架构师提供的文本描述。该工程位于新地铁线与拉山河轴线交汇处，东西轴线由新高速火车站延伸至城镇中心，沿拉山河南北轴线延伸。这两个轴都是休闲区，由公共空间和公共花园组成。这两个垂直公园的特点是不同的，中央公园应该是一个非常活跃的地方，主要与办公室和零售的日常活动相连。它的长度应该由连续的序列组成，设计不同，适应两侧或地表下的不同活动。相反，“水上公园”则具有更大的统一性，本质上是通过设计一个被视为已建和控制的潮湿地区的水园来创造的。

Text description provided by the architects. The project is located at the axis cross of the new metro line and the Lashan River. The east–west axis extends from the new high speed train station to the town center the north-south axis along the Lashan River. Both axes are leisure zones, composed out of public space and public gardens. The character between the two perpendicular parks is differentiated. Central Park should be a very active place, connected mainly to the daily activities of offices and retail. Its length is such that it should be constituted of successive sequences, different in design and adapted to the different activities on their two sides or under their surface. The “Water Park” would on the contrary have a greater unity, essentially created by the design of a water-garden treated as a built and controlled damp area. 

 © Philippe Ruault

菲利普·鲁奥

道路的多样性，以及植物和树木的多样性，使广大公众能够利用自然的空间。这两个公园相交的地方当然是新市镇中最具象征意义的地方，集中了它作为“更好生活”的生活空间的雄心。地点描述该地点有三条主要道路和一条次要道路；在北(鸡西路东)和南(湛前路)。省际文化建筑综合体

The variety of paths and of plants and trees conciliate the use by a large public with a natural organisation of the space. The place where the two parks intersect will be of course the most symbolic one in the new town, concentrating its ambitions as a living space for “better life”. Site description The site is bordered by 3 major roads and one secondary road; in the North (East JiXi road) and South (ZhanQian road). The building complex of the Provincial Cultural& Art Center Plaza is situated in the middle of the Central Park at the gravity center of the new metro line. The geometry of the whole complex takes reference to the center public space the Central Plaza. In the north of the project 3 towers border the building complex with their common base. The towers will have hotel, short-term apartments and office functions; the base provides common services of these functions. The complexes’ south is occupied by the Grand Theatre. Each of the 3 audience halls, the Opera Hall, the Concert Hall and the Multifunctional Hall form a big “shell type” building, so that a composition with the towers is formed. In the center, between the Towers and the Grand Theatre a two stories commercial center will be constructed above the metro line. 

 © Philippe Ruault

菲利普·鲁奥

地铁站在侧边的东边。在中央广场西侧有一个大型露台，公共动画、餐馆和酒吧都得益于沿河边界。建筑被景观环绕。该遗址的主要概念是，建筑群被公园的景观所包围。周边景观分为两层，街道层和中央广场5层，高4米，公园内有3个不同的行人层。这3层楼是定期连接的，这样行人就可以在公园散步时选择上上下下。山坡景观提供倾斜的通道，打开建筑物的视野或部分隐藏建筑物。桥梁和人行道确保行走的连续性。特别是景观的高耸入云，为建筑、景观的下部、河流以及具有公共活动的地区开辟了非凡的视野。

The metro station is on the east edge of the side. In the west of the Central Plaza a large terrace can be found where public animation, restaurants and bars profit from the river border. Building surrounded by landscape. The main concept of the site is that the building complex is surrounded by the landscape of the park. The surrounding landscape is divided into two levels, street level and Central Plaza level 5, 4 meters higher. The park deals with 3 different pedestrian levels. The 3 levels are connected regularly so that the pedestrian has a choice to go up or down during a walk in the park. A hill landscape provides sloped access, opens views to the building or partially hides the building. Bridges and walkway ensure the continuity of the walk. Especially the higher points of the landscape open extraordinary views to the building, to the lower parts of the landscape, to the river and to the areas with public activities.

 © Philippe Ruault

菲利普·鲁奥

持续的高景观隐藏了大剧院的交付区。传递和艺术家的进入是由一座人行桥覆盖的。景观参与了通道和安全的概念，所有其他部分都整合了更高幅度的运动，以便在需要的地方降低街道通道、查看汽车通道等，中央公园集中了拉山河沿岸的水上公园和新地铁线路沿线的绿色轴线在一个地点的质量。游客们可以在密密麻麻的树丛中漫步，靠近河流，或者在桥和上面的小径上走得更高。在步行过程中，游客可以体验到不同的角度和情况。设计的组成将项目划分为北部和南部。中央广场的每个入口都有一个大的入口。

Continuous high landscape hides the delivery zone of the Grand Theatre. The delivery and artists’ access is covered by a footbridge. The landscape participates at the access and security concept. All other parts integrate movement of higher amplitude in order to lower where needed for street access, views car access and other. The Central park concentrates the qualities of the water park along the Lashan River and the green axis along the new metro line on one site. The visitors can enjoy their walk through dense tree areas, closed to the river or higher up on the bridges and upper pathways. During the walk the visitor can experience different perspectives and situations. The composition The design divides the project in a north part and a south part. A large opening is so created on each entrance side of the Central Plaza. 

