公園音樂廳，拉奎拉，意大利

建筑設(shè)計(jì)：倫佐·皮亞諾建筑工作室Architects: Renzo Piano Building Workshop

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公園音樂廳，拉奎拉，意大利

建筑設(shè)計(jì)：倫佐·皮亞諾建筑工作室
Architects: Renzo Piano Building Workshop

Auditorium del Parco, L'Aquila, Italy, 2012

拉奎拉音樂廳是一座代替在2009年地震中嚴(yán)重受損的西班牙城堡音樂廳的臨時(shí)建筑。這組由3個(gè)立方體構(gòu)成的簡(jiǎn)潔設(shè)計(jì)檢驗(yàn)著從需求出發(fā)的空間效率和表現(xiàn)性?？藙诘蠆W·阿巴多稱之為“具有偉大象征價(jià)值的建筑”，他是最早意識(shí)到城市恢復(fù)原狀需經(jīng)歷漫長(zhǎng)時(shí)日的人之一，而營造一個(gè)保護(hù)音樂傳統(tǒng)的場(chǎng)所將是開始復(fù)原的一種積極手段。

2009年的地震讓拉奎拉市失去了大量音樂場(chǎng)所，其中很多都岌岌可危，無法正常使用。對(duì)于這樣一座音樂之城，喪失文化活力更是雪上加霜。一個(gè)新想法在這種情況下應(yīng)運(yùn)而生：在城市危險(xiǎn)區(qū)之外、交通便捷的地方建造一座臨時(shí)音樂廳。其要點(diǎn)之一是，它要靠近受損的西班牙城堡，以延續(xù)這一地區(qū)的活力。

拉奎拉音樂廳由3個(gè)純粹的形體組成——以看似全無章法的角度構(gòu)成立方體的三重唱，就像起伏地面上的骰子——分別是238座的音樂廳、前廳和更衣室。這些方形木盒子設(shè)計(jì)的根本在于通過簡(jiǎn)潔、相互靠近并聯(lián)通的結(jié)構(gòu)，實(shí)現(xiàn)各部分的分離與流暢性。選用木材不僅是因?yàn)榭紤]了不插電表演的情況，還因?yàn)樗`活、抗震而質(zhì)感溫和，并且易于預(yù)制、組裝快捷。音樂廳的工地在RPBW工作室和基金會(huì)的支持下也轉(zhuǎn)變?yōu)橐淮谓虒W(xué)的機(jī)會(huì)，讓拉奎拉大學(xué)和特蘭托大學(xué)的設(shè)計(jì)專業(yè)大學(xué)生能夠獲得親身實(shí)踐的經(jīng)驗(yàn)。事實(shí)上，要求他們參與施工是項(xiàng)目投標(biāo)中的一個(gè)條款，而這在歐洲尚屬首創(chuàng)。

這些立方體看似隨機(jī)的構(gòu)成是由精確的規(guī)則確定的。在舉行音樂會(huì)的夜晚，聽眾和音樂家需要在等距的立方體之間流暢地步行。最大的立方體（邊長(zhǎng)18.5m）是音樂廳，它的角度即是里面兩排相對(duì)坐席的坡度。這3個(gè)活潑的立方體均外掛一層落葉松板。木板上涂的繽紛色彩對(duì)應(yīng)著特殊的顏色編碼體系：每種顏色代表一種不同的木板形狀和尺寸。

這個(gè)為音樂設(shè)計(jì)的緊湊建筑還能夠通過多種活動(dòng)將人聚集在一起，成為市民的場(chǎng)所。音樂廳外的空間可以供露天演出使用，并以立方體的平展側(cè)面作為投影幕。2012年10月，這座建筑的創(chuàng)始人之一克勞迪奧·阿巴多大師，指揮著莫扎特樂團(tuán)，慶祝音樂廳落成?！酰ㄉ袝x 譯）

