© Hertha Hurnaus

赫塔·赫尔纳斯

架构师提供的文本描述。在罗马采石场的表演无疑是每一位游客的独特体验。作为一个古典情人，一个人可以欣赏歌剧表演，作为一个居住在这个地区的居民，你可以和朋友们一起协助激情剧目。

Text description provided by the architects. A show in the Roman quarry is doubtless a unique experience for each visitor. As a classical lover one can enjoy the opera shows and as an habitant of the region one can assist the Passion repertoire with befriended actors.

在一个不温不火的夏夜，在天空下表演和唱歌，远离街道的喧嚣；这种体验甚至压倒了那些对歌剧和激情不太感兴趣的“普通游客”。

Acting and singing under the sky in a tepid summer night, far away from the noise of the street; experiences that overwhelm even the “normal visitor” who is not too much into opera and Passion.

直到现在，只有舞台本身得益于这个独特的位置在奥地利的质量。引导游客从停车场到座位，再回到场馆后的停车场的路线太直接了。

Until now though only the stage itself profits from the quality of this unique location in Austria. The path leading the visitor from the parking to the seat and back to the parking after the venue is just too direct.

我们的理念的基础是让剧院和剧院的所有部分都能参与到风景如画的岩石景观中。这是迫切需要可视化的区域行为，并使游客体验它。

The fundament of our concept is the idea to let all the parts of the theatre and the theatre visit take part of the picturesque rock scenery. It is imperative to visualize the areal acting and make the visitor experience it.

 © Hertha Hurnaus

赫塔·赫尔纳斯

很难认识到，这种以精确的尖端、精确的表面和良好的地面减法为特征的令人印象深刻的景色，很久以前只是采矿资源的副产品。

It is difficult to realize that this impressive scenery which is characterised by precise cutting edge, exactly worked surfaces and well-advised subtraction of the groundis only a by-product of mining resources a long time ago.

此外，雕塑研讨会上的两名日本人，他们以近乎不可能精确的方式伤害了紧凑型岩石，创造了“日本海峡”，这两个人似乎也可能以同样的方式改变了伯根兰(Burgenland)的草地，即被称为“奥地利大峡谷”(AustrianGrandCanyon)。

Further more it seems that the two Japanese guys from the Sculpture Symposium, who have created the “Japanese Channel” by hurting the compact rock in a nearly impossibly precise way, might have transformed the meadow from Burgenland, which is called the “Austrian Grand Canyon” in the same way.

这就是为什么把“日本频道”及其原则作为重新设计的方法和榜样似乎是合乎逻辑的，这更有可能被看作是这位雕塑家艺术作品的延续。

That’s why it seems logical to take the “Japanese Channel” and its principals as a method and role model for a redesign, which is more likely seen as a continuation of this sculptor art work.

-准确性：清晰简单的形状语言

-Accuracy: clear and simple language of shapes

-减少：对基本要素的反思

-Reduction: reflexion to the essential

-减法：通过删除添加

-Subtraction: adding via taking out

 © Hertha Hurnaus

赫塔·赫尔纳斯

主要组织

Principal Organisation

-剧院是组织特定职能的榜样。该地区内需要短途通道，以迎接估计的游客人数，总共有6000人。

-The theatre serves as a role model for the organisation of the particular functions. Short lanes inside the area are needed to welcome the estimated number of visitors which adds up to 6000 persons.

-景观作为榜样，也创造了空间体验。它要求有出其不意的时刻，安排车道和休息室。

-The spectacle acts as a role model in order to create an spatial experience as well. It asks for moments of surprise and staging of lanes and lounges.

在停车场，游客被欢迎到罗马采石场的世界与一个告示板(20000米)。

At the parking the visitor is welcomed to the world of the Roman squarry with an announcement board (+20,00m).

通过岩石上的一个切口，游客正潜入石头中。经过该地区悬崖边缘的地下入口建筑(1600米)后，他终于可以定位自己了。

Through a cut in the rock the visitor is diving down into the stone. After passing the underground entrance building (+16,00m) at the edge of a cliff of the areal he finally can orientate himself/herself.

