© Simon Menges

C.Simon Menges

架构师提供的文本描述。自1981年以来，Schaubühne柏林一直被安置在Lehniner Platz。这座建筑有着独特的圆形立面，于1928年作为建筑师埃里希·门德尔松(Erich Mendelsohn)的“WOGA-Complex”建筑的一部分建立起来。在经历了一段生机勃勃、长达90年的历史之后，在2018年春天，现在上市的这栋大楼的接待区进行了重新设计和扩建：按照巴科·莱宾格(Barkow Leibinger)的计划，在前“大学休息室”(Universum L适销)的场地上创造了丰厚的新票房。以前占据门厅的售票处已经开放，把酒吧带到了接待处。

Text description provided by the architects. Since 1981, Schaubühne Berlin has been housed on Lehniner Platz. The building, with its distinctive rounded façade, was erected as part of architect Erich Mendelsohn’s “WOGA- Complex” in 1928. After a lively, 90 - year long history seeing a variety of uses and numerous conversions, in the spring of 2018 the reception area of the now listed building underwent a redesign and expansion: following plans by Barkow Leibinger, a generous new box office has been created on the site of the former “Universum Lounge”. The ticket booth that previously occupied the foyer has been opened up bringing a bar to the reception area.

 Ground Floor Plan 1.250

底层图则1.250

这次改造的目的是使当代影院票房的功能和技术需求与上市建筑的设计特色相统一，在发扬30年代原始设计语言的同时，尽可能地利用谨慎的干预措施来保持原版影院票房的功能和技术要求。

The aim of the renovation was to bring into unison the functional and technical demands of a contemporary theater box office with the characteristic design features of the listed building, utilizing careful interventions to preserve as much as possible while carrying forward the formal language of the original 1930s design.

 © Simon Menges

C.Simon Menges

由埃里希门德尔松设计，成为当时柏林最大的电影院，马蹄形建筑在第二次世界大战期间遭到严重破坏。从1946年开始，它逐渐被重建，并经历了各种各样的转变，包括一个舞蹈俱乐部和一个音乐厅。从1978年到1981年，柏林建筑师于尔根·索瓦德(Jürgen Sawade)将这座建筑改造成了一座多功能、最先进的剧院建筑，并为夏布恩合奏团提供舞台。大厅的圆柱形售票处一直使用到2017年，通过弯曲的玻璃隔开游客和售票站，但最近一直无法满足剧院的技术需求和空间需求。

Designed by Erich Mendelsohn to be Berlin’s largest cinema at the time, the horseshoe- shaped building was severely damaged during World War II. From 1946, it was gradually rebuilt and went through various transformations, including a dance club and a venue for musical theater. From 1978 to 1981, the Berlin architect Jürgen Sawade converted the building into a multifunctional state-of-the-art theater building and stage for the Schaubühne ensemble. The foyer’s cylindrical ticket booth, in use until 2017, separated visitors and ticket-selling sta via a curved pane of glass, but had recently been unable to meet the theater’s technical needs and spatial demands.

 © Simon Menges

C.Simon Menges

作为巴科·莱宾格重新设计的一部分，在前“大学休息室”(Universum Long)的原址上创造了一个新的票房，它位于正门以西。该计划采纳了尤尔根·索瓦德(Jürgen Sawade)为一家餐厅设计的未实现的设计理念，该餐厅最初是为这一空间设计的：一件中央、细长的家具，里面有一个开放的票房柜台，还有一张长凳，紧跟着建筑物的弯曲几何。

As part of Barkow Leibinger’s redesign, a new box office was created on the premises of the former “Universum Lounge”, west of the main entrance. The plan picks up on an unrealized design concept by Jürgen Sawade for a restaurant that was initially planned for the space: a central, elongated piece of furniture, here incorporating an open box office counter and a bench that follows the curved geometry of the building.

 Section 1.250

Section 1.250

与此相对应的是，低矮的长凳被纳入库夫·斯滕-达姆(Kurfürsten-Damm)对面的窗凹。中央长凳上方的一个长而弯曲的灯箱，以及嵌入在后墙和柜台中的几个显示器和显示表面，为当前节目中的内容和售票信息提供了参与空间。在柜台旁边建了一个小的后台办公室。

As a counterpart, low benches are incorporated into the window recesses facing Kurfürsten- damm. A long, curved light box above the central bench and several monitors and display surfaces embedded into the back wall and the counter provide space for engaging content on current programming alongside ticket sale information. Next to the counter a small back office was built.

 © Simon Menges

C.Simon Menges

考虑周到的材料概念的票房集中在均匀的白色固体表面材料表面，保持独特的外观，于尔根Sawade的内部翻新。整个座椅使用棕色皮革垫创造了一个大胆的对比。在建筑物的其他部分，黄铜凹槽照明创造了五颜六色的口音。明亮的，Solnhofener天然的石头瓦片，特征的建筑时间的建设，被保存下来。

The thoughtful material concept for the box office focuses on homogeneous white solid surface material surfaces, maintaining the distinctive look of Jürgen Sawade’s renovated interior. The use of brown leather cushions throughout the seating creates a bold contrast. As in the rest of the building, brass recessed lighting creates colorful accents. The bright, Solnhofener natural stone tiles, characteristic of the time of the building’s construction, were preserved.

 © Simon Menges

C.Simon Menges

圆柱形的前售票处现在被用作出版物的酒吧和销售点。一种打开的圆形计数器，由移除周围的玻璃和封闭的半圆背而成。在有机弯曲的工作表面下面是制冷设备和技术设备的定制仓库。标志性的环形散热器被替换成原来的形状。除了在这里继续使用白色固体表面材料和白色漆金属外，还增加了一个由抛光黄铜金属制成的台面，与建筑物现有的配件相匹配。

The cylindrical former ticket booth is now used as a bar and point of sale for publications. An open, round counter resulted from removing the surrounding glass and the closed, semicircular back. Underneath the organically-curved work surface sits custom- t storage for refrigeration units and technical equipment. The signature circumferential radiators were replaced in their original form. In addition to the continued use here of white solid surface material along with white lacquered sheet metal, a counter top made of polished brass sheet metal was added, matching the building’s existing fittings.

 © Simon Menges

C.Simon Menges

 © Ina Reinecke

Ina Reinecke

空间的一种新的口音是由丙烯酸玻璃制成的圆形照明元件，漂浮在棒上方的晶体云中，同时通过其835个单独的管之中的无数折射提供大气照明。由于它的透明度和简单性，以及它对现有的正式语言的考虑，该装置预先设计成内部空间。售票亭到酒吧的转换总体上在空间上打开了门厅，使得内部和外部流体之间的过渡更加流畅。

A new accent to the space is a circular lighting element made from acrylic glass, floating like a crystalline cloud above the bar while providing atmospheric lighting via myriad refractions amongst its 835 individual tubes. Due to its transparency and simplicity, as well as its consideration of the existing formal language, the installation blends deftly into the interior space as previously designed. The conversion of the ticket booth to a bar has overall opened the foyer spatially, making transitions between interior and exterior more fluid.

 © Simon Menges

C.Simon Menges

Architects Barkow Leibinger

Location Berlin, Germany

Lead Architects Barkow Leibinger,Frank Barkow, Regine Leibinger

Team Antje Steckhan (Project Architect), Jens Wessel, Andreas Moling, Reidar Mester (Model, Implementation Lighting Element)

Area 860.0 ft2

Project Year 2018

Photographs Simon Menges, Ina Reinecke

Category Renovation

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