博卡音樂(lè)廳，博卡德?tīng)柪飱W，韋拉克魯斯，墨西哥

建筑設(shè)計(jì)：Rojkind建筑師事務(wù)所

1 外景/Exterior view

近年來(lái)，墨西哥韋拉克魯斯州博卡德?tīng)柪飱W市的音樂(lè)和文化生活日益豐富。2014 年，博卡德?tīng)柪飱W愛(ài)樂(lè)樂(lè)團(tuán)成立，通過(guò)一系列表演吸引了眾多音樂(lè)愛(ài)好者，以及來(lái)自本地和海外的音樂(lè)家。愛(ài)樂(lè)樂(lè)團(tuán)由此成為了該市文化生活的中心。

不僅在墨西哥，博卡德?tīng)柪飱W愛(ài)樂(lè)樂(lè)團(tuán)在全世界都是獨(dú)一無(wú)二的。樂(lè)團(tuán)的活動(dòng)有3 條主線：每年一次的管弦音樂(lè)會(huì)，每月一次的室內(nèi)音樂(lè)表演，以及名為“譜寫(xiě)和諧”的針對(duì)低收入家庭兒童的課外社會(huì)發(fā)展項(xiàng)目。在樂(lè)團(tuán)的活動(dòng)推動(dòng)了社會(huì)與文化的發(fā)展的同時(shí)，樂(lè)團(tuán)也需要一個(gè)新的社交場(chǎng)所作為樂(lè)團(tuán)及其活動(dòng)的新家。

博卡音樂(lè)廳的建設(shè)契合博卡德?tīng)柪飱W市制定的振興城市衰退區(qū)域的整體規(guī)劃。音樂(lè)廳坐落于河口地帶，這個(gè)地點(diǎn)不僅定義了地方性，而且有著深厚的歷史與美食傳統(tǒng)。

項(xiàng)目基地位于將河流與大海分隔開(kāi)的防浪堤旁，處在文森特·?？怂篂I海大道的盡端與薩莫拉大道交匯的地方，眾多本地餐館在此一字排開(kāi)。

博卡音樂(lè)廳的位置旨在更清晰地傳達(dá)城市中心與濱海大道之間的互動(dòng)關(guān)系，并且也為激發(fā)該區(qū)域的現(xiàn)代性帶來(lái)了更多驅(qū)動(dòng)力。項(xiàng)目本身為城市這一區(qū)域的基礎(chǔ)設(shè)施及城市形象的重塑與更新提供了條件。

音樂(lè)廳的設(shè)計(jì)從防波堤的亂石基礎(chǔ)獲得靈感，通過(guò)混凝土立方體量傳達(dá)其具有的永恒特征。建筑吸取了場(chǎng)地的特質(zhì)，通過(guò)清晰的混凝土體量對(duì)場(chǎng)地元素進(jìn)行再表達(dá)，形成多個(gè)大小各異的體塊，其中包含著音樂(lè)廳的空間。

音樂(lè)廳的室內(nèi)是國(guó)外與本地專家在劇場(chǎng)聲學(xué)、力學(xué)等方面的技術(shù)知識(shí)的綜合呈現(xiàn)。音樂(lè)廳所配備的先進(jìn)設(shè)備使其躋身墨西哥頂級(jí)音樂(lè)廳行列。

在建筑功能方面，音樂(lè)廳擁有996 個(gè)觀眾席，不僅滿足古典、傳統(tǒng)、流行音樂(lè)的表演需求，也可用于舞蹈表演、戲劇表演及電影放映。此外，建筑包含一個(gè)擁有150 個(gè)觀眾席的排練廳，可用于錄像音樂(lè)會(huì)、舞臺(tái)劇表演、電影放映及現(xiàn)代舞表演。

音樂(lè)廳的后臺(tái)區(qū)主要服務(wù)于愛(ài)樂(lè)樂(lè)團(tuán)，設(shè)有打擊樂(lè)演奏者、鋼琴演奏者、獨(dú)奏者的排練廳和一間錄音室，此外還設(shè)有公共更衣室及為導(dǎo)演、表演嘉賓和樂(lè)團(tuán)指揮提供的私人更衣室。

這些區(qū)域?qū)?lè)團(tuán)的日常生活需求與其他活動(dòng)需求結(jié)合在一起，例如戲劇表演等。此外，建筑還設(shè)有辦公區(qū)和音樂(lè)圖書(shū)館，圖書(shū)館可用作工作坊、課程及各種節(jié)慶活動(dòng)的場(chǎng)地。

建筑的公共空間包括一個(gè)3 層通高的前廳，它連接了各樓層及開(kāi)放空間，提供了通往各個(gè)大廳的路徑。建筑最高層設(shè)有露天平臺(tái)，人們可在此俯瞰河流與大海。建筑中還設(shè)有咖啡廳和餐廳。前廳的各樓層平臺(tái)也可用作獨(dú)奏會(huì)、錄像音樂(lè)會(huì)、舞蹈表演和現(xiàn)代戲劇表演的場(chǎng)地。

