在建筑和工程的非凡壮举中，这座巨大的穹顶从最初的概念设计到仅仅两年就达到顶峰，它的天篷覆盖了220万立方米。尽管千禧年的经历在2000年关闭了大门，但它所在的大楼后来被用于多种用途，其耐用性很大程度上归功于理查德·罗杰斯(Richard Rogers)具有特色的灵活设计。

In an extraordinary feat of architecture and engineering, the vast dome, whose canopy encompasses a volume of 2.2million cubic meters, sped from initial concept design to topping out in only two years. Although the Millennium Experience closed its doors as the year 2000, the building which housed it has since been put to a variety of uses, its durability largely due to Richard Rogers’ characteristically flexible design.

 The Skylon and Dome of Discovery at 1951 Festival of Britain (licensed under CC-BY-2.0)

1951年英国音乐节上的“斯卡隆和发现穹顶”(CC-by2.0授权)

千年穹顶是理查德·罗杰斯(RichardRogers)在伦敦格林威治泰晤士河南岸的一个更大的总体规划的焦点。从一开始，这300英亩的土地就造成了许多困难。在被政府购买进行重建前，该幅土地是由英国气体公司拥有，而英国煤气公司曾用该土地处理有毒废物，这意味着该土地必须以高昂的成本清除污染，才可展开建筑工程。黑墙隧道的一个通风竖井，在泰晤士河下面承载着道路交通，站在拟建的圆顶上，需要在设计中容纳。该地区的公共交通连接也很差，道路基础设施无法容纳预期的游客人数。幸运的是，在伦敦地铁网络上扩建禧年线的计划已经在进行中，北格林威治站于1999年在半岛上开通。

The Millennium Dome was the focal point of a larger masterplan by Richard Rogers for a peninsula in Greenwich, London, on the south bank of the River Thames. From the outset this 300-acre site presented a multitude of difficulties. Before being purchased by the government for redevelopment, the site had been owned by British Gas who had used it for the disposal of toxic waste meaning that the land had to be decontaminated at great expense before construction work could commence. A ventilation shaft from the Blackwall Tunnel, which carries road traffic beneath the Thames, stood on the proposed site of the dome and needed to be accommodated into the design. The area was also poorly connected by public transport, and the road infrastructure was unable to accommodate the anticipated numbers of visitors. Fortunately, plans were already underway for an extension to the Jubilee Line on the London Underground network, and North Greenwich station opened on the peninsula in 1999.

将圆顶结构选择为最适合的设计解决方案，主要是因为对项目施加了严格的时间限制。仅在1996年----这个规模的项目比较晚，因为格林尼治半岛被选择为节日的地点，因此，必须在1998年完成所有的建筑工作，以便能够有足够的时间在千年来临之前安装展览。而不是为每一个会构成千年发展经验的展览创建单独的展馆，而是更有时间效率和成本效益，以创建一个单独的外壳来容纳他们所有人。戴维斯说，半岛的形状也有一个圆形的结构：“这个网站有一个令人难以置信的270度的河流扫描，所以一个圆就有了意义。”[1]

A dome structure was chosen as the most appropriate design solution to the brief, largely due to the strict time constraints imposed on the project. It was only in 1996—comparatively late for a project of this scale—that the Greenwich peninsula was chosen as the site for the festival, and it was essential that all construction work be completed in 1998 in order to allow sufficient time for the exhibitions to be installed by the turn of the millennium. Rather than creating separate pavilions for each of the exhibitions which would make up the Millennium Experience, it was more time-efficient and cost-effective to create a single enclosure to house them all. According to Davies, the shape of the peninsula also suggested a circular structure: “the site had an incredible 270-degree sweep of the river, so a circle made sense.”[1]

 Two cyclindrical service towers stand adjacent to the dome (licensed under CC-BY-2.0)

两个圆柱形服务塔与穹顶相邻(由CC-by2.0许可)

穹顶的设计包括一个由12根钢制桅杆组成的圆圈，高度100米，支撑着一个由高张力电缆组成的网络。这条70公里长的电缆覆盖着一层白色聚四氟乙烯布，只有一毫米薄，内衬可以吸收声音和凝结物。圆顶的规格是惊人的：它有一公里的周长，峰高五十米，占地八万平方米。为了配合展览的喜庆气氛，圆顶建筑旨在传达一种对新千年的乐观情绪。正如戴维斯所描述的那样：“这些桅杆像举起的手臂那样伸出，并说‘是的’，这不是偶然的！”[2]

