© Philipp Rümmele

飞利浦·吕梅莱

1987年，莉莲·迪斯尼捐赠了5000万美元，为她已故的丈夫沃尔特建立了一个音乐厅。弗兰克盖里是在第二年的设计竞赛中从几个候选人中选出的。他的建议很大程度上是面向公众的，大部分的土地被分配给开放的花园。该项目实施几年后，政治和管理方面的障碍结合在一起，威胁到项目的实现。它在1994年被关闭，但在两年后的一次媒体和筹款运动中恢复了活力。

In 1987, Lilian Disney donated $50 million to establish a concert hall in honor of her late husband, Walt. Frank Gehry was selected from among several candidates during a design competition the following year. His proposal was largely oriented toward the public, with much of the site allocated to open gardens. Several years into the project, a combination of political and managerial impediments threatened its realization. It was shut down in 1994, but revived by a press and fund-raising campaign two years later.

 © 2012 Carlos Eduardo Seo - www.carlosseo.com. Used with permission.

2012年Carlos Eduardo Seo-www.carlosseo.com。经许可使用。

音乐厅设计成一卷，管弦乐队和观众占据着同样的空间。座位位于舞台的两侧，为一些观众提供了表演者乐谱的远见卓识。这位洛杉矶爱乐乐团的前导演，在设计中尽量减少了空间隔离，暗示了观众内部的社会等级。道格拉斯冷杉的曲线平面提供了唯一的分隔，描绘了2，265名观众的部分，而没有造成视觉障碍。钢屋顶结构跨越整个空间，消除了内部柱的需要。这个风琴站在大厅的前面，一束6134根弯弯曲曲的管子几乎伸向天花板。这是盖里和洛杉矶风琴设计师曼努埃尔·J·罗萨莱斯(Manuel J.Rosales)合作的独特结果。

The concert hall was designed as a single volume, with orchestra and audience occupying the same space. Seats are located on each side of the stage, providing some audience members with distant views of the performers’ sheet music. The former director of the Los Angeles Philharmonic felt boxes and balconies implied social hierarchies within the audience, and spatial segregation was minimized in the design. Curvilinear planes of Douglas fir provide the only partitions, delineating portions of the 2,265 member audience without creating visual obstructions. The steel roof structure spans the entire space, eliminating the need for interior columns. The organ stands at the front of the hall, a bouquet of 6,134 curved pipes extending nearly to the ceiling. It is the unique result of a collaboration between Gehry and Manuel J. Rosales, a Los Angeles-based organ designer.

 © 2013 Los Angeles Philharmonic Association

2013年洛杉矶爱乐协会

盖里与丰田汽车公司合作，通过空间和材料的手段来磨练大厅的声音。为了测试音响效果，他们使用了一个1：10的礼堂模型，每个座位上都有一个模型占用者。这就要求对所有元素进行相应的缩放，包括增加空间中的声音频率，使波长减少10倍。音乐厅的隔板和弯曲的、滚滚的天花板作为音响系统的一部分，同时巧妙地引用了外部的雕塑语言。

Gehry worked with Yasuhisa Toyota, the acoustical consultant, to hone the hall’s sound through spatial and material means. To test the acoustics, they used a 1:10 scale model of the auditorium, complete with a model occupant in each seat. This required all elements to be scaled accordingly, including increasing the frequency of sound in the space to reduce the wavelength by a factor of ten. The concert hall's partitions and curved, billowing ceiling act as part of the acoustical system while subtly referencing the sculptural language of the exterior.

 Garden level plan

园地平面图

外立面是由起伏和角度的形式组成的，象征着音乐的运动和洛杉矶的运动。该设计是通过纸模型和草图发展起来的，具有盖里工艺的特点。自定义曲率要求一个高度特定的钢结构，包括在建筑北侧17度倾斜的箱体柱。参观者可以在音乐会前的房间通过天窗看到钢框架，并从通向花园的楼梯上看到支撑结构。

The exterior is a composition of undulating and angled forms, symbolizing musical movement and the motion of Los Angles. The design developed through paper models and sketches, characteristic of Gehry's process. The custom curvature demanded a highly specific steel structure, including box columns tilted forward at 17º on the building’s north side. Visitors can glimpse the steel frame through a skylight in the pre-concert room and view the supporting structure from a stairway leading to the garden.  