1 首層平面/Floor 0 plan

2 總平面/Site plan

3 場(chǎng)地模型/Site model （1-3圖片版權(quán)：?Renzo Piano Building Workshop）

項(xiàng)目信息/Credits and Data

客戶/Client: 特倫托自治省/Provincia Autonoma di Trento合作者/Collaborator: Atelier Traldi

設(shè)計(jì)團(tuán)隊(duì)/Design Team: P.Colonna（副總負(fù)責(zé)人/associate in charge）, C.Colson, Y.Kyrkos（模型/models）

顧問/Consultants: Favero ＆ Milan（結(jié)構(gòu)/structure and services）, Müller BBM（聲學(xué)/acoustics）, Studio Giorgetta（景觀/landscaping）, GAE Engineering（防火/ fire prevention）, New Engineering（安全/security）, I.T.E.A.（場(chǎng)地監(jiān)管/site supervision）

攝影/Photos: Marco Caselli-Nirmal

4 夜景/Exterior view at night

The Auditorium in L'Aquila was built as a temporary substitute to replace the Castello Spagnolo concert hall, gravely damaged in the 2009 earthquake. A group of three cubes, it is a simple design that tests the e ffi ciency and expressiveness of the space generated by need and necessity. Claudio Abbado proclaimed it "a building of great symbolic value". He was one of the fi rst people to realize that it could be a very long time before the city would be back to normal and that building a place to protect musical traditions would be a positive way to start the healing process.

The 2009 earthquake deprived the city of L’Aquila of its many concert venues, most rendered too dangerous to use. It was yet another painful loss for the cultural vitality of this very musical city. This situation gave rise to the idea of building a temporary hall in an easily accessible area outside the danger zone of the city. It was important that it should be sited near the damaged Castello Spagnolo so that people would continue to frequent the area.

The Auditorium in L'Aquila is an ensemble of three pure volumes - a trio of cubes set at seemingly random angles, a bit like dice thrown on an uneven surface - housing the 238-seat concert hall, the foyer and dressing rooms. The separation of the various segments and the fl ow of movement through simple, adjacent and connected structures were at the root of the design of these square wooden boxes. Wood was chosen for acoustic performance, but also because it is flexible, more resistant to earthquakes, less invasive and can be easily prefabricated and quickly assembled. The Auditorium construction site was also turned into an educational opportunity by RPBW and the Foundation, a chance for graduating engineering students from the universities of L’Aquila and Trento to attain some real hands-on experience. Their involvement in the construction was a clause in the job bidding process, a fi rst in Europe.

Precise rules determined the apparently random disposition of the cubes. On concert nights, foot tra ffi c （the audience and the musicians） had to flow smoothly between the equidistant cubes; the angle of the largest cube （its side measures 18.5m）, i.e. the concert hall, also provides the slope for the two facing tiers of seats inside. Each of the three lively cubes is clad in a layer of larch slats. The slats are painted different colours that correspond to a very specific system of colour coding: each colour represents a di ff erent slat shape and size.

This compact architecture designed for music was also intended to bring people together for other events, to be a gathering place for the city's citizens. The spaces outside the auditorium can be set up for open-air performances, with the flat sides of the cubes used as projection screens. The Auditorium was inaugurated in October 2012 with the Orchestra Mozart conducted by maestro Claudio Abbado, one of founders of the building.□

