深圳歌剧院 | REX

The modern consolidation of a metropolis’ major performing arts venues—opera house; concert hall; theaters for operetta, dance, drama, film, etc.—into a single center has two archetypes New York City’s Lincoln Center and the Sydney Opera House. While both broke ground in 1959, each creates its powerful iconography by radically different means.

大都市主要表演艺术场所——歌剧院的现代整合；音乐厅;轻歌剧、舞蹈、戏剧、电影等剧院——合并为一个中心有纽约市的林肯中心和悉尼歌剧院两个原型。虽然两者都在 1959 年破土动工，但每一个都以截然不同的方式创造了强大的形像。

Lincoln Center’s strong identity is forged by the strategic placement of its venues’ simple rectilinear forms in relation to each other, carving three grand public spaces out of Manhattan’s dense urban fabric. Its iconography is further enhanced by the harmony of its elegant Modernist architecture and the unique motifs within that harmony. By contrast, the Sydney Opera House’s identity is created simplistically by the addition of a gregarious roof form of ten massive ‘sails’ that crown the venues like a ‘Blanket of Iconography.’

林肯中心的强大身份是通过其场地简单的直线形式相互之间的战略布局而形成的，在曼哈顿密集的城市肌理中雕刻出三个宏伟的公共空间。其优雅的现代主义建筑和和谐中的独特图案的和谐进一步增强了它的形象。相比之下，悉尼歌剧院的身份是通过添加一个由十个巨大的“帆”组成的社交屋顶形式而简单地创造出来的，这些屋顶像“图像的毯子”一样为场地加冕。

Although these sails are one of the most recognized architectural icons in the world, their structural gymnastics and unnecessary volume came at notoriously high cost. Of the two archetypes, the Blanket of Iconography—and its excesses—have been replicated pervasively worldwide in a broad range of manifestations. Amplifying Lincoln Center’s tactical placement of simple shapes and use of motifs within each building, the pure volumes of Shenzhen Opera House’s venues are stacked into a tower of culture whose Opera Hall, Concert Hall, Operetta Hall, and Multifunctional Theater are stripped of all unnecessary program or geometry. Their shapes are dictated by functionality.

尽管这些帆是世界上最受认可的建筑标志之一，但它们的结构和不必要的体量却以高昂的成本而闻名。在这两种原型中，图像学的毯子——及其过度——已经以广泛的表现形式在世界范围内广泛复制。放大林肯中心在每栋建筑内的简单形状和主题使用的策略布局，深圳歌剧院场馆的纯粹体量堆叠成一座文化塔，其歌剧院、音乐厅、轻歌剧厅和多功能剧院被剥离了所有不必要的程序或几何。它们的形状由功能决定。

Stacking four large performance venues demands a robust vertical transportation system for both front-of-house and back-of-house circulation. To this end, a highly efficient ‘Super Core’ of elevators and stairs rises through the center of the tower. Composed of circulation columns tied together by steel trusses, the Super Core also functions as the building’s primary structural framework, from which are cantilevered the auditoria and the side- and backstages. The structural Super Core is transformed into a circulation superhighway.

堆叠四个大型表演场地需要一个强大的垂直运输系统，用于前台和后台的流通。为此，一个由电梯和楼梯组成的高效“超级核心”从塔的中心升起。由钢桁架连接在一起的循环柱组成，超级核心还充当建筑物的主要结构框架，从中悬挑出观众席、侧厅和后台。结构超级核心转变为循环高速通道。

2.0 Concept Development

Wrapping Shenzhen Opera House are two taut façade systems that simultaneously render the building monolithic and inviting: a ‘closed-cavity’ glass system with integrated screens at the four lobbies and two backstage windows, and an opaque travertine rainscreen on all other surfaces. The closed-cavity glass system acts as a thermal boundary—from which heat can be expelled in summer and harvested in winter—and as an acoustic buffer to outside noise. When closed, the motorized screens provide glare control and sun shading—reducing cooling loads—and unimpeded views and deep daylight penetration—reducing electrical loads—when open.

包裹着深圳歌剧院的是两种立面系统，同时使建筑变得整体和吸引人：一个“封闭空腔”玻璃系统，在四个大厅和两个后台窗户上集成了屏幕，在所有其他表面上都有一个不透明的石灰华雨幕。闭腔玻璃系统作为热边界——夏季可以排出热量，冬季收集热量——并作为外部噪音的声学缓冲器。当关闭时，电动屏幕提供眩光控制和遮阳——减少冷却负荷——并在打开时畅通无阻的视野和深入的日光穿透——减少电力负荷。

The outer layer of the closed cavity is composed of highly transparent insulated glass units supported by a cable system and braced by compression struts tying back to the lobby passerelles. The inner layer is made of frameless, laminated panels that span from balcony to balcony. Without mullions and transoms, these systems create a minimalist appearance. All opaque walls, sloped soffits, and roofs are clad in a rainscreen of travertine panels. The stone panels are supported on a subframe which in turn is attached to the back-up wall and primary building structure with thermally isolated brackets and clips.

