© Jon Ingemundsen

乔恩·英吉姆德森

斯塔万格音乐厅

Stavanger Concert Hall, Ratio arkitekter AS

 © Jiri Havran

(伊日·哈夫兰)

斯塔万格音乐厅在2003年的一次公开的国际比赛中以比阿基特克得奖，参赛作品超过100项。这是一个以前的工业码头和渡口码头，距离历史悠久的斯塔万格中心仅需5分钟的步行路程。

Stavanger Concert Hall was won by Ratio arkitekter AS in an open international competition in 2003, with more than 100 entries. The site is a former industrial and ferry terminal dock only five minutes’ walk from the historical center of Stavanger.

主要概念

Main concept

 © Stavanger Aftenblad

(Stavanger Aftenblad)

通过重建小海湾的地形，我们创建了一个大型室外圆形剧场，所有停车场都在地面以下。这座建筑物的主要方向是朝向大海的，就像那个地区的旧仓库一样。从而保留了港口地区、岛屿和东部山脉的壮丽景色。音乐厅形成了广场上的北面墙，保护它不受北风的影响，并捕捉到暖日，这在这些纬度地区是必不可少的。

By reestablishing the terrain of the small bay, we created a large outdoor amphitheatre with all car parking below ground level. The main direction of the building was oriented toward the sea like the old warehouses in the area. Thereby the magnificent view of the harbor area, the islands and the mountain range in the east was retained. The Concert hall forms the northern wall in the plaza, protecting it from the northerly winds and catching the warming sun, so essential in these latitudes.

 Floor Plan 1

平面图1

该节目要求有两个大厅，音量大致相似，但内容相反和互补；一个大厅，特别是当地的爱乐乐团，对自然声学进行微调；一个大厅，用于多种功能，如摇滚音乐和爵士乐，以及音乐剧、舞蹈、大会和宴会。

The program asked for two halls, more or less similar in volume, but opposite and complementary in content; one hall fine-tuned for natural acoustic, especially the local philharmonic orchestra, and one hall for multiple functions, amplified music like rock and jazz, as well as musicals, dance, congresses and banquettes.

 © Sindre Ellingsen

c Sindre Ellingsen

这两个大厅并排放置在两个不同的盒子里：声学大厅像混凝土保护箱中脆弱的仪器；多功能大厅像玻璃棱镜中坚固的金属盒子。具体的空间包括排练室，衣柜和办公室，玻璃卷是一个很大的开放的房间，公共区域和令人叹为观止的周围景色。晚上，巨大的透明玻璃墙在视觉上消失了，展现了里面的艺术、体验和参观者。丝网玻璃作为一个巨大的投影屏幕，用于公告和现场表演。大厅主要是杰弗里·因纳巴的艺术作品“天光2”和装饰着枫木贴面的明亮的阁楼。

The two halls are placed in two different boxes, side by side: The acoustic hall like a fragile instrument in a protective case of concrete; the multipurpose hall like a sturdy metal box in a glass prism. The concrete volume contains rehearsal rooms, wardrobes and offices, and the glass volume is a large open room with public areas and stunning views of the surroundings. At night the large clear glass wall visually disappears to reveal the art, the experiences and the visitors inside. The silk screened glass works as an enormous projection screen for announcements and live shows. The lobby is dominated by Jeffrey Inaba’s artwork “Skylight 2” and the illuminated mezzanine clad with maple veneer.

管弦乐厅

Orchestra Hall

 © Stavanger Aftenblad

(Stavanger Aftenblad)

拥有1500个座位的管弦乐队大厅是以鞋盒原理为基础的。在与声学家Eckhard Kahle的密切合作下，侧面阳台被移到大厅，这提供了早期的声音反射，但保留了很大的音量。天花板面积近1000平方米，可升降5米，改变了混响时间，使大厅可调至晚间节目。大厅的灵感来自弦乐器柔和的曲线和深沉的木色调。墙壁是由温暖的颜料涂满油的枫树做成的，地板是灰泥地板。舞台一侧由一个大型风琴(65个声音)主导，由风琴设计师UlfOldaeus和Rate合作设计。

The orchestra hall with 1500 seats is based on the shoebox principle known from numerous classic halls. In close cooperation with the acoustician Eckhard Kahle the side balconies are moved into the hall, which gives early sound reflection but retains the large volume. The ceiling is almost 1000 square meters in area and can be raised and lowered five meters, which changes the reverberation time and makes it possible to tune the hall to the program of the evening. The hall is inspired by string instruments’ soft curves and deep wooden hue. The walls are made of warm pigmented oiled maple, and the floors are ash parquet. The stage side is dominated by a large organ (65 voices) designed in cooperation between the organ architect Ulf Oldaeus and Ratio.

