海風(fēng)琴，扎達(dá)爾，克羅地亞

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海風(fēng)琴，扎達(dá)爾，克羅地亞

設(shè)計(jì)：尼古拉·巴希奇/扎達(dá)爾濱海項(xiàng)目公司

Designer: Nikola Ba?i?/Marinaprojekt d.o.o. Zadar

Sea Organ, Zadar, Croatia, 2005

半島之上的扎達(dá)爾被她的市民稱作“石船”。

2004年，碼頭管理局在市政府的支持下決定重建半島的“船頭”，讓過往的游輪?？俊?/p>

在飽受二戰(zhàn)摧殘之后，城市混亂的重建工作將這片海濱變成了一片死氣沉沉的混凝土墻。在我們開始重建之前，那里依然是一片凋敗。喜歡在海濱漫步的扎達(dá)爾市民很少到那里去，盡管那是欣賞扎達(dá)爾迷人日落最好的地方。1964年，希區(qū)柯克來(lái)到扎達(dá)爾時(shí)曾稱贊這里是世界上最美的地方。

項(xiàng)目的第一階段于2005年啟動(dòng)，重建了游輪碼頭。海濱的淺水區(qū)繼續(xù)供人們散步，并增添了世界上最大的樂器——“海風(fēng)琴”！

海濱的其他部分安排在第二階段建造。其中心“迎接太陽(yáng)”是為這一重要地區(qū)增光添彩的城市標(biāo)志。

“海風(fēng)琴”在造型上有如通向大海的臺(tái)階，引導(dǎo)散步的人們駐足停留，走近大海。石臺(tái)階之下是大小各異的聚乙烯管，分布在7個(gè)10m長(zhǎng)的區(qū)域中。海浪將氣流從大管送入小管，通過加速，在管道里發(fā)出聲音，在步道下的共鳴腔中回蕩，最后從石頭上奇妙的出口奏響樂曲。根據(jù)傳統(tǒng)的達(dá)爾馬提亞無(wú)伴奏合唱組合，風(fēng)琴分7組，每組有5個(gè)音調(diào)。

在永恒的高低起伏之中，大海的能量無(wú)法預(yù)測(cè)，海浪的大小、強(qiáng)弱和方向無(wú)人可知。所以這場(chǎng)永不落幕的音樂會(huì)有著無(wú)窮無(wú)盡的樂章，而作曲和演奏都是神奇的大自然。

扎達(dá)爾的“海風(fēng)琴”只是這座千年古城中眾多延續(xù)文脈的公共項(xiàng)目之一。在促進(jìn)城市文化發(fā)展上，這件藝術(shù)品也是一個(gè)出色的旅游點(diǎn)。

這更得到了事實(shí)的印證?！昂ｏL(fēng)琴”剛一竣工就成為市民青睞的勝地，是所有經(jīng)過扎達(dá)爾地區(qū)的旅游線路的必經(jīng)之地?！酰峁爬ぐ拖Ｆ?文，尚晉 譯）

1 尼古拉·巴希奇繪制的草圖/Sketch by Nikola Ba?i?

2 三維水下模型/3D underwater model

3 臺(tái)階細(xì)部，聲音將從這些孔洞中發(fā)出/Detail of stairs with the holes where sound goes out

項(xiàng)目信息/Credits and Data

合作者/Collaborators: Vladimir Andro?ec（水力學(xué)/ hydraulics），HEFERER（項(xiàng)目及樂器調(diào)諧/project and instrument tuning）

承建方/Contractors: Tankerkomerc d.o.o.（主要承建方/ main contractor），Pomgrad d.o.o. Split（海岸設(shè)施/coastal facility），Jadrankamen d.o.o. Split（石塊作業(yè)/stone works），Goran Je?ina d.o.o. Murter（管風(fēng)琴系統(tǒng)結(jié)構(gòu)及制造/structure and production of organs pipe system）

客戶/Client: Port Authorities Zadar

聲學(xué)顧問/Acoustic Consultant: Ivan Stama?

造價(jià)/Cost: 風(fēng)琴裝置/Installation of the organ: €37,000；石塊作業(yè)/Construction stone works: €203,000

建造時(shí)間/Construction Period: 2004-2005

攝影/Photos: Stipe Sura?

4 城市海濱設(shè)計(jì)/City waterfront design

5 海濱/Waterfront

6 臺(tái)階/Stairs

The city of Zadar, sitting on a peninsula, is dubbed "the stone ship" by its citizens.

In 2004 the Port Authority, supported by the city government, decided to reconstruct the "prow" of the peninsula to enable the docking of passing cruisers.