封闭空腔的外层由高度透明的绝缘玻璃单元组成，由电缆系统支撑，并由系在大堂通道上的压缩支柱支撑。内层由无框层压板制成，从阳台跨越到阳台。没有竖框和横梁，这些系统营造出极简主义的外观。所有不透明的墙壁、倾斜的拱腹和屋顶都覆盖着石灰华板的雨幕。石板支撑在副框架上，副框架又通过隔热支架和连接件连接到后墙和主要建筑结构上。

Sheltered by a vast, light-diffusing canopy, the Gallery is home to the Shenzhen Opera House programs everyone can enjoy regardless of their final destination. In addition to museums, art education spaces, book bar, children’s art center, and literature center, visitors can glimpse down into the rehearsal rooms whose glassed-in volumes rise from Level B1 into the Gallery. The entries to the Opera Hall / Concert Hall / Multifunctional Theater Building and to the Operetta Hall Building are also located in the Gallery, adding energy to this lively public realm prior to, and after, performance times. The Gallery’s atmosphere under the canopy is spacious and modern, yet warm and invitingly familiar, suffused in the warm tones cast by the bamboo flooring, walls, and canopy screens, and the two buildings’ Golden Travertine.

画廊被巨大的光线漫射的天篷遮蔽，是深圳歌剧院节目的所在地，无论最终目的地如何，每个人都可以享受。除了博物馆、艺术教育空间、书吧、儿童艺术中心和文学中心外，游客还可以一睹排练室的风采，玻璃幕墙从 B1 层升至画廊。歌剧厅/音乐厅/多功能剧院大楼和歌剧院大楼的入口也位于画廊内，在演出前和演出后为这个热闹的公共领域增添活力。天篷下的画廊氛围宽敞而现代，但温暖而亲切，弥漫在竹地板、墙壁和天篷屏风以及两座建筑的金色石灰华所投射的温暖色调中。

Generous allées amongst the defined programs and lounges guide visitors along their journey, bathed in diaphanous light filtering through the canopy screens and protected from the searing heat or pouring rain. The Art Street leads visitors north to south from the grand entry, through the Gallery, to the park outside. The Gallery’s seven-meter-high façade draws daylight deep into this extra-large environment and, as importantly, provides visitors with orienting views, inviting them to meander in and out of the Gallery through the park and back.

定义的节目和休息室中的宽阔巷子引导游客沿着他们的旅程，沐浴在透过天篷屏幕过滤的透明光线中，并保护他们免受灼热或倾盆大雨的影响。艺术街从宏伟的入口向北向南引导游客，穿过画廊，到达外面的公园。画廊 7 米高的立面将日光引入这个超大的环境中，同样重要的是，它为游客提供了定向景观，邀请他们在公园内外蜿蜒进出画廊。

Outside the Gallery’s glass perimeter, the canopy’s 14-meter-wide eaves invite visitors to enjoy the wooded landscape that surrounds Shenzhen Opera House or peer into the Gallery and its cultural activities, all protected from sun or rain. The art gallery, art education center, children’s art center, and literature center spill out into this generous inside/outside space, further integrating the Gallery and park environments as one experience open to all.

在画廊的玻璃周边之外，14 米宽的檐篷邀请游客欣赏深圳歌剧院周围的树木繁茂的景观，或欣赏画廊及其文化活动，所有这些都不受日晒雨淋。美术馆、艺术教育中心、儿童艺术中心和文学中心延伸到这个宽敞的内部/外部空间，进一步将画廊和公园环境整合为一种向所有人开放的体验。

The landscape was imagined as a counterpoint and a companion to the two sculptural performing arts buildings and the public canopy. A high-tree canopy embraces the Gallery to create a continuous datum that harmoniously connects and integrates Shenzhen Opera House and the park, grounding the ensemble at the human scale.

景观被想象成两座雕塑表演艺术建筑和公共天篷的对位和伴侣。一个高大的树冠环绕着画廊，创造了一个连续的基准，将深圳歌剧院和公园和谐地连接和融合在一起，在人性化的尺度上建立合奏。

Under the arbor’s natural cover, a meandering pedestrian path weaves in and out of the trees. The path grazes the Gallery at four points that form entrances, encouraging the public to engage with the cultural amenities inside. The path opens up to include active programs and plazas, lush flower beds, water features, or simple group seating. Artistic events or annual festivals can be held in the largest areas. Along the way, visitors can also take in views out to Shenzhen Bay or inland to the city through the trees and in the clearings.

在乔木的自然掩护下，蜿蜒的人行道穿梭于树木之间。这条小路在形成入口的四个点上擦过画廊，鼓励公众参与到里面的文化设施中。这条路径开放，包括活跃的程序和广场、郁郁葱葱的花坛、水景或简单的团体座位。艺术活动或年度节日可以在最大的地区举行。沿途，游客还可以通过树木和空地欣赏深圳湾或内陆城市的景色。

The landscape plinth is defined on its outer perimeter in a simple and rigorous geometry. A paved promenade tiers down to the sea, allowing strolls along the shore with views of Shenzhen Bay, downtown Shenzhen in the distance, Shekou Mountain, and the majestic silhouette of Shenzhen Opera House and its dynamic forms.

景观基座在其外周以简单而严谨的几何形状定义。铺砌的长廊一直延伸到大海，可以沿着海岸漫步，欣赏深圳湾、远处的深圳市中心、蛇口山以及深圳歌剧院的雄伟轮廓及其动感形式。

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