 © Philippe Ruault

菲利普·鲁奥

这两个屋顶部分的反曲线邀请游客进入并吸引他们到中心。就在中心，可以找到一条很大的有盖的通道，这样游客就可以轻松地从大剧院穿越到商业和塔楼的一侧。两个屋顶部分在中心相互靠近，在双子塔和大剧院之间勾勒出项目的重心。因此，它直接体现了文化艺术中心是新济南的中心，它辐射到山东省和它的边界。文化方法和哲学是既简单又复杂的项目。它是抽象的和字面的，它合作建筑，都市，艺术和象征的方法.这个项目变成了一个“完整的艺术品”，它可以参与到一个现代社会，在这个社会里，根据不同的想象，可以有不同的解释。

The counter-curve of the two roof parts invites the visitors to enter and attract them to the center. Right in the center a large covered passage can be found so that visitors can easily cross from the Grand Theatre to the commercial and tower side. The 2 roof parts coming close to each other in the center articulate the gravity center of the project between the towers and the Grand Theatre. It is therefore direct expression of the Cultural and Art Centre being the center of New West Jinan, which radiates to the province of Shandong and over its borders. Cultural approach and philosophy The project is simple and complex at the same time. It is abstract and literal; it in-cooperates architectural, urbanistic, artistic and symbolic approaches. The project becomes so an ‘Entire artwork’ which can take part in a modern society where different interpretation are possible according to different imaginations.

 Floor Plan

省级文化

The Provincial Cultural & Art Centre Plaza can fulfil its outstanding position in the region. Green Mountains “Green Mountains and Blue Sea” cleverly sums up the geographical landscape and cultural history on the mountains and the sea in Shandong. It highlights the beauty of the blend of mountains and the sea, the hometown of Confucius and the culture of Shandong. The name of Green Mountain was deriving from Mount Tai. Poetically it is described as towering, green intoxicating scene of Emerald Crest. Majestic Mount Tai is a symbol of Qilu culture. It represents the characteristics of Qilu people as being self-improvement, social commitment, excellent and hard-working wisdom. Blue Sea Blue Sea symbolizes the full use of the coastal location of Shandong with the meaningful aim of developing the marine economy, scientifically configuring the marine resources and creating the blue economy zone of the Shandong Peninsula.

 © Philippe Ruault

菲利普·鲁奥

建筑理念

Building Concept

大剧院的三层屋盖跨越了三座塔的一条力量线。所有建筑部位的共同建筑语言赋予了遗址和整个新济南地区的身份。这座建筑具有高度可记忆的图标效果。公共生活将集中在综合体的中心，以便进行文化交流。FAÇADE概念，FAÇADE语言强调属于一种奇异的建筑综合体。不同的函数有不同的FAÇADE请求。该基地是由一个巨大的石板缎带建造的，下面是摆在上面的物体的形状。大剧院的三层外壳和讲台上的侧楼，主要覆盖着一个不透明的金属包层系统和中心线上的玻璃条。这些塔主要是从玻璃上出来的，穿过讲台一直延伸到街道上。

The 3 roof shells of the Grand Theatre span a force line to the 3 towers. The common architectural language of all building parts give the identity to the site and the whole New West Jinan area. The building has a highly memorisable icon effect. Public life will be concentrated in the centre of the complex so that cultural exchange can happen. Façade concept The façade language highlights the belonging to one singular building complex. The different functions have different façade requests. The base is build out of a massive stone plinth ribbon following the shapes of the objects posed on to it. The three shells of the Grand Theatre and the side buildings posed on the podium are covered mainly with an opaque metal cladding system and glazed strips in the centre line. The towers are mainly out of glass and pass over the podium building down to street level.

