皇家節(jié)日音樂(lè)廳英國(guó)倫敦

業(yè)主單位：倫敦南岸藝術(shù)中心

設(shè)計(jì)范圍：建筑

設(shè)計(jì)單位：AAM 建筑工作室

結(jié)構(gòu)設(shè)計(jì)：Price &Myers

景觀設(shè)計(jì)：馬克斯建筑事務(wù)所

照明設(shè)計(jì)：Speirs and Major

劇場(chǎng)設(shè)計(jì)：Carr and Angier

項(xiàng)目狀況：2007 年竣工

照片攝影：?Dennis Gilbert/VIEW,Richard Bryant/Arcaid

Client:Southbank Centre

近年來(lái)，致密油開(kāi)發(fā)已成為國(guó)內(nèi)外石油開(kāi)發(fā)的熱點(diǎn)。北美巴肯致密油的成功開(kāi)發(fā)，對(duì)全球的油氣市場(chǎng)產(chǎn)生了深遠(yuǎn)的影響［1-2］。勝利油田致密砂巖油藏儲(chǔ)量規(guī)模大，后備資源豐富［3］，但油藏埋藏深，儲(chǔ)層物性差，直井壓后產(chǎn)量遞減快，采出程度低［4］。為了解決這一難題，勝利油田優(yōu)選渤南油田義123塊為實(shí)驗(yàn)區(qū)塊，采用非常規(guī)多級(jí)壓裂水平井開(kāi)發(fā)技術(shù)［5-8］對(duì)其進(jìn)行有效開(kāi)發(fā)。

Expertise:Architecture

Architect:Allies and Morrison

Structural Engineer:Price &Myers

Landscape Architect:Gross Max

Lighting Consultant:Speirs and Major

Theatre Designer:Carr and Angier

Photography:?Dennis Gilbert/VIEW,Richard Bryant/Arcaid

二十世紀(jì)的地標(biāo)建筑面臨著更加強(qiáng)烈的改造或升級(jí)需求。如今，其建筑亮點(diǎn)越來(lái)越得到人們的欣賞。1974年，皇家節(jié)日音樂(lè)廳成為戰(zhàn)后首個(gè)被列為I級(jí)保護(hù)文物的建筑（英國(guó)最高保護(hù)等級(jí)），表明其作為戰(zhàn)后遺產(chǎn)的象征，具有極為重要的意義。但是，隨著時(shí)間的流逝，音樂(lè)廳的會(huì)場(chǎng)聲學(xué)開(kāi)始失效，其門廳外觀不斷頹敗，并且與河濱環(huán)境之間缺乏協(xié)調(diào)。我們對(duì)于建筑初始設(shè)計(jì)理念的理解，是解讀此類設(shè)計(jì)理念、使其與現(xiàn)代和未來(lái)需求相應(yīng)的關(guān)鍵。AAM建筑工作室曾領(lǐng)導(dǎo)了一項(xiàng)由彩票基金資助的大規(guī)模修復(fù)項(xiàng)目，該項(xiàng)目于2007年竣工。

該建筑需要的不僅是新地毯和聲學(xué)改造。需要深入理解音樂(lè)廳及其城市環(huán)境，重新思考使其與城市相脫離的負(fù)面變化，并且在項(xiàng)目中修復(fù)這個(gè)二十世紀(jì)著名建筑范例的同時(shí)，提升其公眾面貌，重新奠定其作為知名國(guó)際演出場(chǎng)地的地位。

這包括在建筑內(nèi)外同時(shí)進(jìn)行修復(fù)和作出現(xiàn)代化的更改。采用開(kāi)放式門廳，將侵入式的咖啡館和商業(yè)單位遷入新的線型建筑，營(yíng)造新的活躍街區(qū)。將會(huì)場(chǎng)拉回至原始混凝土框架內(nèi)，并將所有裝飾面牢牢固定于禮堂處，大幅延長(zhǎng)混響時(shí)間。復(fù)原初始色彩，吧臺(tái)重新開(kāi)放；后臺(tái)進(jìn)行現(xiàn)代化改造，為各類表演提供支持。在外部，音樂(lè)廳與河畔的女王步道以及河流沿線新開(kāi)業(yè)的一眾餐廳重新相連。內(nèi)外露臺(tái)空間寬敞，天氣晴朗時(shí)熱鬧非凡。該項(xiàng)目入圍2008年斯特林獎(jiǎng)。

Increasingly,the landmark buildings of the twentieth century are in need of reinvention or evolution.And today there is a growing appreciation of their architectural merit.In 1974,the Royal Festival Hall the first post war building to be listed Grade I (the highest level of protection in England),reflecting the esteem in which it is held as a symbol of post-war revival.However,with time,its auditorium acoustics were failing,its foyers looked increasingly dishevelled,and it lacked an engagement with its riverfront setting.Our understanding of the ideas behind the original design of the building was fundamental to reinterpreting them to meet current and future needs.Allies and Morrison led a major restoration project with lottery funding completed in 2007.

The building needed more than new carpets and renewed acoustics.A deep understanding of the concert hall and its urban setting informed a rethink of the unflattering changes that had cut it off from the city around it,in a project that both restores this prestigious example of 20th Century architecture and re-establishes it as a major international performance venue with a more public face.

This involved a mix of restoration and contemporary changes both inside and out.The foyers were opened up and invasive cafe and commercial units moved into a new linear building that created a new active street in effect.The auditorium was stripped back to the original concrete box and all finishes fixed firmly to this to radically extend the reverberation time.The original colours were reinstated,and bars reopened;back of house,modernised to support a wider range of performance possibilities.Externally,the Hall was reconnected to Queen’s Walk along the river and a line of new restaurants opened up along the riverfront.The internal and external terraces are a huge draw and on days of good weather,the area is busy as never before.The project was shortlisted for the Stirling Prize in 2008.