑與生活的對話Agora劇場,萊利斯塔德,荷蘭

建筑與生活的對話Agora劇場,萊利斯塔德,荷蘭

客戶的lelystad。建筑師BenvanBerkelandGerardLoozekootwithJacquesvanWijk,JobMouwenenHolgerHoffmann等工程師Pietersbouwtechniek,Haarlem劇場技術(shù)顧問pb|theateradviseurs,Uden燈光顧問Arup,Amsterdam承包商JorritsmaBouw,AlmereAgora劇場是一個色彩非常豐富和令人快樂的地方。AdriaanGeuze為萊利斯塔德做了總體規(guī)劃,旨在使務(wù)實、嚴(yán)肅的城鎮(zhèn)中心恢復(fù)活力,劇場成為其中的一部分。為使戰(zhàn)后的荷蘭市鎮(zhèn)再次復(fù)興,Agora劇場需要專注于一個劇場原型的功能,建筑內(nèi)部和外部墻面都被分成小塊,以塑造出萬花筒般的舞臺世界,無論身處何處都難以辨識何處是真實的,何處是虛幻的。在Agora劇場中,戲劇和表演并不局限于舞臺和夜晚,而是延伸到白天的城市體驗中。劇場本身的形態(tài)就已經(jīng)非常令人著迷,但一向?qū)ㄖc人交流有著濃厚興趣的BenvanBerkel設(shè)計師還希望能挖掘出一些超出劇場建筑傳統(tǒng)功能的表演元素。正如他所說的:“建筑這一產(chǎn)品至少應(yīng)當(dāng)部分被理解為一種無止境的、鮮活的表演。當(dāng)建筑項目發(fā)生轉(zhuǎn)變,變得多樣甚至沒有尺度,所有這些變化都在與大量觀眾的互動中發(fā)生。在今天,我們比過去更多地感覺到建筑的特殊性不在于建筑本身,其真正的本質(zhì)應(yīng)當(dāng)在建筑師、建筑與大眾之間的相互影響中找到。在公眾的使用中,不斷顯現(xiàn)出來的效應(yīng)會在建筑中繼續(xù),而這是超出設(shè)計意圖的。對于劇場分成小塊的外輪廓,UNStudio與VanBerkel&BosArchitectuurbureau經(jīng)過了很長時間的設(shè)計推敲。在這種情況下,部分外部覆蓋的表皮是由兩個觀眾廳位置決定的,為保證其聲學(xué)效果,兩個空間相對距離較遠。這樣,一大一小兩個劇場空間、高高的舞臺空間、一些聯(lián)系空間和獨立的大廳、更衣室、多功能室、咖啡館和餐廳被置于一個在各個方向有著戲劇性的突出體量中。分塊的外表皮使得建筑具有清晰的輪廓感:舞臺機械裝置升起的部分與整個建筑融為一體,避免了因設(shè)計不當(dāng)而成為中心區(qū)視覺中的障礙;立面上尖銳的角和凸出的面被鋼板和玻璃覆蓋,不同層和不同角度呈現(xiàn)出黃色和橙色。這些凸出物作為盛大表演的場所,在表演之后仍然繼續(xù)著它的壯觀。在這里,演出者與觀者之間的角色也發(fā)生了轉(zhuǎn)換。藝術(shù)家的休息大廳就位于觀眾入口之上,使他們可以看到觀眾涌向劇場。外部的豐富色彩在內(nèi)部得到增強。樓梯欄板猶如一個蜿蜒的粉色緞帶傾瀉而下,飄向一層開敞大廳的整個空間,然后延伸到墻面,顏色在藍紫、深紅、鮮紅之間不斷變幻,最后變成白色。主劇場完全是紅色的,與一般的城鎮(zhèn)劇場不同的是,舞臺非常大,符合國際舞臺機械裝置的要求。觀眾席采用馬蹄形的樓座,充滿活力的形式與吸聲板的光影,使空間本身更具特色。Agora劇場是設(shè)計師承擔(dān)的最具挑戰(zhàn)性的項目之一,最終以非同尋常、極具創(chuàng)造性的設(shè)計呈現(xiàn)給大眾。(譯/吳春花)TheAgoraTheatreisanextremelycolourful,determinedlyupbeatplace.ThebuildingispartofthemasterplanforLelystadbyAdriaanGeuze,whichaimstorevitalizethepragmatic,sobertowncentre.Thetheatrerespondstotheongoingmissionofrevivingandrecoveringthepost-warDutchnewtownsbyfocusingonthearchetypalfunctionofatheatre:thatofcreatingaworldofartificeandenchantment.Bothinsideandoutsidewallsarefacetedtoreconstructthekaleidoscopicexperienceoftheworldofthestage,whereyoucanneverbesureofwhatisrealandwhatisnot.IntheAgoratheatredramaandperformancearenotrestrictedtothestageandtotheevening,butareextendedtotheurbanexperienceandtodaytime.Thetypologyofthetheatreisfascinatinginitself,butBenvanBerkel,whohasaspecialinterestinhowbuildingscommunicatewithpeople,aimstoexploittheperformanceelementofthetheatreandofarchitectureingeneralfarbeyonditsconventionalfunctioning.Asherecentlystated:“Theproductofarchitecturecanatleastpartlybeunderstoodasanendlessliveperformance.Asthearchitecturalprojecttransforms,becomesabstracted,concentratedandexpanded,becomesdiverseandevermorescaleless,allofthishappensininteractionwithamassive,liveaudience.Today,morethanever,wefeelthatthespecificityofarchitectureisnotitselfcontainedinanyaspectoftheobject.Thetruenatureofarchitectureisfoundintheinteractionbetweenthearchitect,theobjectandthepublic.Thegenerative,proliferating,unfoldingeffectofthearchitecturalprojectcontinuesbeyonditsdevelopmentinthedesignstudioinitssubsequentpublicuse.”(BenvanBerkelandCarolineBos,DesignModels,Thames&Hudson,2006)ThefacettedoutlinesofthetheatrehavealonghistoryintheworkofUNStudioandVanBerkel&BosArchitectuurbureaubeforethat.Inthiscase,theenvelopeisgeneratedinpartbythenecessitytoplacethetwoauditoriumsasfarapartfromeachotheraspossibleforacousticreasons.Thus,alargerandasmallertheatricalspace,astagetower,severalinterlinkedandseparatefoyers,numerousdressingrooms,multifunctionalrooms,acaféandarestaurantareallbroughttogetherwithinonevolumethatprotrudesdramaticallyinvariousdirections.Thisfacettedenvelopealsoresultsinamoreevensilhouette;theraisedtechnicalblockcontainingthestagemachinery,whichcouldotherwisehavebeenavisualobstacleinthetown,isnowsmoothlyincorporated.Allofthefacadeshavesharpanglesandjuttingplanes,whicharecoveredbysteelplatesandglass,oftenlayered,inshadesofyellowandorange.Theseprotrusionsaffordplaceswherethespectacleofdisplayiscontinuedoff-stageandtherolesofperformerandviewermaybereversed.Theartists’sfoyer,forinstance,isabovetheentrance,enablingtheartiststowatchtheaudienceapproachingthetheatrefromalarge,inclinedwindow.Inside,thecolourfulnessoftheoutsideincreasesinintensity;ahandrailexecutedasasnakingpinkribboncascadesdownthemainstaircase,windsitselfallaroundthevoidatthecentreofthelarge,openfoyerspaceonthefirstfloorandthenextendsupthewalltowardstheroof,opticallychangingcolourallthewhilefromviolet,crimsonandcherrytoalmostwhite.Themaintheatreisallinred.Unusuallyforatownofthissize,thestageisverybig,enablingthestagingoflarge,internationalproductions.Theintimatedimensionsoftheauditoriumitselfareemphasizedbythehorse-shoeshapedbalconyandbythevibrantformsandshadesoftheacousticpaneling.ThetheatreisthemostrecentculminationoftheinterestBenvanBerkelhasoftenexpressedinexploringattractiveness,asthisquotationfromarecentpublicationshows:“Theaimofourarchitectureistointensifythegaze,toinspirethoughtsandimagesandthusmakeitattractiveforpeopletostaylongerandreturntotheplaceswemakeforthem.Keepingitlightandalmostscientificisourpolicy;theploysinventedtointensifythegazearedirectlyrelatedtothetraditionalingredientsofarchitecture:construction,light,circulati