福州海峽文化藝術中心中國福州

竣工日期：2018年

建設單位：福州馬尾新城建設發(fā)展有限責任公司

建筑功能：歌劇院（1 600個座位），音樂廳（1 000個座位），多功能劇院（700個座位），藝術展覽館，電影中心

設計單位：PES建筑師事務所

首席設計：佩卡 · 薩米寧

合作單位：中國中建設計集團有限公司

項目面積：153 000平方米

攝影：Marc Goodwin, Virgile Simon Bertrand, Zhang Yong

Year of completion: 2018

Client: Mawei New Town Construction Development Co., Ltd.

Programme: Opera house (1 600 seats), concert hall(1 000 seats), multifunctional theatre(700 seats), art exhibition hall, cinema centre

Architectural and interior design: PES-Architects

Chief designer: Pekka Salminen

Local architects: CCEDGC Co.Ltd.

Size: 153 000 m2

Photography: Marc Goodwin, Virgile Simon Bertrand, Zhang Yong

2014年，福州市政府舉辦了一場國際建筑設計競賽，設計該市的海峽文化藝術中心，來提升福州的城市文化形象，同時激活馬尾新城開發(fā)區(qū)。

PES建筑師事務所的這項優(yōu)勝方案的設計靈感來自福州的市花——茉莉花。建筑的整體造型就似一朵盛開的茉莉花，建筑的外觀也采用了茉莉花純凈的白色。

場地中共有五個場館，就似五瓣茉莉花花瓣一般。場館里包括歌劇院（1 600個座位）、音樂廳（1 000個座位）、多功能劇院、藝術展廳和電影中心，這五個體量由一個共通的文化大廳（Cultural Concourse）和一個大型的屋頂露臺相連。

觀眾可以通過位于茉莉花園（Jasmine Gardens）和中央茉莉花廣場（Central Jasmine Plaza）的兩個坡道進入屋頂露臺，這樣的動線設計將文化藝術中心與一旁的岷江河濱空間緊密地連接了起來。在地下層，沿著梁厝洪水河修建了一條景觀廊道，從而開闊了室內(nèi)的空間，并將該文化藝術中心連接到附近的地鐵站。

PES建筑師事務所的創(chuàng)始人佩卡 · 薩米寧這樣描述該項目的設計理念：“我們將文化藝術中心這個大型的綜合設施劃分為更加人性化的小單元，使觀眾們能自由地出入室內(nèi)和室外空間。我們?yōu)槊總€單獨的體量設計了一個半公共的弧形走廊，它是每個體量的核心區(qū)域，將公共室內(nèi)空間與建筑物周圍的茉莉花園的景觀融為一體。與此同時，將整個文化藝術中心與其前方的馬杭洲島自然保護區(qū)連接起來?！?/p>

陶瓷被用作該項目的主要建材，因為它是中國海上絲綢之路的標志之一，象征著中國與世界各國的貿(mào)易連接。 PES建筑師事務所與臺灣陶瓷藝術家 Samuel Hsuan-yu Shih合作，使用著名的“漢白玉”材料為兩個主禮堂設計了藝術陶瓷內(nèi)飾，并采用了全新的科技以滿足場館的聲學要求。另外，所有的立面也都覆蓋著白色的瓷磚和百葉窗。

歌劇院和音樂廳的內(nèi)部墻面采用了幾何形狀的陶瓷板貼面。基于聲學家的研究，設計師開發(fā)了兩種聲學面板：雕刻面板和馬賽克瓷磚面板。這兩種面板都可以實現(xiàn)很好的聲學效果，同時也具備很好的裝飾性。

The Fuzhou Strait Culture and Art Centre was the winning entry in an international invited competition in 2014.Constructionstarted in early 2015, and the complex was completed in October 2018.

The five separate venues of the Strait Culture and Art Centre - an opera house, concert hall, multi-functional theatre, art exhibition hall and cinema centre - unfurl around the central plazalike the petals of a jasmine blossom, the city flower of Fuzhou.Dividing the large complex into smaller units creates human-scale spaces and makes it easy for users to navigate both indoors and outdoors.

The venues are linked by a large roof terrace and concourse lobby.The lobby and spacious venue foyers are open all day to allow for flexible use of the spaces and foster local art production.The hybrid complex also incorporates commercial services as well as recreational areas and gardens on the Minjiang riverfront.

Ceramic was used as the main material due to its historical significance in the context of the maritime silk road trade link between China and Europe.

The glazed main fa?ades are screened with ceramic louvres, creating a unified, translucent white skin for the buildings.Complex scripting was used to determine the optimal angle and distance between the louvres to provide shading and transparency as required.

The ceramic interiors of the opera and concert halls were designed together with Taiwanese ceramic artist Samuel Hsuan-yu Shih, using the legendary China White material.Optimal acoustics were ensured through the use of 3D-modelling and acoustic raytracing scripts.

The double-curved wall surfaces of the opera hall are clad with topographic ceramic tiles in shades of warm grey,combining 13 floral motifs to create a continuous 3,000 m2 jasmine branch pattern.In the concert hall, the convexly curved walls are clad with three-dimensional white ceramic tiles, engraved with a floral pattern inspired by the scrolling peonies pattern of the Yuan Dynasty.

Another traditional and renewable Chinese material,technical bamboo, was extensively used for other surfaces, flooring, details and furnishing.The multifunctional performance hall is clad with CNC-cut massive bamboo blocks.