悉尼文法學(xué)校會堂，悉尼，澳大利亞

建筑設(shè)計(jì)：PTW建筑事務(wù)所

Architects: PTW Architects

1 學(xué)生樂團(tuán)在劇場排練/Performance in the concert hall

1

悉尼國際學(xué)校秉承非宗派式的教育理念，雙語教學(xué)，從學(xué)前階段到高中均引入了第二語言。教學(xué)設(shè)施被安排在—間需重新改建的舊倉庫中， 它和—棟專門的校舍共同構(gòu)成了—個(gè)U形庭院。此次改造的“文法學(xué)校會堂”位于學(xué)校正中心，可容納1500人。鋼架結(jié)構(gòu)，砂巖的墻壁，天然木材，正如校長瓦蘭斯博士在開幕式上的講話中提到， 充滿悉尼地域風(fēng)味的設(shè)計(jì)使這座禮堂就像是一座跨海大橋，穩(wěn)固的承載起學(xué)生的廣闊未來。

在草圖設(shè)計(jì)中，PTW建筑師利用3D建模技術(shù)來分析研究音樂廳的建設(shè)所需參數(shù)，檢查和改善舞臺的視線。及時(shí)與聲學(xué)和力學(xué)的技術(shù)顧問溝通，實(shí)時(shí)監(jiān)測，準(zhǔn)確地評估空間的音量。先進(jìn)的設(shè)備和設(shè)施在其建筑語言的襯托下，使該禮堂的場地體驗(yàn)具有先聲奪人的優(yōu)勢。多年來，學(xué)校已經(jīng)建立了一個(gè)高水平的交響音樂團(tuán)。會堂同時(shí)也向公眾開放，也可為打擊樂演奏者、鋼琴家和獨(dú)奏演員提供排練場地。此外，建筑師還充分利用了巖石的熱穩(wěn)定性，在通風(fēng)系統(tǒng)中打造一個(gè)熱量迷宮，使進(jìn)風(fēng)充分接觸下層巖石來調(diào)節(jié)溫度。

設(shè)計(jì)面臨的挑戰(zhàn)之一是因?yàn)閳龅氐奶厥庑?，學(xué)校在建設(shè)期間需一直保持開放， 為了不干擾學(xué)生的日?；顒?，項(xiàng)目采用裝配式的預(yù)制組件，自上而下的施工方法，在現(xiàn)有的操場空間向下挖掘施工。

為方便托運(yùn)建材，正對學(xué)校后街的兩個(gè)教室被拆除。改建后的空間不僅為便利施工單位開展工作，也為空間自然通風(fēng)創(chuàng)造了良好條件。中庭也因兩側(cè)的教室及開放式樓梯而活躍了氣氛。近3層高的畫廊亦可直接向上通向毗鄰街道的教室及操場?！?/p>

項(xiàng)目信息/Credits and Data

客戶/Client: 悉尼文法學(xué)校/Sydney Grammar School

建筑面積/Floor Area: 2,750m2（禮堂部分/Concert Hall）

建筑高度/Building Height: 地上高度6.8m，地下深度

10.2m/6.8m above-ground, 10.2m under-ground

設(shè)計(jì)/竣工/Design/Completion: 2007/2011

攝影/Photos: Brian Steele – PTW Architects (fig. 1,3,5),

Andrew Andersons – PTW Architects ( fig. 4), Sharrin Rees ( fig. 9-12)

2 施工步驟設(shè)計(jì)/Construction planning

3 劇院全景/The overall view

The Sydney Grammar School Concert Hall is a subterranean recital hall of 1,500 seats in Sydney, Australia. Placed within the heart of a school complex, the natural bedrock was carved to form the internal walls which become the auditorium's focal element. the space provides functional amenities with acoustical benefits for a variety of musical performances, and ideal sight lines from the seating arrangement which wraps the perimeter to generate high reverberation time, conducive to largescale orchestras and speech in the 19th and 20th centuries. Audibility is ideal for assemblies, and the facility is capable of high quality video recording and projection.

The former headmaster, Dr J.T. Vallance, in his opening night speech observed that the new hall was quint-essentially Sydney: the steel arches reminiscent of the harbour bridge, the walls of Sydney sandstone, and that the venue sitting at the heart of the school campus and would nurture the development of students into the future.

The constrained site led to a top-down construction method, excavating below the existing playground spaces without interfering with the children's daily activities. A large flat area was maintained at the lowest level of the stepped seating to support examinations and a regulation sized basketball court.

At the rear of the school on the Yurong Street frontage, two classrooms were demolished to provide construction access. This created a new entry foyer, leading to a glazed, naturally ventilated atrium. The space is activated by classrooms on one side and a number of open stairs on the other. Three levels of galleries and stairs interconnect the street level with adjacent rooms and the rooftop playground.