The design of the dome features a circle of twelve steel masts, one hundred meters high, which support a network of high-tensile cables. The seventy kilometers of cabling is covered by a canopy of white PTFE fabric just one millimeter thin, with an interior lining to absorb both sound and condensation. The Dome’s specifications are astonishing: it has a circumference of one kilometer, a height of fifty meters at its peak, and covers an area of eighty thousand square meters. In keeping with the festive spirit of the exhibition it housed, the architecture of the Dome was intended to convey a sense of optimism about the new millennium. As Davies recounted: “it’s no accident that those masts reach up at that angle like raised arms, and say ‘Yes!’”[2]

千禧年的经历被认为是一系列全国性节日中的最新一次，包括1951年的英国节和1851年的具有全球意义的伟大展览。穹顶还通过明确的架构引用来响应这些早期事件。英国艺术节上最具标志性的建筑是斯卡隆(一种钢制雪茄形状的建筑)和“发现穹顶”(一座设有教育展览的圆顶)。这两座建筑的建筑遗产被合并成千年穹顶的一座建筑，在雪茄形状的桅杆和穹顶本身的概念中可以清楚地看出这一点。

The Millennium Experience was conceived to be the latest in a long line of national festivals, including the Festival of Britain in 1951 and the globally-seminal Great Exhibition in 1851. The dome also responded to these earlier events through explicit architectural references. The most iconic structures at the Festival of Britain were the Skylon (a steel cigar-shaped structure) and the Dome of Discovery (a dome housing an educational exhibition). The architectural legacy of both these structures is amalgamated into a single building at the Millennium Dome, clearly evident in the cigar-shaped masts and the concept of the dome itself.

 The 'Body Zone' (licensed under CC-BY-2.0)

“身体区”(由CC-by 2.0许可)

虽然千年穹顶建筑参考了过去，纯白色聚四氟乙烯涂层聚四氟乙烯织物给结构一个高度未来主义的外观，只是建筑的许多明显的矛盾之一。正如作者伊丽莎白·威尔德(Elizabeth Wilhid)所观察到的，“它又软又硬，圆圆而尖尖的；它拥抱着地面，伸向天空。”[3]从技术上讲，它甚至不是一个圆顶，因为它的载荷不是在它的圆周上，而是在钢桅杆上；对它的一个更准确(但不那么畅销)的描述将是一个‘球形帽’。

While the Millennium Dome makes architectural references to the past, the pure-white Teflon-coated PTFE fabric gives the structure a highly futuristic appearance; just one of the building’s many apparent contradictions. As the author Elizabeth Wilhide observed, “it is soft and hard, rounded and spiky; it hugs the ground and reaches for the sky.”[3] Technically it is not even a dome, as its load does not rest on its circumference but on the steel masts; a more accurate (but less marketable) description for it would be a ‘spherical cap’.

格林威治子午线距离穹顶只有几米远，建筑物的设计包含了许多时间概念的典故。戴维斯自称是一位“敏锐的天文学家”，[4]他指出，一年中应该有12个桅杆，一个月有一个桅杆，另有24个‘扇贝’(树冠底部的弯曲剪贴画)，一天中每小时有一个桅杆。此外，穹顶的直径为365米，代表着一年中的每一天，而天窗的面板则是以经纬度的天线为基础的。考虑到项目庆祝重大日历事件的目的，这些基于时间的引用特别合适。

The Greenwich Meridian Line passes just meters away from the dome, and the design of the building contains many allusions to the concept of time. Davies, who describes himself as a “keen astronomer,”[4] specified that there should be twelve masts, one for each month of the year, and twenty-four ‘scallops’ (the curved cutouts at the base of the canopy), one for each hour of the day. Furthermore, the dome has a diameter of 365 meters, representing each day of the year, and the panels of the canopy are based on the celestial lines of longitude and latitude. These time-based references are particularly appropriate given the project’s purpose of celebrating a significant calendar event.

 Stage of the Millennium Show at the centre of the dome (licensed under CC-BY-2.0)

位于圆顶中心的千年展的舞台(由CC-by-2.0颁发许可证)

在穹顶的设计中，可持续性是一个关键考虑因素，并非常谨慎地尽量减少建筑物对环境的影响。从屋顶流出的雨水被收集到水池中，通过芦苇床自然过滤，并作为灰水循环用于厕所。天篷的半透明结构允许阳光进入穹顶，从而减少了室内照明的需要，降低了建筑物的能源需求。[5]任何需要的能源都来自可再生能源，即生活垃圾、污水和风能。[6]穹顶也是自然通风的，屋顶中央有开口，释放上升的热风，12个风扇从外面吸入冷空气。

Sustainability was a key consideration in the design of the dome, with great care taken to minimize the environmental impact of the building. Rainwater runoff from the roof is collected into pools, naturally filtered through reed beds, and recycled as grey water for the toilets. The translucent fabric of the canopy allows sunlight to enter the Dome, thereby reducing the need for interior lighting and lowering the energy demands of the building.[5] Any energy which is needed comes from renewable sources, namely household waste, sewage and wind.[6] The dome is also naturally ventilated, with openings at the center of the roof releasing the rising hot air and twelve fans drawing in cool air from outside.