在售票控制之后，一条长度约400米的残疾人可进入的坡道将游客引上峡谷，沿着岩石走向19米深的地方，也就是节日现场所在的地方。游客通过一个巨大的岩层进入东方的门厅广场(-3，000米)，该岩层被西方形成的场地上的一个人工角度所包围。在那里，他/她受到了充满敌意的观众宴会的欢迎。大厅广场为演出开始前的逗留和散步服务。

After a ticket control a handicapped accessible ramp with a length of about 400m leads the visitor above canyons along the rock faces down to the 19 m deeper level where the festival site lies. The visitor enters the foyer square (-3,00m) in the East through a massive rock formation which is bordered by an artificial angle in the site formed in the West. That is where he/she is welcomed by the hostile audience caterers. The foyer square serves the sojourn and strolling before the start of the show.

在中央岩层的后面是已经存在的观众区，包括自然舞台(-0，000米)。在中间，沿着西岩面，厕所从北向南展开，从北到南，在看台的水平上，以及在门厅广场的水平上。

Behind the central rock formation lies the already existing audience area inclusive natural stage (+-0,00m). In between, along the Western rock face the toilets sprawl strategically arranged from North to South on the level of the grandstand as well as on the level of the foyer square.

根据座位的数量，游客有两种可能从门厅广场到达舞台的高度，大约高出3米。

The visitor has two possibilities to reach the seats from the foyer square to the level of stage, which is about 3 m higher, according to the seat number.

-坐在左边(北)台阶上的游客，跨过一个巨大的自由空间楼梯，来到“过道”，以获得舞台的第一印象。

-Visitors who are seated on the left (North) step over a huge free space stair case to the “pass” in order to get the first impression of the stage.

-坐在右边(南面)的游客从岩层的隧道俯冲，以便从林荫大道到达游客区。

-Visitors who are seated on the right (South) dive through a tunnel in the rock formation in order to reach the visitors area from the boulevard.

这两种方式都有一个令人惊讶和紧张的时刻，摇滚乐取代了舞台幕布的作用，暂时掩盖了行动的地点。此外，它还提供了饮食区和舞台区之间的自然噪音保护。

Both ways hold a surprise- and tension moment, the rock takes over the role of the stage curtain and veils the spot of action for the time being. Furthermore it offers a natural noise protection between catering area and stage area.

另外，对于两条主要通道，人们都可以坐在轮椅上，沿着公园的坡道一直坐到最前面的预留座位。

Alternatively to both main accesses there is an access possibility for people in wheelchairs south of the rock that directs along the ramp over the park till the foremost reserved seats.

林荫大道作为隧道的一个连续的乔木延伸到后台地区，连接位于南方的公园和论坛报。

The boulevard sprawls as a continuous arbour of the tunnel to the backstage area and connects the park situated in the South with the tribune.

VIP区域位于分别具有简洁的区域质量的地方，分布在可供使用的整个场所。

The VIP-areas are situated in places with respectively laconic areal quality and spread over the whole premises that can be used.

艺术家和办公室工作人员有自己独立的通道，从停车场。它穿过一个自由的空间楼梯，直接进入前厅，这标志着林荫大道的终点。后台的建筑隐藏在天然舞台的岩石后面，为了不被打扰。

Artists and office staff have their own separate access coming from the parking. It leads over a free space staircase directly into a forecourt, which marks the end point of the boulevard arbour. The backstage building hides behind the rock of the natural stage, to not to disturb.

详细的领域

The Areas in Detail

入口区域-“缺口”

Entrance area – “the notch”

在停车场的第一个切入坡道和第一个岩石角之间是入口建筑。它很快集成到岩石面和隐藏在停车场的水平。正面自然地插入几乎垂直的岩石面，并将可见部分减少到最小。

Between the first cut-in ramp of the parking and the first rock angle lies the entrance building. It is shortly integrated into the rock face and hidden under the parking level. The facade interposes naturally into the nearly vertical rock face and reduces the visible part to a minimum.

斜坡-“线”

Ramp- “the line”

坡道，作为一条车道，通向峡谷，连同岩石面，之间的凹凸不平和桥梁。许多慷慨的突破区在逆转邀请留下和奇迹。斜坡是罗马采石场的中央信息载体和信息贡献者。

The ramp, put on as a lane, leads over canyons, along with rock faces, between acclivities and over bridges. Numerous generous break-areas in the reversements invite to stay and marvel. The ramp functions as a central information carrier and information contributor of the Roman quarry.

