渭南市文化藝術(shù)中心，陜西，中國

渭南市文化藝術(shù)中心，陜西，中國

Weinan Culture and Art Center, Shaanxi, China, 2014

1 外景/Exterior view

渭南地處關(guān)中平原東部，以在渭水之南得名。渭南人文氣息深厚，是《詩經(jīng)》開篇之作《關(guān)雎》的誕生地，也是太史公司馬遷的故鄉(xiāng)。為實現(xiàn)建設(shè)秦晉豫黃河三角區(qū)區(qū)域中心城市的城市總體規(guī)劃目標，作為提升城市活力和完善城市功能的重大舉措之一，市政府做出在規(guī)劃中的行政文化區(qū)新建文化藝術(shù)中心的決定。渭南市文化藝術(shù)中心包括大劇院（1200座）、一個多功能廳（非物質(zhì)文化遺產(chǎn)展示傳習中心）、影城和培訓樓等內(nèi)容，總建筑面積約3.4萬m2。作為在地性創(chuàng)作系列研究之一，經(jīng)歷近5年的不懈努力渭南市文化藝術(shù)中心投入使用。在短暫地體驗了“一朝歸渭上，泛如不系舟”的適意之后，建筑師對追尋建筑在地性有了更多的思考。

由于城市的快速發(fā)展，基地原有村落已經(jīng)因拆遷而銷聲匿跡，取而代之的是周邊面孔陌生的高層辦公樓和住宅小區(qū)。城市在快速發(fā)展的同時也喪失了原有的風貌。建筑策劃之初就根植于這片土地進行認真解讀，研究建筑的在地性問題。設(shè)計以非對稱布局方式弱化主軸線的呆板，活躍建筑的群體感，3幢建筑各成方向，相互對話，共同營造文化的場所感。

渭南地處八百里秦川最寬闊的地帶，唐朝詩人崔顥有“河山北枕秦關(guān)險，驛路西連漢畤平”的感慨。南部黃土臺塬與洪積扇相間有“長捻原”之美稱。南北邊緣為石質(zhì)山地，被詩仙李白詠為“西岳崢嶸何壯哉”的華山就在渭南華陰。當?shù)卮迓浯蠖嗑偷厝〔?，常用的材料有夯實的黃土、石材、燒制的青磚。藝術(shù)村落的組合就兼顧當?shù)夭馁|(zhì)多樣性的特點，每個單體的主材質(zhì)各不相同。3座建筑的外墻材料分別采用關(guān)中傳統(tǒng)的青磚、石材和玻璃幕墻，表面做了凸凹的變化，材質(zhì)的鮮明對比產(chǎn)生強烈的視覺沖突，傳統(tǒng)和時代的對話提升了建筑的場所感。立面上的斜線關(guān)系實際上是和文化行政中心區(qū)的大綠地肌理有所呼應，由墻面延伸下來和地面融合，與綠地景觀形成一種邏輯和肌理關(guān)系?？紤]到渭南屬暖溫帶半濕潤半干旱季風氣候，夏季炎熱多雨，設(shè)計在建筑突出部下方形成多個灰空間，可以遮蔭避雨。同時在場地中央設(shè)置淺池收集雨水，每當晚風徐徐，建筑的倒影在水中搖曳多姿。關(guān)中人大多性情耿直，寧折不彎。尤其是秦腔高亢激昂和激烈碰撞，韓城行鼓的彪悍豪爽和執(zhí)著陶醉，給了建筑創(chuàng)作以啟發(fā)。建筑以長方盒子為基礎(chǔ)進行變形，多個建筑形體之間相互碰撞，相互耦合。每個既是一個完整的單體，又有機組合成一個藝術(shù)村落。這樣一種布局在增加城市空間趣味性的同時，具有濃郁的關(guān)中味道。