由于穹顶工程的复杂性要求建筑师与工程师Buro Happold密切合作，因此穹顶的设计过程必然是一个协作的过程。BuroHappold的结构工程合伙人格林·特里皮克(GlynTrippick)将穹顶称为“建筑师和工程师之间的真正合作”。这是为数不多的项目之一，你不能说这两者都导致了。“[7]这两家公司的风格影响确实可以在穹顶的最终设计中看到。理查德罗杰斯将他的签名“内出”处理应用于建筑物，将建筑物的服务工厂放置在圆柱形塔楼周围，以便于进入穹顶的外部。就像巴黎庞皮杜中心一样，建筑物的各种部件都是颜色编码的：黄色用于桅杆等结构元素，橙色用于行人循环，红色用于室内照明塔。[8]与此同时，Buro Happold有工程拉索结构的历史。该公司的创始人泰德·哈波尔德(Ted Happold)曾与弗雷·奥托(Frei Otto)合作过几个类似的项目，比如慕尼黑动物园的鸟巢。

By necessity, the design process of the dome was a collaborative one, as the complexity of its engineering required the architects to work closely with the project engineers Buro Happold. Glyn Trippick, Structural Engineering Partner of Buro Happold, labelled the Dome “a true collaboration between architect and engineer. It’s one of the few projects where you can’t say that either has led.”[7] The stylistic influence of both firms can indeed be seen in the final design of the dome. Richard Rogers applied his signature ‘inside-out’ treatment to the building, placing the service plants of the building in cylindrical towers around the Dome’s exterior for easy access. As at the Centre Pompidou in Paris, various components of the building are color-coded: yellow is used for structural elements such as the masts, while orange is used for pedestrian circulation and red for the interior lighting towers.[8] Buro Happold, meanwhile, had a history of engineering tensile cable structures. The firm’s founder, Ted Happold, had collaborated with Frei Otto on several similar projects, such as the aviary at Munich Zoo.

 An elevated walkway inside the dome (licensed under CC-BY-2.0)

穹顶内的一条高架人行道(由CC-by-2.0许可)

决定建造一个宽敞的穹顶，而不是单独的展馆，使建筑与展览脱节，创造了一个更加灵活的建筑空间。理查德·罗杰斯(Richard Rogers)曾在他早期的许多作品中探索过辅助跨径结构的使用，包括布列塔尼的舰队警卫工厂(Fet卫兵工厂)和尚未建成的Massy Autosalon。[9]与穹顶一样，这些建筑基本上没有内部支撑，空间的布局可以很容易地修改。在穹顶，这种灵活性又向前迈进了一步。圆顶周边的服务钢瓶具有戴维斯所称的“柔性抓斗系统”的特点，[10]其中钢瓶的外鳍可以很容易地分离出来，并根据需要增加或拆除维修设备。

The decision to build a single expansive dome, rather than individual pavilions, disassociated the architecture from the exhibition and created a more flexible architectural space. Richard Rogers had explored the use of assisted span structures in many of his earlier works, including the Fleetguard Factory in Brittany and the unbuilt Massy Autosalon.[9] Like the dome, these buildings are largely free of internal supports, allowing the layout of the spaces to be easily modified. At the dome, this flexibility was taken a step further. The service cylinders around the perimeter of the dome feature what Davies described as a “flexible racking system”,[10] wherein the outer fins of the cylinders can be easily detached and service plants added or removed as required.

由于在设计方面具有很大的灵活性，自从千年经历结束以来，圆顶已经成功地适应了多种用途。2003年，该圆顶举办了一个由伦敦市长举办的音乐节，以及一个冬季奇景节。第二年，慈善危机利用圆顶作为圣诞节期间无家可归者的庇护所。2007年，经过两年的发展，圆顶作为娱乐中心重新开放。在伦敦2012年奥运会期间，它已被成功地用作音乐会和体育赛事的场所，在伦敦2012年奥运会期间举办了体操和篮球竞赛。

Thanks to the great degree of flexibility in its design, the dome has been successfully adapted for multiple uses since the closure of the Millennium Experience. In 2003 the Dome hosted a music festival organized by the Mayor of London as well as a Winter Wonderland festival. The following year, the charity Crisis made use of the dome as a shelter for the homeless over the Christmas period. In 2007, after a two-year period of development, the dome reopened as an entertainment center. Rebranded as The O2 (after a sponsorship deal with the telecommunication company of the same name), it has since been successfully used as a venue for concerts and sporting events, hosting gymnastics and basketball competitions during the London 2012 Olympics.