迎合观众-“边缘”

Catering of the audience – “the edge”

为观众而设的饮食区，是以线性的方式安排的，隐藏在香港西部边境一处人造建筑的边缘之下。这种安排提供了最好的库存，各种令人愉悦，并类似于典型的酒窖建筑在这个地区的奥地利。

The catering areas for the audience, which are arranged in a linear way, are hidden beneath an artificial constructed edge in the premises at the western border of the territory. This arrangement offers the best stocking of all kinds of delightness and is similar to the typical architecture of wine cellars in this region of Austria.

“扣子”

“the Clasp”

厕所分成两个面积相同的区域，位于南北之间-中央岩石西侧的看台。似乎北部会从岩石上生长，而南部则像问候手势一样漂浮在门厅的入口处。

The toilets split up into two areas with identical size and lie between the North and South- access to the grandstand on the west side of the central rock. It seems as if the northern part would grow from the rock whilst the southern part is floating like a greeting gesture over the entrance of the foyer.

采石场的每个角度都有自己的特点。景观、形态、亲密度等特征构成了每个区域的特征。四个最有说服力的领域被过滤为重要人物。这些地区的特殊特点已通过聪明和小规模的“升级程序”为游客打开。新兴的贵宾区大小不一，难以匹敌。每个活动都可以租到合适的区域。

Each angle of the quarry got its own personal characteristics. Views, morphology, intimacy and other features form the character of each area. The four most convincing areas were filtered for the VIPs. The special peculiarities of those areas have been accentuated and laid open by smart and small “upgrading processes” for the visitors. The emerging VIP-areas vary in size and persuade with matchlessness. One can rent the suitable area for each kind of event.

后台区域-“街区”

Backstage area – “the block”

这个地块只出现在自然舞台后面的前角。因此，它在不削弱自然力量和影响的情况下，为自然阶段形成了一个体面但非常明确的框架。相反，严格的框架把舞台放在了正确的角度。

The block appears only with its upper corners in the front behind the nature stage. Therefore it forms a decent but very clear frame for the nature stage without diminishing its natural strength and impact. Contrariwise, the strict frame puts the stage in perspective.

公园/三角/舞台-“折叠场”

Park/Triangle/Stage – “the folded field”

并不是每个游客都想利用演出间隙在餐饮自助餐中吃和喝。有些人可能会寻求平静和放松，以消化他们刚刚看到的。其他人可能会去一个小地方，供他们在演出之前和表演期间使用的参观者使用。停车场就是这样一个地方。

Not each visitor wants to use the breaks between shows to eat and drink at the catering buffet. Some might look for calmness and relaxation in order to digest what they just have seen. Others might go for a little area for the visitors they can use before and while the show. The parking area is such a place.

扩大看台-“互补”

Enlargement of the grandstand – “Complementation”

我们建议建造一个屋顶的看台作为一个轻，透明的钢框架，作为最终扩大观众的面积。这个看台把中央岩石地块建成一个高度恒定的块。

We suggest the construction of a roofed grandstand as a light, transparent steel frame as an eventual enlargement of the spectator’s area. This grandstand completes the central rock massif into one block with constant height.

 © Hertha Hurnaus

赫塔·赫尔纳斯

尽可能多地利用岩石本身作为建筑材料。游客在停车位的第一次接触已经让石头变成了一堵墙。贵宾区也使用周围的石头作为一个元素，创造一个房间。

As much as possible the rock itself is used as building material. Already the first contact of the visitor in the notch of the parking lets the stone become a wall. The VIP areas as well use the surrounding stone as an element that creates a room.

采石相关材料和采石场本身的材料主要用于自由空间的表面。在门厅里，游客们发现了一条由不同种类的砂砾制成的地毯，这些砂砾被转换成一个水封。这保证了必要的渗透区域，并避免在干燥的夏季形成灰尘。

Quarry related materials and materials from the quarry itself are used predominantly for the surfaces of the free spaces. In the foyer visitors find a carpet made of different sorts of grit, which are converted into a water bound cover. That guarantees necessary infiltration areas and avoids formation of dust over the dry summer months.

所有添加的立方体和边缘都覆盖着氧化钢板，这是一种由于采石场的历史而使用的材料。与重型建筑机械的协会是故意的。此外，钢保证保护天气和破坏在冬季时间，因为它已经被控制的氧化表面。

All the added cubatures and edges are covered with oxidised steel-plates, a material which is used because of the history of the quarry. Associations with heavy construction machinery are on purpose. Additionally the steel guarantees protection of weather and vandalism during the winter time due to its already controlled oxidised surface.