渭南皮影戲被列入國家第一批非物質(zhì)文化遺產(chǎn)名錄，是關(guān)中地區(qū)民風民俗的活化石，是最能代表渭南的戲曲形式，很自然地和大劇場功能形式發(fā)生化學反應。在當?shù)卦拇迓淅?，皮影往往是傳統(tǒng)節(jié)慶的焦點和壓軸節(jié)目之一，和村落生活融為一體。青磚，是當?shù)刈钇毡槭褂玫慕ㄖ牧稀Ｍㄟ^建筑師對材料的處理，青磚和型鋼組合形成富有特色的建筑語匯。將整體長100m高22m的青磚墻體作為幕布，使用型鋼作為筆墨，揮灑潑墨勾勒出抽象的皮影戲曲人物。在立面不同的區(qū)塊利用型鋼和青磚凸凹變化形成豐富的建筑表情。青磚根據(jù)高度和視角不同劃分為3種規(guī)格，分別突出前面2cm、6cm和10cm，層層疊疊，玲瓏絢麗。在陽光下隨著時間的變化，磚的光影變化為建筑增添勃勃生氣。整個建筑既有華陰老腔般的粗獷豪邁、雄渾奔放，建筑細部又有華縣碗碗腔般的細膩雅致、婉轉(zhuǎn)纏綿。南側(cè)的立面在滿足功能的前提下，開窗注重情緒和節(jié)奏控制。窗檐部分進行多重的疊澀處理，具有濃郁的地域特色。

文化藝術(shù)中心的大劇場是渭南市秦腔劇團的駐場劇場，在設(shè)計之初即和劇院專業(yè)人士就演出和運營等進行溝通。設(shè)計同時關(guān)注群眾的日常性參與，為群眾提供大劇場以外的各種文化活動場所，包括兼顧小型演出的多功能廳和面對城市綠地的開放式舞臺。此外，根據(jù)前期對市場需求的調(diào)研，文化中心合理設(shè)置了集影院、展廳、藝術(shù)培訓、紀念品銷售、快餐、咖啡、音像書店、休閑茶廊等功能用房，文化藝術(shù)中心形成日常向市民開放和以商養(yǎng)文的良性運營格局，為城市中心注入了新的活力?！?/p>

2 總平面/Site plan

3 外景/Exterior view

項目信息/Credits and Data

項目負責人/Principal in Charge: 莊惟敏/ZHUANG Weimin

設(shè)計團隊/Design Team: 莊惟敏，張維等/ZHUANG Weimin, ZHANG Wei, et al.

景觀設(shè)計/Landscape Design: 李倫/LI Lun

場地面積/Site Area: 40,000m2

總建筑面積/Total Floor Area: 33,942m2

建筑高度/Height: 24m

設(shè)計時間/Design Period: 2009.7-2010.9

竣工時間/Completion: 2014.8

攝影/Photos: 姚力/YAO Li

4 鳥瞰全景/Bird's eye view

5 外景/Exterior view

6.7 內(nèi)景/Interior views

Weinan City gains its name by being situated on the south of Wei River. It is the place where ancient poem "Guanju" praises. It is also the hometown of the great author of "Shih Chi (the historical record)". In order to raise city vitality and fulfill the aim of city's master plan to create a regional central city among the Qin-Jin-Yu Yellow River Delta area, the local municipal government decided to construct a cultural center in the new administration district. the culture and art center includes a large theater (1200 seats), a multipurpose hall (intangible cultural heritage learning center), a movie theater and training center. the total floor area is 34,000 m2. the project reflects the architect's continuous research on genius loci, and after 5 years of design and construction it came into use. It inspired the architect a poetic sense of being at ease and feel free, and made the architect to think more on this subject.

As the city grow, original cottages on the site has vanished and being replaced by tall concrete buildings. The city has lost its character on the process of development. The start point of architectural planning is to interpret the site and the spirit of the place. An unsymmetrical layout was chosen to weaken the stiffness associate with main axis and to vitalize the building cluster. three buildings heading different directions, looks like they are talking to each other, jointly create a sense of place.