 A steel strut pierces the canopy of the dome (licensed under CC-BY-2.0)

钢支柱穿过穹顶的檐篷(CC-by-2.0许可)

千禧年的经历受到了非常负面的报道，主要是因为展览的成本不断攀升，游客人数也不多-在过去的一年里，它只吸引了600万游客，当时仅占英国人口的10%多一点，是预期的一半。千年穹顶受到了联合的影响，经常因为预算过高而受到批评。事实上，这个建筑项目的造价高达4300万英镑，而且对于这样规模的建筑来说也是相对便宜的，但是罗杰斯解释说，“所引用的成本总是包括内容。”

The Millennium Experience received highly negative press, largely due to the spiraling costs of the exhibition and its poor visitor figures – it drew a mere six million visitors over the course of the year, just over 10% of the British population at the time and half of what was expected. The Millennium Dome suffered by association, and often faced criticism for being over-budget. In fact, at £43million the architectural project was well under-budget and relatively inexpensive for a building of such scale, but Rogers explained that “the cost quoted invariably includes the contents.”[11]

千年穹顶的最大成功不在于它的内容，而在于它得意洋洋的繁荣和欢庆的建筑。穹顶的建筑师和工程师创造了20世纪的标志性建筑之一，它的耐久性证明了他们的远见和能力。在设计一座适应性强的建筑时，它们使穹顶能够对新千年的要求作出反应。托尼·布莱尔以联合王国首相的身份倡导建造千年穹顶，他总结了千年的遗产：“我们将在我国以新的活力庆祝千年。千年穹顶象征着这种活力。“

The greatest success of the Millennium Dome does not lie in its contents, but in its triumphantly exuberant and celebratory architecture. The dome’s architects and engineers created one of the iconic structures of the 20th Century, and its endurance is a testament to their foresight and prowess. In designing an adaptable building, they allowed the dome to respond to the demands of a new millennium. Tony Blair, who championed the construction of the Millennium Dome as Prime Minister of the United Kingdom, summarized its legacy: “we will celebrate the millennium with a new dynamism in our country. The Millennium Dome symbolizes this dynamism.”[12]

 The base of a steel strut (licensed under CC-BY-2.0)

钢支柱的底座(在CC-by2.0许可下)

参考文献[1]温赖特，奥利弗。“我们如何制造千年穹顶”。守护者。2015年3月17日。2016年8月10日查阅。[2]Wilhid，Elizabeth。千年穹顶。哈珀·柯林斯：伦敦，1999年。第14页。[3]同上。威尔德。第9页。[4]同上。温赖特。[5]同上。威尔德。第146页。[6]鲍威尔，肯尼斯。理查德·罗杰斯：全集(第一卷)。3)菲顿：伦敦，2007年。第86页。[7]同上。威尔德。第32页。[8]同上。第166页。[9]“千年穹顶”。罗杰斯·斯特克海港合伙人。2016年8月10日查阅。[10]同上。威尔德。第138页。[11]Davidson，Andrew。“安德鲁·戴维森采访：理查德·罗杰斯”。“今日管理”，一九九九年五月。第78-83页。[12]布莱尔，托尼。伊丽莎白·威尔德的“前言”。千年穹顶。第6页.

References [1] Wainwright, Oliver. “How we made the Millennium Dome”. The Guardian. 17 March 2015. Accessed 10 August 2016. [access] [2] Wilhide, Elizabeth. The Millennium Dome. HarperCollins: London, 1999. p.14. [3] Ibid. Wilhide. p.9. [4] Ibid. Wainwright. [5] Ibid. Wilhide. p.146. [6] Powell, Kenneth. Richard Rogers: The Complete Works (Vol. 3). Phaidon: London, 2007. p.86. [7] Ibid. Wilhide. p.32. [8] Ibid. p.166. [9] “The Millennium Dome”. Rogers Stirk Harbour + Partners. Accessed 10 August 2016. [access] [10] Ibid. Wilhide. p.138. [11] Davidson, Andrew. “The Andrew Davidson Interview: Richard Rogers”. Management Today, May 1999. pp.78-83. [12] Blair, Tony. “Foreword” In Elizabeth Wilhide. The Millennium Dome. p.6.

建筑师RSH P地点千年穹顶，千禧年路，伦敦SE 10 0BB，英国类别展馆项目首席建筑师迈克·戴维斯建筑师理查德·罗杰斯建筑师理查德·罗杰斯工程师Buro Happold地区80000.0平方米项目年1999年

Architects RSH+P Location The Millennium Dome, Millennium Way, London SE10 0BB, United Kingdom Category Pavillion Project Head Architect Mike Davies Architect Richard Rogers Engineers Buro Happold Area 80000.0 m2 Project Year 1999