 © Philippe Ruault

菲利普·鲁奥

中央广场façade是景观设计的连续性，石制的基础建筑遵循工作人员的灵感，开口由工作人员内部的乐谱组成，创造了一段音乐。塔楼和大剧院的正面都有一个形象化的图案在他们的façades上：塔楼上有一个植物人的主题，把这些塔识别为青山；剧院用一个更抽象的有机主题。这个图案是一个过渡元素，视觉上由周围公园的植物团、金属壳和它的图案组成，基座和外壳的闪耀将是一个极简主义的设计。大剧院入口大厅，公众从中央广场进入大剧院，比街道更高。入口大厅是从密集的公众现场到观众大厅的空间序列的第一步。

The Central Plaza façade are in continuity of the landscape design. The stoned base building follows the inspiration of lines of staff the openings are composed such as notes of a score within the staff which creates a piece of music. Both, the Tower and Grand Theatre, facades have a figurative pattern on theirs façades: the towers with a vegetal motif identifying the towers as green mountains; the Theatre shells a more abstract organic motif. The pattern is a transition element, which will visually be composed out of the vegetal mass of the surrounding park, the metal shell and its pattern. Glazing of the bases and the shells will be a minimalist design. It will mainly be visible during the night time. The Grand Theatre - Entrance Hall The public enters the Grand Theatre from the Central Plaza higher than the street level. The entrance hall is the first step through a space sequence from intense public live to the audience halls. 

 © Philippe Ruault

菲利普·鲁奥

每位观众在进入三个不同的大厅之前，都会被邀请体验公共入口大厅的过滤，一个中间的空间，然后他们可以进入每个观众大厅。入口大厅沿着建筑物的正面延伸到两个侧建筑体积的极限。售票处、侧面的旅游信息等集中功能，三个大堂各有一个不同的特色，各厅精心摆好贵重石材等木箱。观众发现自己在一个很大的封闭空间，受到屋顶外壳的限制。屋顶贝壳与观众大厅的体积一起创造了身份。大厅可以进入观众大厅。

Every spectator is invited to experience the common entrance hall as filter, an in between space before entering the 3 different lobbies from which they can enter into each of the audience halls. The entrance hall is extended all along the building facades to the limit of the 2 lateral building volumes. Centralized functions such as ticket office, tourist information on the side can be found. Each of the 3 lobbies has a different and singular character, and the auditoriums are carefully posed such as valuable stones into their wooden box. The spectator finds himself in a big enclosed space limited by the roof shells. The roof shells are creating the identity together with the audience hall volumes. The lobbies give access to the audience halls. 

 © Philippe Ruault

菲利普·鲁奥

公众从观众大厅的背面和侧面进入。公共环境歌剧院大厅进入大厅时，可以发现歌剧院是一个立方体。立方体的矿渣̧ADE被一层薄薄的水膜覆盖，对体积产生轻微的振动效应，两侧的垂直循环由楼梯、桥梁和玻璃升降机组成。螺旋形布置让观众通过接近贝壳以及歌剧立方体。在歌剧立方体顶部，可以找到一个接待大厅。这个区域可以独立运行，也可以为观众关闭。从侧楼可以组织独立的通道。接待区可以看到屋顶外壳和观众大厅的壮观景色。歌剧院

The public enters on the back and on the sides of the audience halls. Public environments Opera Hall lobby While entering the lobby, the Opera Hall can be discovered as a cube. The cubes’ mineral façade is covered by a thin water film which gives a light vibration effect to the volume. On each side vertical circulation is organized with stairs, bridges and glazed lifts. The spiral type arrangement let pass the spectators close to the shell as well as to the opera cube. On top of the opera cube a reception lobby can be found. This area has can be run independently and can be closed for spectators. Independent access can be organized from the lateral building. The reception area gives a spectacular view to the roof shell and down to the audience lobby. Opera Hall

 © Philippe Ruault

菲利普·鲁奥

金曲厅集技术要求和艺术表现于一体，受立方体体积的限制，观众可以从两边或阳台侧面发现歌剧院。两个阳台呈现一种形式的照明线，所有连接到一个边缘柱在舞台的每一边。立柱作为舞台和礼堂的横向照明和声源，阳台的形状略有不对称，与相对严格的Parterre设计形成了鲜明对比。阳台在前缘周围提供光线，在歌剧立方体内形成一个运动。观众可以通过进入和离开观众大厅来享受可能的灯光效果。多功能厅的内部是一个极小的室内，覆盖着夜蓝色调。将多形函数简化为多函数。

The golden Opera Hall integrates technical requests and artistic expression within the constraints of the cube volume. The spectators discover the opera hall from the two edges or from the side of the balconies. The 2 balconies present a form of lighting lines, all connected to an edge column on each side of the stage. The column functions as lateral lighting and sound source for the stage and auditorium. The shape of the balconies are slightly asymmetric and contrasts the parterre design which relatively strict. The balconies provide light all around the front edge which form a movement within the opera cube. The spectators can take enjoy the possible lighting effect by entering and leaving the audience hall. Multifunctional Hall The interior of the Multifunctional Hall is a very minimal interior covered in night blue tones. The multiform function has been simplified to multifunction. 