The vast Qinchuan embraced Weinan at its widest part. Landscape on the south is named "Changnian plateau" with pluvial fan and loess plateau crossing each other. Rocky mountains lies on the edge of south and north. Among them is the famous Huashan Mountain in Huayin. From ancient times poetries have praised its steepness. Most of the building materials are found local, the most common ones are loess, stone and gray brick. Different traditional materials of Guanzhong area, namely grey brick, stone and glass, are chosen to be the main materials for different buildings. The effect is a strong visual comparison between past and modern, which embodies a sense of place. The diagonal patterns on facade are correlates to the landscape, continuing from the wall to the ground, and establish a logic and context with the landscape. To suit with local climate, part of the building stretching out on top and forms big cantilever, which creates gray space for rain shelter. Landscaped ponds are used to collect rain water and change microclimate, reflections of the building are also shown here. the straightforward characteristic of Guanzhong people and their art forms such as Qinqiang and Hancheng Drum give architect the inspiration to use rectangular boxes as basic building mass. Each mass is a complete entity itself, and together they form an interesting urban space, the art village, which has a strong expression of local features..

Weinan shadow play has been enlisted on the first national intangible cultural heritage, it is considered the living fossil of Guanzhong culture and folk art, and is a great representative of Weinan opera. there are natural connections between shadow play and the form of a theatre. In the original villages of Guanzhong area, Shadow play is always the finale of celebration show for holidays and big events. As a matter of fact, shadow play is part of the country life. Gray brick is a widely used local material. The architect use both grey brick and profile steel to form a unique language of facade design. A wall of grey brick was built to serve as the screen, which is 100m long and 22m tall. Profile steel was applied on the wall in a way like brush and ink to mimic abstract shadow play figures. Various expressions are created in different sectors on the wall as bricks sticking out with different dimensions. Each brick convex out either 2cm, 6cm or 10cm, according to different elevation and viewpoints. the bricks lie tier upon tier, and the sunshine and shadows would shift when time changes, this makes the wall a dramatic view. the whole building is bold and vigorous as the Huayin Old Tune, while the details are exquisite and graceful as the Wanwan Tune of Hua County. Windows are carefully proportioned on the south facade with certain rhyme. And layers of brick Corbel along the sunblind represent a typical vernacular architectural language.

One of the main function of the Weinan theater is to serve as the Qinqiang troupe's home court , so the design team visited the artists and considered their need for performance and operation from the beginning. The project also focus on public participation and provide multiuse hall and outdoor stage. It consists many amenities such as training, souvenir, café and teahouse according to a study on market demand. Finally the cultural center becomes an attraction to the public and benefits from a successful commercial-cultural synergy.□

8 首層平面/Floor 0 plan

9 二層平面/Floor 1 plan

10.11 剖面/Sections

12 立面/Facade

13 外景/Exterior view

評論

屈培青：秦腔清唱

在國內(nèi)城市中，大劇院似乎已經(jīng)成為了一個城市樹立形象不可或缺的符號，我們也已經(jīng)習慣了城市中這些巨大的建筑。從渭南文化藝術(shù)中心總體布局上，建筑師把當?shù)貥I(yè)主最初設(shè)想的一個巨大體量的建筑綜合體，按大小劇場功能劃分成相互呼應的三組建筑構(gòu)成品字型布局，緊湊的功能布置將盡可能多的空間留給城市，形成開放式院落空間，共同營造文化的場所感。通常而言，這種空間上的呼應就足夠了，但對于陜西關(guān)中這樣一個有著深厚文化底蘊的地方，文脈的呼應也是不可缺少的。設(shè)計中有三個很有內(nèi)涵的特點：

一是面對城市綠地外挑開放式舞臺。戶外搭臺唱戲是關(guān)中民間傳統(tǒng)的表演形式，也是老百姓日常不可缺少的文化娛樂活動。而該舞臺移植了關(guān)中傳統(tǒng)建筑的戲樓，顯示出設(shè)計對于文化傳承的有意強調(diào)，傳統(tǒng)和時代的對話提升了建筑的場所感。

