© Peter de Jong

(彼得·德容)

架构师提供的文本描述。继荷兰斯皮肯尼斯市的斯皮肯尼斯剧院最近落成后，斯皮肯尼斯市政府将于明天庆祝该市新文化场馆的正式开幕。

Text description provided by the architects. Following the recent completion of the Theatre de Stoep in the Dutch town of Spijkenisse, the Municipality of Spijkenisse will tomorrow celebrate the official opening of its new cultural venue for the city.

联合国演播室的戏剧设计顺应了目前城市的文化活力，将剧院的原型功能-创造一个幻想和魅力的世界-与区域剧院的具体要求以及满足当地社区各种需要的必要功能结合起来。因此，剧院的设计既强调舞台世界的嵌合性质，又强调戏剧经验的社会方面。

UNStudio’s design for Theatre responds to the current cultural invigoration of the city by merging the archetypal function of a theatre - that of creating a world of illusion and enchantment - with the specific requirements of a regional theatre and its requisite to cater to the varied needs of the local community. The theatre is therefore designed with a dual emphasis on the chimeric nature of the world of the stage and the social aspects of the theatre experience.

 © Peter Guenzel

(Peter Guenzel)

本·范贝克尔(Ben Van Berkel)：“与当今的媒介文化不同，戏剧提供了现场活动的参与式体验，通常被恰当地称为‘活泼’：‘现场表演的魔力’，被理解为观众和表演者之间奇怪而难以捉摸的能量，社区形成在一起，以及现场活动所需要的短暂合作。”斯托普剧院旨在加强和激发这种活力，同时提供一个表演、社交聚会和体验对比现实的场所：另一个世界、捏造、表达和展示的世界，但同时也提供了我们作为这些世界中的旁观者的非常真实的感觉体验。

Ben van Berkel: “In contrast to today’s mediatised culture, theatre offers the participatory experience of the live event, often appropriately referred to as ‘liveliness’:the ‘magic of live theatre’, understood as the strange, elusive energy between audience and performer, the community forged together and the momentary collaboration necessitated by the live event.” Theatre de Stoep is designed to fortify and inspire this liveliness, providing at one and the same time a place of performance, of social gathering and of experiencing contrasting realities: the world of the other, of fabrication, of expression and display, but simultaneously the very real sentient experience of ourselves as spectators within these worlds. 

 © Peter Guenzel

(Peter Guenzel)

在5 800平方米的建筑设计中，建筑面积更大、面积更小(主礼堂最多可容纳650人，小厅可容纳200人)，几个相互连接的门厅、一家大咖啡馆和一家餐厅、一家艺术家咖啡馆、一间贵宾休息室、众多更衣室、多功能客房和办公室都集中在一起。各种内部体积的放置导致了一座花的形式的建筑，一个大的，没有柱的中央门厅构成了结构的中心。

In the design of the 5,800 m2 building a larger and a smaller theatrical space (with the main auditorium seating up to 650 guests and the smaller hall accommodating 200), several interlinked foyers, a grand café and a restaurant, an artist’s café, a VIP lounge, numerous dressing rooms, multifunctional rooms and offices are all brought together within one volume. The placement of the various internal volumes results in a building in the form of a flower, with a large, column-free central foyer forming the heart of the structure.

立式门厅

Vertical foyer

本·范伯克尔：“立式门厅成为剧院社会功能的一个关键点，是游客的”舞台“，是一个充满活力的焦点，周围围绕着不同层次的观点。”此外，门厅还负责组织寻路和连接大楼内的不同方案。在主门厅，一个雕塑式的楼梯形成了通向观众席入口的约束元素，而楼梯的扶手则无缝地将自己塑造成功能表面和家具元素。

Ben van Berkel: “The vertical foyer becomes a pivotal point in the social functioning of the theatre, a ‘stage’ for the visitors and a dynamic focal point surrounded by viewpoints on different levels.” Furthermore, the foyer serves to organise wayfinding and the linking of the different programmes within the building. From the main foyer, a sculptural stairway forms the binding element towards the entrances to the auditoria, while the handrail of the stairway seamlessly molds itself into functional surfaces and furniture elements.

 © Peter Guenzel

(Peter Guenzel)

听觉与声学

Auditoria and acoustics

斯托普剧院举办的演出种类繁多，包括戏剧、歌舞表演、音乐剧、音乐会、青年剧院和舞蹈表演。因此，剧院空间声学特性的多样性是至关重要的。最近，用于控制声学的软件的迅速发展，使得设计和优化音质成为可能。因此，天花板元素可以降低和角度，以调整音量水平时，需要，而声学墙板反映和提高每个座位的声音质量在礼堂。

Theatre de Stoep hosts a wide variety of performance types, including plays, opera, cabaret, musicals, concerts, youth theatre and dance performances. As such, versatility in the acoustic properties of the theatre spaces is paramount. The recent rapid development of the software used to control acoustics made it possible to engineer and optimise the sound quality within the auditoria. Thus the ceiling elements can be lowered and angled to adjust volume levels when required, while the acoustic wall panels reflect and increase the quality of the sound for every seat in the auditorium.