在任何地方，游客可能会接触到这些表面，尽管-在票房，餐饮柜台，厕所入口等。-白色纤维水泥板被使用，与粗糙的砂岩和生锈的钢相比，它创造了一种更精致的音符。

Wherever visitors are likely to come in contact with these surfaces, though – at the box office, catering counters, toilet entrances, etc. – white fibre-cement sheeting has been used, which creates a more refined note in contrast to the rough sandstone and the rusted steel.

 © Hertha Hurnaus

赫塔·赫尔纳斯

Construction

根据结构特定部位的不同地域条件，采用了不同的施工方法。

By virtue of the different regional conditions for the specific parts of a structure, various construction methods are used.

后台地区，其复杂的通道和有限的弯道空间，是完成木材建设。可以将包括所有必要的立面板在内的预制件交付到施工现场。然后，他们可以通过起重机从悬崖上进入建筑工地。根据要求，将后台区域分为两个自主部分，允许两个不同的建设阶段。

The backstage area with its complicated access and the limited elbowroom is accomplished as timber construction. It is possible to deliver prefab elements inclusive all necessary facade plates to the construction site. Those could then be brought in to the construction site over the cliffs via a crane. The allocation of the backstage area into two autonomous parts allows two different construction phases, according to requirements.

坡道、厕所以及VIP 02至VIP 04都是按常规钢结构完成的。进入个别/几个领域的困难要求尽可能多地使用预制材料。在这种情况下，钢结构比木结构更好。

The ramp, toilets as well as VIP02 till VIP04 are completed as a conventional steel structure. The difficulty in accessing individual/several areas demands to work as much as possible with pre fabricated materials. In this case steel structure is better than timber construction.

其他所有区域(餐饮、VIP 01和入口区域)都是按惯例在裸露混凝土中进行的。

All the other areas (catering, VIP01 and entrance area) are performed conventionally in exposed concrete.

 © Hertha Hurnaus

赫塔·赫尔纳斯

照明概念

Illumination Concept

整个区域的主要照明是通过突出现有的岩石面和岩石边缘来达到的。我们的目标是让天空远离干扰的点灯或灯笼，并为满天星空提供一个自由的视野。

The main illumination of the whole area is reached by the accentuation of the existing rock faces and rock edges. The goal is to keep the sky clear of disturbing spot lights or lanterns and to offer a free view to the night sky full of stars.

在城市正面照明中使用的“洗衣器”将采石场改造成一个独特的舞台外景观。

The use of “wallwashers”, which are used in urban facade illumination, transforms the quarry in a unique offstage scenery.

另外，由于不同的照明概念，个别区域的特性也得到了提升。这意味着线性斜坡单元的定义是由于在栏杆/球体中集成了一个乔木光泽。

Additionally the characteristics of individual areas are boosted due to different illumination concepts. That means that the linear ramp element is defined due to an arbour lustre which is integrated in the parapet/ballustrade.

在游客的餐饮区的房地边缘也成为线性照明的载体。池塘里充满了游泳的灯光，就像睡莲，强调浪漫的气氛。个别野餐区的灯光被整合到长凳上，并将柔和的光线投射到地面。

The edge of the premises in the visitor’s catering area as well becomes a carrier of linear lighting. The pond is full of swimming lights, similar to water lilies, which emphasise the romantic atmosphere. The individual picnic areas get lights which are integrated into the benches and spread soft streaks of light to the ground.

应急灯被整合到车道上，保证即使在演出期间也不会掉落在现场。

Emergency lights are integrated into lanes and guarantee even during the show a moving around without falling inside the site.

Architects AllesWirdGut Architektur

Location Sankt Margarethen im Burgenland, Austria

Category Theater

Project Management FCP – Fritsch, Chiari und Partner ZT GmbH

Staff Competition Michael Sohm, Elmir Smajic, Viktoria Volozhynska

Team Members Project Mareike Kuchenbecker, Sandra Gnigler, Maria Megina Martin Brandt, Moritz Kaiser, Ferdinand Kersten, Jan Schröder, Alexandra Seip, Johanna Kropp, Sandra Gnigler, Martina Arend

Area 4980.0 sqm

Project Year 2008

Photographs Hertha Hurnaus