5 外景/Exterior view

6 立面細(xì)部/Fa?ade detail

7 東立面/East elevation（圖片版權(quán)：?Renzo Piano Building Workshop）

8 橫剖面/Cross section（圖片版權(quán)：?Renzo Piano Building Workshop）

評(píng)論

盧向東：在意大利，源于宮廷的音樂廳建筑從來就是高雅奢華的，而這個(gè)臨時(shí)性的音樂廳則完全不同。只有當(dāng)你了解這個(gè)臨時(shí)音樂廳是作為震后保護(hù)傳統(tǒng)音樂、復(fù)興城市的手段之后，才能理解當(dāng)?shù)厝嗣駥?duì)于音樂的熱愛是如此深厚，進(jìn)而理解這個(gè)簡(jiǎn)單而高效的臨時(shí)性音樂廳。皮亞諾工作室的設(shè)計(jì)作品素來以高技聞名。在這個(gè)簡(jiǎn)易的臨時(shí)性音樂廳設(shè)計(jì)中，依然體現(xiàn)出了設(shè)計(jì)的高水準(zhǔn)：首先準(zhǔn)確理解把握了建筑的臨時(shí)性，采用了簡(jiǎn)單的立方體形態(tài)，并將不同的3個(gè)主要功能安排在3個(gè)獨(dú)立的立方體內(nèi)。傾斜的立方體一方面巧妙解決了觀眾廳的坐席升起和室內(nèi)聲學(xué)設(shè)計(jì)，另一方面也活躍了建筑的視覺形象。細(xì)節(jié)設(shè)計(jì)同樣讓人印象深刻，尤其是彩色板條的設(shè)計(jì)。場(chǎng)地設(shè)計(jì)方面，這個(gè)建筑也考慮了與附近城堡及城市的視線關(guān)系?？傊?，這是一個(gè)非常恰當(dāng)?shù)脑O(shè)計(jì)。

Comments

LU Xiangdong: In Italy, court-originated music halls have always been extravagant. But this temporary auditorium makes a completely exceptional case. Only after one has learned that it is built to preserve traditional music and to serve as a means of postearthquake urban regeneration, can one understand how the local people's passion for music is expressed in this simple, e ffi cient structure.

The Piano studio has long been acclaimed for its high-tech designs. Even this simple, temporary auditorium embodies a sophisticated level of design: first of all, given the temporary nature of the building, the architect adopted a simple cubic form, organizing three main functions into three independent cubes. The leaning cube accommodates the raised auditorium and cleverly solves interior acoustics, while at the time generating an animated visual image. The details are equally impressive, especially the design of the polychrome panels. With regards to the masterplan, the design has taken into account both the building's relation to nearby castles and its visual connection to the urban setting. Overall, this is an exceptionally appropriate design.

鮑威：此案通過簡(jiǎn)單的動(dòng)作，將一個(gè)立方體在空間上旋轉(zhuǎn)，把本是水平方向的屋頂與樓板變成斜面，而旋轉(zhuǎn)沒有改變的向量就是垂直的墻面。這一變與不變巧妙解決了本項(xiàng)目的功能挑戰(zhàn)：地面抬起形成觀演空間，屋頂斜面有利于聲學(xué)反射，墻體的垂直忠實(shí)于地心引力。另外，主體量純凈地容納演出功能，而將對(duì)觀眾的接待服務(wù)功能分別甩在其兩側(cè)，增加了進(jìn)入主空間觀看演出的儀式感與體驗(yàn)性。最后，3個(gè)體量在城市尺度上尊重周邊環(huán)境——環(huán)抱蜷縮在樹木茂密的綠灣中，謙遜地躲在對(duì)景建筑軸線一側(cè)，為其提供了視覺通道。如此，本案輕松而又簡(jiǎn)單地解決了室內(nèi)、建筑、城市這3個(gè)尺度上的問題。

BAO Wei: With a simple rotational operation on the cube, this project transforms the horizontal planes of ground and roof to inclined planes, while the vector una ff ected by such rotation becomes vertical walls. This move corresponds to the functional requirement of the project: the raised fl oor forms a natural slope for audience seating; the pitched roof is suited for acoustic re fl ection; and the verticality of walls conforms to the pull of gravity. The main cube is designed only to accommodate the performance space, while service programs are spread out at either side so as to enhance the ceremonial experience upon entering the theatre. On the urban level, the three structures curl and cuddle up in the Green Bay formed by surrounding tree canopies, modestly shunning away from the visual corridor that opens up to the monumental building. As such, the design issues on all three levels - interior, architectural, and urban - are handed with great ease.

9 倫佐·皮亞諾的音樂廳草圖/Sketch of the auditorium cube, by Renzo Piano

10 音樂廳長(zhǎng)剖面/Long section of the auditorium （圖片版權(quán)：?Renzo Piano Building Workshop）

11 音樂會(huì)時(shí)的音樂廳內(nèi)景/Interior view of the auditorium during a concert

12 展開軸測(cè)/Exploded axo diagram