PTW Architects utilised 3D modelling tools to analyse parameters specific to the concert hall typology. Throughout the design development of the Sydney Grammar School Concert Hall, the model was used to examine and improve sightlines to the stage. The process was simple, efficient and easily communicated to the client. The model also ensured that the primary briefing requirement of excellent acoustics would be met.

For sketch design, the acoustic volume of the space was accurately assessed and then easily monitored. Detailed design of acoustic surfaces was also well served within the REVIT platform. Complex forms were modelled in several iterations to achieve diffusion as required by the acoustic consultant. Ultimately, the forms were clearly understood by the subcontractors, and the result on-site is a finished product of high quality. □

4 操場/Playground

5 劇院全景/The overall view

7.8 剖面/Sections

6 平面/Plan

9 劇院后座/The theatre seats

10 歷史痕跡被修復(fù)進(jìn)新的細(xì)部設(shè)計(jì)之中/Historical traces are integrated with the new design

評論

范路：悉尼文法學(xué)校音樂廳是一個(gè)隱藏在校園中心的“寶盒”。稱其隱藏，是因?yàn)樗度胄@正中心U形庭院的地下。其屋頂成為地面操場，以保持原有的學(xué)生室外活動場地。在音樂廳內(nèi)部，一側(cè)墻壁是裸露的原始砂巖，頂部則暴露出黑色的拱形鋼梁，這是對悉尼地域文化要素——原始地質(zhì)和跨海大橋——的隱喻。此外，精心設(shè)計(jì)的平面布局、功能設(shè)置、材料搭配、觀演視線、混響聲效與通風(fēng)保溫，再配合高品質(zhì)的施工建造，讓這座校園音樂廳成為容納各種日常活動和精彩表演的建筑“寶盒”。

艾俠：這座觀演建筑展示了PTW事務(wù)所應(yīng)對復(fù)雜環(huán)境更新的高超解析能力。項(xiàng)目的主持建筑師是上一任PTW總建筑師、安德魯·安德森先生，2013年我們有幸在悉尼辦公室和他本人圍繞著一系列城市更新項(xiàng)目的設(shè)計(jì)方法進(jìn)行了一次對談。在安德魯數(shù)十年職業(yè)生涯完成的佳作之中，文法學(xué)校會堂可能是規(guī)模最小的一座，但卻是最困難的一座。這種困難首先來源于對歷史的尊重。和邦德街30號一樣，裸露的巖壁成為人類使用空間與澳洲地貌元素的直接對話，也成為PTW事務(wù)所在那個(gè)時(shí)期的美學(xué)標(biāo)識，這種美學(xué)標(biāo)識甚至滲透到了欄桿與臺階的諸多細(xì)部，自然痕跡被小心翼翼地修復(fù)進(jìn)新的空間之中。在這種“手工藝感”和“自然原貌”的背后，卻是一系列領(lǐng)先的技術(shù)手段，例如利用3D建模技術(shù)來分析音樂廳的聲學(xué)和視線、實(shí)時(shí)監(jiān)測空間音準(zhǔn)、對裝配式預(yù)制組件施工過程的預(yù)設(shè)模擬等等，使得學(xué)校在建設(shè)期間一直保持開放，并且在今日看來依然是世界級的校園文化設(shè)施。

Comments

FAN Lu: The Sydney Grammar School Concert Hall can be regarded as a "treasure box" hidden within the heart of the school complex. The roof deck of the subterranean auditorium is served as the playground in the campus courtyard. While in interior, the natural bedrock was carved to form the internal walls and the black steel arched girders were exposed under the ceiling, which are reminiscent of the harbor bridge and Sydney sandstone walls. Moreover, the plan layout, functional arrangement, material palette, sight lines and audibility were deliberately designed for the hall, and it was carefully constructed with high quality. Benefitting from all these efforts, the school hall provides us an impressive venue to house daily activities and excellent performances.

AI Xia: This theatrical building demonstrates the analytical ability of PTW Architects in coping with complex environmental updates. The lead architect of the project is Mr. Andrew Anderson, who is the former chief architect of PTW Architects. In 2013 we had the opportunity to talk with him in his Sydney office about the design method for a series of urban renewal projects. Among Andrew's decades of works, the assembly hall of the grammar school may be the smallest, but the most difficult one. Firstly, such difficulty stems from the respect for history. Just like 30 the Bond, the exposed rock wall implies a direct dialogue between the used space of humans and the elements of Australian landscape and it is an aesthetic symbol of PTW Architects at that time as well. Meanwhile, such aesthetic identity even permeates in many details of railings and steps, with natural traces carefully restored and included into the new space. However, it is a series of leading technical means that lie behind such "handicraft sense" and "natural original appearance", such as the use of 3D modeling technology in analysing the acoustics and sight line of the concert hall, real-time monitoring of spatial intonation, preset simulation of the construction process of prefabricated components, etc. to have the school open throughout the construction period. It remains a world-class campus cultural facility even to this day.

11.12 結(jié)構(gòu)細(xì)節(jié)/Structure detail