 © Philippe Ruault

菲利普·鲁奥

主要方向是正面，观众从舞台上看到观众大厅。舞台和观众座位的各种配置都可以让各种眼镜出现。音乐厅大堂音乐厅的音量是椭圆形的。从入口处进入观众大厅，可以看到蛋形音量。观众可以体验到观众席周围的长廊。空间受到壳的木制天花板的限制。外壳是独立站立和断开与音乐厅的音量，如一个圆顶。音乐厅外面的自由形状镜子将外壳反射到鸡蛋形状上。并给出了幻象空间的影响，界限已不明确。戏剧性的灯光将给出动画天空的表现。

The main orientation will be frontal. The spectators discover the audience hall from the stage level. Various configurations of stage and spectator seats are possible to allow all kind of spectacles to take place. Concert Hall lobby The Concert Hall volume is oval. The egg type volume can be seen from the entrance hall by entering the audience lobby. The spectator can experience a promenade all around the audience hall. The space is limited by the wooden ceiling of the shell. The shell is free standing and disconnected from the Concert Hall volume such as a dome. The free shape mirror on the outside of the concert hall mirrors the shell back onto the egg shape. And gives an effect of illusionary space the limits are not clear anymore. Dramatic lighting will give an expression of animated sky. 

 © Philippe Ruault

菲利普·鲁奥

在后面的大玻璃窗上，可以看到拉山河和公园西南角。在音乐厅的音量顶部，可以看到类似于歌剧院大厅的接待大厅。它可以独立运行，也可以为观众关闭。从侧楼可以找到电梯通道。接待处可以看到屋顶和大厅的壮观景色。音乐厅有其特殊性，可以在内部的边缘提供一条走道，从那里可以到达侧座的位置。观众可以在入座前体验观众的感受。公园可以从观众大厅的后面进入，并连接到人行道上。舞台周围和公园的边缘都放置了不同的圆形。每卷都对应一组座位。

On the backside large glazing gives a view to the Lashan river and the south-west corner of the public park. On top of the Concert Hall volume a reception lobby can be found similar to the Opera lobby. It can be run independently and can be closed for spectators. Lift access can be found from the lateral building. The reception area gives a spectacular view to the roof shell and down to the audience lobby. Concert Hall The Concert Hall has the particularity to provide a walkway all around on the edge of the interior from which the side seats can be reached. The spectator can so experiences the audience hall before being seated. The parterre is accessible from the back of the audience hall and attached to the walkway. All around the stage and on the edge of the parterre different round shapes are placed. Each of these volumes is corresponding to a group of seats. 

体积用木材处理，相当于地板和舞台。一个设计极小的器官放在舞台后面的轴上。一个合唱可以放在它的前面。墙壁被处理成一个统一的外观，产生了周围的效果。金属网起到声透明窗帘的作用。窗帘后面安装了必要的音响架。墙壁的照明主要有两种方式：从前面点亮金属网，显示大厅内金属网的光泽，或在网眼后面发光，使幕布透明，让我们出现在后面的空间和音响架上。灯的颜色可以改变，以获得不同的气氛。天花板是对比所有的木质体积，黑暗的凸形，以声学为目的。天花板体积中的一个主要边缘断裂对边缘末端的器官产生了戏剧性的影响。

The volumes are treated in wood equal to the floor and the stage. An organ with a minimal design is placed in the axis behind the stage. A chorus can be placed in front of it. The walls are treated in a uniform appearance giving a surrounding effect. A metal mesh acts as an acoustically transparent curtain. Behind the curtain acoustic necessary shelves are installed. The lighting of the walls can be changed in two main modes: lighting the metal mesh from the front showing the hall in the shine of the metal mesh or light behind the mesh which makes curtain transparent and let’s appear space behind and the acoustic shelves. The color of the light can be changed to obtain different moods for the hall. The ceiling is contrasting all wooden volumes, dark out of convex shapes for acoustic purposes. A major edge break in the ceiling volume gives a dramatic effect to the organ at the end of the edge.

Architects Paul Andreu Architecte

Location Jinan, Shandong, China

Category Opera House

Design Team Katharina Kriener, Stephanie Boufflet, Pengzi Zhang, Riccardo Vanigli, Olivia Faury, Antoine Barbeyer, Yanfang Niu, Kasia Dudzik, Hailin Zhai, Chen Wei, Wei Dong, Guo Kun

Project Year 2013

Photographs Philippe Ruault