Courtesy of Flanagan Lawrence

弗拉纳根·劳伦斯

架构师提供的文本描述。位于英国西苏塞克斯州利特尔汉普顿海滩边的一个沉陷的花园里，这些“声学贝壳”充当了当地社区的舞台和避难所。由于希望以20世纪初的风度重振Littlehampton，贝壳极大地增强了邻近绿地的公共开放空间，满足了该地区其他地方没有提供的基本社会需求。

Text description provided by the architects. Sited in a sunken garden beside the beach in Littlehampton, West Sussex, UK, these ‘Acoustic Shells’ act as a stage and shelter for the local community. Prompted by a desire to reinvigorate Littlehampton with its gentility of the early 20th century, the shells materially enhance the public open space of the adjacent greensward and satisfy an essential social need that is not provided elsewhere in the area.

 Courtesy of Flanagan Lawrence

弗拉纳根·劳伦斯

炮弹的概念来源于传统的表台概念；在工业革命和城市地区日益恶化的条件之后，人们认为收视台是地方当局对日益增加的绿地需求的一种反应，一般公众可以放松这种空间。1861年，英国在南肯辛顿的皇家园艺协会花园建立了第一个乐队展台之后，乐队展台变得非常受欢迎，随后被安装在全国各地的公园中。与新媒体竞争的20年代，电影和电视，乐队看台失去了吸引力，并失去了使用。

The concept for the shells is derived from the notion of a traditional bandstand; following the industrial Revolution and worsening conditions in urban areas, bandstands were conceived as a response by local authorities to an increased need for green open spaces where the general public could relax. Following the first bandstand in Britain in the Royal Horticultural Society Gardens in South Kensington in 1861, bandstands became hugely popular, and were subsequently installed in parks across the country. Competing with new medias in the 20thC; cinema and television, bandstands lost their appeal, and fell into disuse.

 Courtesy of Flanagan Lawrence

弗拉纳根·劳伦斯

然而，新的社会媒体世界使音乐的生产和传播更加民主化。流行音乐不再是精英音乐家的专利，而是由任何人制作，在任何地方演奏，无论是在线的，还是公开的。声壳是对这一背景的回应，它带回了一个古老的理想，一种能够代表“声音”的建筑，以及制造它的人。

However, the new world of social media has further democratised the production and distribution of music. No longer the preserve of elite musicians, popular music is now being made by anyone, and played anywhere, whether this is online, or in public. The Acoustic Shells are a response to this context, bringing back an old ideal, an architecture that can represent ‘sound’, and the people that made it.

一枚炮弹面向该镇，形成主要的乐队架。室内的声学设计创造了一个反射面，将表演者的声音投射到沉入的花园里。另一个贝壳面向海滩，形成一个更亲密的结构，作为倾听大海的声音或街头艺人面对长廊表演的庇护所。

One shell faces the town and forms the principal bandstand. The acoustic design of the interior creates a reflective surface to project the sound of the performers to the audience in the sunken garden. The other shell faces the beach and forms a more intimate structure as a shelter for listening to the sound of the sea or for buskers to perform facing the promenade.

 Courtesy of Flanagan Lawrence

弗拉纳根·劳伦斯

在没有模板的情况下，直接将混凝土喷到钢筋网上，形成了壳体结构。大部分的混凝土外壳只有100毫米厚，依靠双曲几何跨越阶段。

The shell structures have been created without formwork with the concrete sprayed directly on to the reinforcement mesh. The majority of the concrete shell is only 100mm thick and relies on the double curved geometry to span the stage.

 Courtesy of Flanagan Lawrence

弗拉纳根·劳伦斯

这两颗贝壳看起来就像白色的土地，从绿草如茵的草地上浮现出来。这反映了在邓吉尼斯南海岸的混凝土声音镜像的历史背景，以及当地沙丘的视觉上引人注目的形式。

The two shells appear like white land forms emerging from the grass of the greensward. This reflects the historical context of the concrete sound mirrors along the south coast at Dungeness, and the visually striking form of the local sand dunes.

 Courtesy of Flanagan Lawrence

弗拉纳根·劳伦斯

该项目于2012年在竞赛中获胜，并及时完成，将于2014年夏季使用。

The project was won in competition in 2012 and it has been completed in time to be used during the summer of 2014.

Architects Flanagan Lawrence

Location Littlehampton, West Sussex, United Kingdom

Category Public Space

Project Year 2014