多用途厅

Multipurpose Hall

 Section Multi Purpose

节多用途

 Section Orchestra

管弦乐团

多功能厅可以配置成一个传统的舞台剧场，有850个座位，或者有一个最大可容纳1900人的平地，或者仍然有许多其他的配置。它有舞台升降机和可伸缩的座椅在气垫上，以缓解重塑之间的空间事件。这个大厅的建筑灵感来自机械车间，它有意识地被赋予更多的个性，而不是一个纯粹的“黑匣子”。阳台前面是黑色的镀锌拉伸金属，由LED灯照明，墙壁是深蓝色金属磁带。地板是黑色的灰烬，技术设备是室内的自然部分。

The multipurpose hall may be configured like a traditional proscenium theatre with 850 seats, or with a flat floor with a maximum capacity of 1900 people, or still in a number of other configurations. It has both stage lifts and retractable seating on air cushions to ease remodeling of the space between events. The architectural inspiration for this hall is from mechanical workshops, and the hall is consciously given more character than a pure “black box”. Balcony fronts are black with galvanized stretch metal, lit by LED-lights, and walls are dark blue metal cassettes. Floors are black stained ash, and the technical equipment is a natural part of the interior.

材料和颜色

Materials and colours

 © Jiri Havran

(伊日·哈夫兰)

主要的原则是色彩应该是自然的，墙壁和地板之间以及两个互补的建筑体积之间应该有一个清晰的对比。玻璃大厅有浅灰色花岗岩地板，暴露混凝土结构元素和灰色穿孔金属天花板。这个多用途大厅几乎覆盖着黑色的钢板。混凝土在质量不合格的地方被轻磨。封闭的盒子有黑烟橡木地板，天然枫树和白色灰泥在墙上。艺术家和行政人员的区域围绕在“房子的背面”玻璃庭院在裸露的混凝土。混凝土箱体外面覆盖着经过碾磨和抛光的红色混凝土。

The main principle is that coloursshould be natural, with a clear contrast between walls and floors, as well as between the two complementary building volumes. The glass lobby has light grey granite floors, exposed concrete constructional elements and grey perforated metal ceilings. The multipurpose hall is clad with almost black steel panels. The concrete is lightly grinded where the quality has not been up to standard. The closed box has dark smoked oak flooring, natural maple and white plaster on the walls. Areas for artists and administration surround the “back of house” glazed court in exposed concrete. The concrete box is clad on the outside with milled and polished red concrete.

 © Jiri Havran

(伊日·哈夫兰)

外墙是与混凝土元素的制造商一起开发的，部分由红色花岗岩和红色不透明玻璃混合而成。这些节理反映了地质过程，就好像较高的上部元素正以纯粹的重量压下部。立面上的窗户被放置在不同的深度，从里面和外面都可以看到墙的厚度。精确的粘合玻璃角对比了混凝土的重量和强度。

The façade is developed together with the manufacturer of the concrete elements, and consists partially ofred granite mixed with red coloured opaque glass. The joints suggest geological processes, as if the taller upper elements are pressing the lower down by the sheer weight. Windows in the façade are placed in different depths, visualizing the thickness of the wall both from the inside and outside. The precise glued glass corners contrast the weight and strength of the concrete.

Landscaping

主广场被浅灰色花岗岩覆盖，圆形剧场的台阶是由现场混凝土制成的，上面是木制长凳。剧院被一个1：20年级的连续坡道打破，使得轮椅和婴儿车能够到达所有不同的级别。地下停车场的出口被赋予不同的颜色，并用马赛克装饰。在平坦的地区，空间里散布着草地、草坪和花坛，而其他的梯田则以常青树和攀缘植物为主。在东部的滨水区，码头被一个长方形的海湾打破，台阶使水靠近建筑物。对面有一小片樱桃树林，把新大厅和后面的绿色公园连接起来。

The main plaza is covered with light grey granite and the steps in the amphitheatre are made of in-situ concrete topped with wooden benches. The theatre is broken by a continuous ramp with grade 1:20, which enables wheelchairs and strollers to reach all the different levels. The exits from the subterranean parking area are given different colors and decorated with mosaics. In flat areas the space is interspersed with grass lawns and flower beds, whilst the other terraces are dominated by evergreens and climbing plants. At the waterfront in the east, the quay is broken by a rectangular bay with steps which brings the water close to the building. On the opposite side there is a small grove of cherry trees, linking the new hall to the large green park behind.