 © 2013 Los Angeles Philharmonic Association

2013年洛杉矶爱乐协会

反光不锈钢表面将光线作为建筑介质。正面的单独面板和曲线是在日光下铰接和着色的城市灯后，黑暗。这座建筑最初是用石头建造的，但在古根海姆博物馆毕尔巴鄂(毕尔巴鄂)建成后，选择了一种更有延展性的材料。毕尔巴鄂是音乐厅的钛制表亲。薄金属面板允许更冒险的曲率，并可能在结构上脱离地面。这些金属形式似乎悬停在建筑物底部一条不对称的玻璃带上方。立面上的玻璃裂缝为大厅和音乐会前的房间带来了光线，从原本不透明的正面看上去是一条宏伟的入口。

The reflective, stainless steel surface engages light as an architectural medium. The facade's individual panels and curves are articulated in daylight and colored by city lights after dark. The building was initially set to be clad in stone, but a more malleable material was chosen following the completion of the Guggenheim Museum Bilbao, the concert hall's titanium-clad cousin. Thin metal panels allowed for more adventurous curvature and could be structurally disassociated from the ground. The metallic forms appear to hover above an asymmetrical band of glazing at the building’s base. Glass fissures in the facade bring light into the lobby and pre-concert room, reading as a grand entryway through the otherwise opaque facade.

 © Filippo Vancini

菲力波·凡尼尼

该大厅的规划委员会认为该项目是一项公民设施，希望它能成为激活洛杉矶市中心的催化剂。一些批评人士对这一选址策略的有效性提出了质疑，承认周边房地产价格有所上升，但城市文化震中的变化却微乎其微。也许，随着该网站的继续发展，这种情况将发生变化。迪勒斯科菲迪奥伦佛罗设计的宽博物馆正在对面的街道建设，盖里自己最近宣布，他将重新加入开发工作，以毗邻的一段大道。然而，在音乐厅旁建立一个文化中心可能会有成本。一个新的地铁计划运行125英尺以下的音乐厅最低层，并可能破坏国际公认的表演空间的声学。

The hall’s planning committee conceived of the project as a civic amenity, hoping it would serve as a catalyst in the activation of LA's downtown. Some critics debate the effectiveness of this siting strategy, acknowledging an increase in surrounding property values but little shift in the city's cultural epicenter. Perhaps that will change as development continues on the site. The Diller Scofidio + Renfro designed Broad Museum is under construction across the street, and Gehry himself recently announced he will rejoin the effort to develop the adjacent stretch of Grand Avenue. There may be a cost to creating a cultural center beside the concert hall, however. A new subway is scheduled to run 125 feet beneath the lowest level of the concert hall, and may disrupt the acoustics of the internationally recognized performance space.

 © Dave Toussaint

C.戴夫·杜桑

建筑师FrankGehryLocation111 S Grand Ave，洛杉矶，CA‎类别音乐会房屋设计合作伙伴弗兰克·盖里项目合作伙伴​詹姆斯·格莱恩项目经理特里·贝尔项目建筑师大卫·奇尔德斯，威廉·奇尔德斯，大卫·哈迪，克里斯汀·沃尔·瓦尔坦·奇利肯高级项目设计师克雷格·韦布结构工程师约翰·A·马丁

Architects Frank Gehry Location 111 S Grand Ave, Los Angeles, CA ‎ Category Concert House Design Partner Frank Gehry Project Partner ​James Glymph Project Manager Terry Bell Project Architects David Pakshong, William Childers, David Hardie, Kristin Woehl Senior Detailer Vartan Chalikian Project Designer Craig Webb Structural Engineer John A. Martin & Associates, Inc. Mechanical Engineers Cosentini Associates, Levine/Seegel Associates Electrical Engineer Frederick Russell Brown & Associates Civil Engineer Psomas & Associates Acoustical Consultants Yasuhisa Toyota and Nagata Acoustics, Inc., Charles M. Salter Associates, Inc. Exterior Wall Consultant Gordon H. Smith Corporation Garden Designer Melinda Taylor Garden Design Landscape Architect Lawrence Reed Moline Ltd. Organ Builders Rosales Organ Builders, Inc., Glatter-Gotz Lighting Consultant L’Observatoire Graphics Consultant Bruce Mau Design, Inc., Adams Morioka Accessibility Consultant Rolf Jensen & Associates Theater Consultant Theatre Projects Consultants, Fisher Dachs Associates Client Los Angeles Philharmonic Area 200000.0 ft2 Project Year 2003 Photographs Gehry Partners, LLP, Carlos Eduardo Seo, Matt Blanchard, Michael Smith, Philipp Rümmele, Kwong Yee Cheng, Jayson Oertel, Dave Toussaint, Andrew Barber, 2013 Los Angeles Philharmonic Association, G. Hanami, Stephen Bird, Filippo Vancini