二是將傳統(tǒng)建筑的文脈、符號、材料、肌理用新的建筑語言，整合到現(xiàn)代建筑之中，采用簡約的手法與傳統(tǒng)建筑精神共存，將關(guān)中民居中青磚墻的厚重、白墻面的樸素、木材紋理的清晰，與現(xiàn)代建筑中玻璃的清澈透明、金屬材料的精美有機結(jié)合，建筑在保留了傳統(tǒng)建筑材料的同時，賦予現(xiàn)代新材料的肌理，在色彩上表達出傳統(tǒng)民居黑、灰、白的基本色調(diào)，在建筑構(gòu)架體系中營造人文氣息。

三是從粗獷豪邁、雄渾奔放的地域音樂中獲得建筑創(chuàng)作的靈感。建筑表皮設(shè)計截取皮影戲的文化記憶，將其附著于建筑界面，并且疊合剪影，為建筑界面的創(chuàng)造提供多種可能性。通過青磚這種當?shù)貍鹘y(tǒng)材料，加上民間花磚墻疊合砌筑的手工藝方式，建筑師通過磚的肌理，將青磚和型鋼組合形成富有特色的建筑語匯。將整體100m長、22m高的青磚墻體作為幕布，使用型鋼作為筆墨，揮灑潑墨勾勒出粗獷豪邁的豐富立面效果，也暗合了傳統(tǒng)戲劇中的光影手法，使建筑更加耐人尋味。所有這些處理，都使得建筑在“大”的限制條件下，盡量尋找到“小”，也就是更加親近于人的建筑特質(zhì)。這種粗獷的建筑外形和細膩的處理，就像是洪亮的秦腔中一抹悠揚的清唱。

14-16 劇院立面局部/theater's fa?ade detail

Comments

QU Peiqing: Oratorio in Shaanxi Opera

A grand theater can often be seen as a vital symbol for a Chinese city's image and the residents of these cities have become familiar with such huge contractions. the first idea of the local client for the Weinan Culture and Art Center was to make a huge building complex. Instead, architects divided the complex into a group of buildings with a T shape layout. It consists of three parts according to different functions. this compact layout left maximum space available for public use and the open courtyard-style space created a sense of cultural identity. Generally speaking, a T-shape layout that connects each part is good enough to create a space. However, this was not enough for the rich culture and history of Guanzhong region in Shaanxi Province. To pay homage to its location, the Shaanxi culture was interwoven into the design of the Weinan Culture and Art Center. there are three ways the architect showcases the context in his design:

Firstly, there is a projecting open-air stage facing the city's green area. Opera on an open-air stage is traditional in Guanzhong folk performance and is an important entertainment activity for the locals as well. the stage maintains traditional Guanzhong opera house design. It emphasizes the purpose of cultural inheritance and a dialogue between tradition and the contemporary thoughts. these help to build a sense of local spirit.

Secondly, traditional architectural contexts, symbols, materials and textures have been utilized in the modern architecture of the center. Architects of the Weinan Culture and Art Center combined elements of thick Grey-brick wall, plain white wall and clear wood texture – which comes from the Guangzhong architectural convention – with crystal glasses and refined metal materials from modern styles – which is currently in use. this simple approach which respected the traditional architectural spirit allowed the center to maintain the traditional material of the region yet supplemented with a touch of modernity. the traditional basic colors of black, grey and white in buildings of Guanzhong foster a positive atmosphere of the region.

Thirdly, the design of the Weinan Culture and Art Center was inspired by passionate regional music while its facade design was inspired by shadow plays. This method, a kind of silhouette overlaying, provided multiple possibilities for the facade design. Architects used the traditional material of grey brick and an overlaid bricklaying method of tiled walling to make a stylish exterior consisting of brick texture, grey brick and profile steel. Employing a 100-meter long and 22-meter tall grey brick wall as its screen while profile steel served as brushes and inks, architects pictured a bold facade design with the elements of light and shadow from traditional opera, which made the Center's design more intriguing. All these elements allowed tiny details to be highlighted in the huge Weinan Culture and Art Center project. the decision to include such details in the grand design of the building endears it to all who visit. the refined details , in contrast with the bold design of the Center , just like an oratorio in Shaanxi opera.(English translation by Dandan WANG)

17.18 外景/Exterior views