After the city was devastated in World War II, the chaotic reconstruction shaped that part of the seafront as a nondescript concrete wall. Before the reconstruction, that part was decayed and neglected. The citizens of Zadar, who like to go for a walk on the seafront, rarely went to that spot, although it is the best place to watch the famous Zadar sunset, which Hitchcock said was the most beautiful in the world when he stayed in Zadar in 1964.

The first phase of the project began in 2005, when the cruiser docking site was reconstructed. The shallower part of the seafront will remain a promenade and includes the Sea Organ - the biggest musical instrument in the world！

The rest of the seafront surface is arranged in the second construction phase. Its central spot is"The Greeting to the Sun", another symbolic urban installation intended to give character to this important area.

The Sea Organ has the shape of a fl ight of steps leading to the sea, inducing people to change their walking pattern, to stop and come down to the sea. Under the stone steps, divided into seven 10-meter sections, there are polyethylene tubes of various sizes. The air, pushed by waves, fl ows from wider to narrower tubes, accelerating and producing sound in the pipes located in the resonating cavity below the promenade, with mystical openings in the stone letting out the sound. The instrument has seven clusters with fi ve selected tones each, derived from the matrix of the traditional Dalmatian a cappella singing.

As the energy of the sea is unpredictable in the endless cycles of high and low tide, of the size, force and direction of waves, this eternal concert is always di ff erent in its in fi nite musical variations, composed and played by nature itself.

The Sea Organ in Zadar is just one of many projects undertaken by this millennial city to have a continuous culture of public space. Along with promoting the development of urban culture, this artistic installation is also a remarkable tourist project.

This is attested by the fact that the Sea Organ, immediately after the construction, turned into a metaphorical site visited by delighted citizens, an essential stop in all tourist routes through Zadar and its region.□ （Text: Nikola Ba?i?）

評(píng)論

董功：空間建造的意義之一，也許在于創(chuàng)造一種媒介，能夠搭建人與其生存環(huán)境之間的存在和感知的關(guān)系。“海風(fēng)琴”也是一種空間對(duì)環(huán)境的介入，7組被精心計(jì)算設(shè)計(jì)的管道成為氣流的路徑，將海浪轉(zhuǎn)化為一種可以被聽覺感知的現(xiàn)象。就像如果沒有承接光和影的那一堵墻，你永遠(yuǎn)不會(huì)覺得光是可以被觸摸的物質(zhì)一樣，在這片海灘上，如果沒有這架“海風(fēng)琴”，也許不太會(huì)有人駐足停留，去感受一直存在在那里的風(fēng)和海浪。正是因?yàn)檫@座裝置的介入，海浪所推動(dòng)的空氣所發(fā)出的令人可以聆聽的樂音，人與場(chǎng)所之間產(chǎn)生了更生動(dòng)的關(guān)系。

鮑威：本項(xiàng)目充滿詩(shī)意地將大自然的物理運(yùn)動(dòng)轉(zhuǎn)換成“有意識(shí)”的人類活動(dòng)——演奏樂器。通過巧妙的想法以及精巧的設(shè)置，使自然的無(wú)情顯得充滿了情感，當(dāng)然本質(zhì)上卻是人們將自身的情感折射到物體上而已。雖然此“演奏”的效果無(wú)法與有意識(shí)地演奏音樂作品相比較，或者說(shuō)發(fā)出的是聲音而不是音樂，但作品的意義卻超越了音樂的范疇。拋開這些不說(shuō)，建筑形式本身還是執(zhí)行得相當(dāng)準(zhǔn)確，非常吸引人。

Comments

DONG Gong: One of the purposes of spatial construction is perhaps to create a medium that can build a relationship between the presence and perception of people and their living environment. Likewise, the "Sea Organ" is also a spatial intervention in the environment. Its seven groups of pipelines are carefully calculated and designed to form air fl ow paths, the waves thus can be transformed into a perceived auditory phenomenon. One would never feel the light as something touchable if there were no walls to undertake the light and shadow. Similarly, few people would be likely to come there to feel the long existing wind and waves, if there were not the "Sea Organ" on the shore. It is this instrument that produced more vivid musical sounds via the waves pushing the air, and further activated the relationship between the people and the places.

BAO Wei: With a clever concept and meticulous devices, this project poetically transforms the physical movement of nature to a "conscious" human activity - playing a musical instrument. It imbues the otherwise impassive nature with emotions, though of course it is human themselves that project their own feelings onto the objects. Though not comparable to the self-conscious performance by a virtuoso, and it's only making sound rather than music, the meaning of such "performance" transcends the scope of music. Apart from all these rich stories, the architectural form itself is well executed and has an attractive appearance.

7 剖面/Section

8 管道系統(tǒng)平面/Ground plan of pipe system

9 臺(tái)階/Stairs