博卡音樂(lè)廳在室外也創(chuàng)造了一處公共空間，它是防波堤區(qū)域的入口廣場(chǎng)的延伸，提供了多處休閑娛樂(lè)聚集地，完善了音樂(lè)廳的公共生活功能。此外，建筑的外立面裝有視聽(tīng)投影系統(tǒng)，旨在創(chuàng)造一個(gè)社交場(chǎng)所以增強(qiáng)該區(qū)域的公共氛圍?！酰缸繝?譯）

2 外景/Exterior view

During recent years there has been a clear enrichment of the musical and cultural life in Boca del Rio, Veracruz. In 2014, the Boca del Rio Philharmonic Orchestra was formed and through its performances it has attracted diverse musical expressions; local and foreign musicians, making it the heart of the cultural life of the city.

The Philharmonic Orchestra is unique not only in Mexico, but worldwide. Through three lines of action, consisting of a yearly season of Orchestral Concerts, as well as monthly Chamber Music performances and finally, an after-school social development programme for low-income children named "Orquestando Armonia"; the dynamics and activities of the orchestra have had a successful social and cultural development, and have demonstrated the need to create a new social enclosure to serve as the new home for the orchestra and its programmes.

Foro Boca fits within a master plan that seeks to revitalise an urban area that is currently deteriorated. It is located in the estuary of the river,a location that not only gives name to the locality,but also has a rich history and culinary tradition.

The piece of land is located beside the breakwater dividing the river and the sea; the end of the Coastal Avenue Vicente Fox and its point of convergence with Avenue Zamora, where all the local restaurants are lined up.

The Foro Boca's location is intended to articulate the dynamics of the central part of the city with the coastal avenue and has the goal of functioning as an urban detonator capable of inciting modernity in the area. The forum itself is a tool that has permitted the reconstruction and renovation of the infrastructure and urban image of this part of the city.

The building appropriates the timeless expression of the concrete cubes formed by ripraps in the breakwater, assimilating them as its origin and re-interpreting them in a building made of apparent concrete, forming various areas of volume that contain the concert hall.

In its interior, the concert hall unfolds the technical knowledge of foreign and local specialists in acoustics, isoptics and theatrical mechanics.It possesses the equipment to become the most sophisticated concert hall in the country.

3 首層平面/Ground floor plan

4 二層平面/First floor plan

項(xiàng)目信息/Credits and Data

地點(diǎn)/Location: Boca del Río, Veracruz, Mexico

建筑設(shè)計(jì)/Architects: Rojkind Arquitectos

主持建筑師/Principal Architect: Michel Rojkind

團(tuán)隊(duì)/Team: Agustín Pereyra, Arturo Ortíz （技術(shù)經(jīng)理/Technical Manager）, Adrián Aguilar, Sandra Carvajal,Fernanda Casar, Salvador Cortéz, Diego Díaz Lezama,Paulina Elizalde, Rubén García, Daniel Gaytán, Lorena García- Cordero, Paulina Goycoolea, Jorge González R.,Alfredo Hernández, Laura Hernández, Pablo Herrera,Julieta Inclán, Carsten Lemme, Andrea León, Félix Mendoza, Gerardo Salinas, Julio Serralde, Alfonso Paz,Cynthia Ponce, Víctor Velázquez, Ditter Vergara, Beatriz Zavala, Dinorah Mar tínez Schulte. Norma Jiménez Fernández （傳媒/Media）

結(jié)構(gòu)工程/Structural Engineering: EMRSA: Enrique Martínez, Elsa Serrano, José Martínez Vargas

聲學(xué)顧問(wèn)/Acoustic Consultants: Akustics: Paul Scarbrough,Auerbach Pollock Friedlander, Tom Neville, Kevin MacPhearson; Seamonk: Cristian Ezcurdia, Itzel Alba, Jorge Romero, Lincoln Aguirre

機(jī)電工程師及其他專業(yè)/MEP Engineer & Specialties:Gralte S.C., Germán Mu?óz, David Pastor, Barbara Gaytán

照明顧問(wèn)/Lighting Consultant: Artec3: Maurici Ginés, Jose Cardona

室內(nèi)設(shè)計(jì)/Interior Design: Mutuo Studio: Paola Ruíz de Chávez, Geysell Capetillo

施工方/Builder: Ingenieria y Desarrollo Arquitectónico S.A.de C.V. (Ing. Ricardo del Río Santiestéban)

效果圖/Rendering: PRTSARCH, Rojkind Arquitectos

功能/Programme: 音樂(lè)廳/Concert Hall

建成面積/Construction Area: 5410m2

設(shè)計(jì)時(shí)間/Design Time: 2014

建成時(shí)間/Compelition Time: 2017

攝影/Photos: Jaime Navarro (fig. 1,5,9,12), Paul Rivera (fig.2,8,10), Iker Gill (fig. 11,13)

The architectural programme considers a concert hall for classical, traditional and popular music for an audience of 966, also having the possibility of presenting shows involving dance and theatre, as well as cinema. Additionally, the forum has a rehearsal hall that serves for camera concerts,floor theatre plays, cinema and contemporary dance presentations. The hall can seat 150 spectators.