 © Peter Guenzel

(Peter Guenzel)

光和色在剧院的经验中起着至关重要的作用，不仅是在观众席和制作中，而且在设置场景、气氛和公众休息室的气氛方面也是如此。白天，正面较低的玻璃部分使日光直接从剧院前部和上方穿透，将日光投射到门厅深处和通向观众席的楼梯上方。在晚上，一种温暖和诱人的气氛是通过使用色彩和人工照明来创造的。

Light and colour Light and colour play an essential role in the experience of the theatre, not only in the auditoria and for productions, but also for setting the scene, the atmosphere and the mood in the public foyers. During the day the lower glass portion of the facade enables daylight penetration directly from both the front of the theatre and from above, throwing daylight deep into the foyer and above the stairs leading to the auditoria. In the evening a warm and inviting atmosphere is created through the use of both colour and artificial lighting.

在正面较低的玻璃层之上，上部由两层铝组成，透过外面白色面板上的圆形穿孔，可以看到紫色背面的一瞥，在两层正面之间安装了LED灯，以便在晚上照亮建筑物。

Above the glazed lower levels of the facade, the upper portion comprises two layers of aluminium, Glimpses of the purple coloured back layer can be seen through circular perforations in the outer white panels, with LED lights fitted between the two facade layers to light the building in the evenings.

 Facade Lightning

正面闪电

整合与可达性

Integration and attainability

唯一的位置是它与水的连接和附近的风车，‘Nooitgedacht’。建筑物的体积是圆形的，以确保尽可能少的风流干扰到这个附近的磨坊。

Unique to the location is its connection with the water and the view to the nearby windmill, ‘Nooitgedacht’. The building volume is rounded so as to ensure as little wind flow disturbance to this nearby mill.

 © Peter Guenzel

(Peter Guenzel)

虽然区域剧院的需求多种多样，但必须找到方法，在设计抱负和负担能力之间取得平衡。通过使用设计信息模型(DIM)可以节省大量建筑费用的一种手段是：在设计阶段采用一种知识综合性能驱动设计方法，为迅速和以综合方式测试和建模空间提供了独特的机会。

Although the demands of the regional theatre are many and varied, ways must be found to balance design ambitions with affordability. One means by which it was possible to save significant costs on construction was through the use of Design Information Modelling (DIM): a knowledge integrated performance driven design methodology employed during the design phases which affords the unique opportunity to test and to model spaces swiftly and in an integrated fashion. 

 Structure - © Arup

结构-C.Arup

在项目的早期阶段，UNStudio与Arup合作进行冲突检测，以确保所有的三维细节都能识别和研究重复和可构建性。从设计信息建模(DIM)到建筑信息建模(BIM)，是在主承包商Vorm Bouw招标后进行的。最后的BIM模型是由IOB与承包商密切合作从DIM模型发展而来的，以确保调整成本的大幅降低和对详细成本的微观控制。客户Spijkenisse市在要求完整的DIM/BIM设计过程中发挥了关键和重要的作用，整个BIM模型将在未来用于剧院的维护和管理。

In the early stages of the project UNStudio worked with Arup on Clash detections to ensure that all three dimensional details where recognised and researched on repetition and buildability. The step from Design information modelling (DIM) to Building information modelling (BIM) was made after tendering the main contractor VORM Bouw. The final BIM model was developed from the DIM model by IOB in close collaboration with the contractor to ensure an important reduction of the adjustment costs and micro control of the detailed costs. The client, the City of Spijkenisse, played a crucial and important role in requesting the full DIM/BIM design process and the full BIM model will be used for the maintenance and management of the theatre in the future.

 Installations - © Arup

安装-阿罗普

Architects UNStudio

Location Spijkenisse, The Netherlands

Category Theater

Design Team Ben van Berkel, Gerard Loozekoot with Jacques van Wijk and Hans Kooij, Lars Nixdorff, Thomas Harms, Gustav Fagerstrom, Ramon van der Heijden Tatjana Gorbachewskaja, Jesca de Vries, Wesley Lanckriet, Maud van Hees, Benjamin Moore, Henk van Schuppen, Philipp Mecke, Colette Parras, Daniela Hake, Mazin Orfali and Selim Ahmad.

Area 7000.0 sqm

Project Year 2014

Photographs Jan Paul Mioulet, Peter Guenzel, Peter de Jong