The Back of the House area of the forum responds primarily to the needs of the philharmonic orchestra.It features rehearsal halls for percussionists, pianists,solo performers and a recording studio. It has general changing rooms, private changing rooms for directors, guest performers and the philharmonic's director.

These areas were conceived to combine the daily routines of the orchestra with the needs of the other activities, such as theatrical performances.The building also holds an office area and a musical library, where the forum can offer workshops,courses and various festivals.

The public area of the building features a threestorey height vestibule combining the floors and voids creating the access to the halls. The final floor fits a terrace overlooking the river and the sea.The building also has a cafeteria and a restaurant.Within the platforms of the vestibule, spaces are formed where solo concerts, camera concerts, dance performance and contemporary theatre plays can be held.

The Foro Boca generates a public space on its exterior that permits the extension of the access plaza throughout the breakwater area, creating points of entertainment or ludic spaces that complement the public life of the hall. There is also an audio and visual projection system screened on the exterior fa?ade of the building, with the intention of consolidating a social enclosure that builds the public sphere of the area.□

5 外景/Exterior view

6.7 剖面/Sections

8 夜景/Night view

9 內(nèi)景/Interior view

評(píng)論

裴釗：這個(gè)項(xiàng)目的優(yōu)點(diǎn)和缺點(diǎn)是同一個(gè)：太像海邊的一堆石頭了。項(xiàng)目與拉斐爾·莫內(nèi)歐的庫(kù)賽爾音樂(lè)廳項(xiàng)目所面臨的任務(wù)一樣，以文化和公共建筑在城市與濱海間建立聯(lián)系，建筑形式語(yǔ)言也接近，但兩個(gè)項(xiàng)目設(shè)計(jì)水平差距十分明顯。項(xiàng)目在混凝土和建筑體量感上確實(shí)延續(xù)了某種拉美現(xiàn)代建筑傳統(tǒng)，但卻丟失了拉美現(xiàn)代建筑中最重要的一個(gè)特性，建筑空間的公共性（建筑底層封閉的墻體像巖石一樣同時(shí)拒絕了大海和城市；雖然設(shè)計(jì)師對(duì)地面景觀和建筑門(mén)廳有所處理，但延伸到海里的長(zhǎng)堤變成了建筑后花園中的小徑）。此外，對(duì)于露石混凝土來(lái)講，海邊的高鹽高濕度空氣是一種災(zāi)難。

戴維·巴蘇爾托：博卡音樂(lè)廳的加入，使曾經(jīng)被忽視的濱水區(qū)成為博卡德?tīng)柪飱W市的一個(gè)活躍的公共空間。這座雕塑感強(qiáng)烈的混凝土建筑，就像海邊嶙峋的巖石，用以承載一支青年愛(ài)樂(lè)樂(lè)團(tuán)的表演。它在應(yīng)對(duì)復(fù)雜功能的同時(shí)，兼具了服務(wù)于教育和社區(qū)的多樣空間。精致的混凝土表皮能夠調(diào)節(jié)這座大型建筑的體量感，大多時(shí)候是整體的，而外立面的動(dòng)態(tài)演出也令其是打開(kāi)的，具有強(qiáng)大的公共功能屬性。

10-13 內(nèi)景/Interior views

Comments

PEI Zhao: The advantage and disadvantage of this project coincided: its great similarity to a pile of stones by the sea. The project faces the same task as Rafael Moneo's Couser Concert Hall project: to establish a connection between the city and the coast with cultural and public buildings. The languages of the architectural form are also close to each other, but the gap between the design levels of the two projects is very obvious.The project does continue a certain tradition of Latin American modern architecture in terms of concrete and architectural volume, but it loses one of the most important characteristics of it: the publicity of the building space (the closed wall on the ground floor of the building rejected the sea and the city at the same time like a rock. Although the designer has dealt with the ground landscape and the building's hallway, the long embankment extending into the sea has become a path in the back garden of the building). In addition, the high salt and high humidity air at the seaside is a disaster for exposed concrete.(Translated by XU Ziyi)

David Basulto: A once neglected waterfront becomes an active public space for the city of Boca del Río thanks to the addition of the Boca Forum. The sculptural concrete building,resembling a rock emerging from the sea, houses a youth philharmonic orchestra, dealing with the intrinsic complexities of such programme while at the same time incorporating diverse spaces for education and the community. The beautifully crafted concrete skin regulates the scale of the massive building. At times monolithic, the concrete box opens through the dynamic use of its fa?ades during performances, serving a strong public function.