这个礼堂制造了一种不稳定的假象，它是由三个完全由木头(总共1.165立方米)组成的相互连接的立方体组成的，具有讽刺意味的是，这些立方体看起来像是“随意地倒下”，然后彼此依偎在一起。整个结构是预制的，然后由LogEngineering现场组装，后者用80万个钉子、100 000个螺丝和10 000个支架将其拼合在一起。

Creating an illusion of instability, the auditorium is formed by three interconnected cubes made entirely of wood (1.165 cubic meters in total) that ironically appears as they had “haphazardly tumbled down” and came to rest upon each other. The entire structure was prefabricated and then assembled onsite by Log Engineering, who pieced it together with 800,000 nails, 100,000 screws and 10,000 brackets.

休息之后.。

More after the break...

 © Marco Caselli Nirmal

c.马尔科·卡塞利·尼尔马尔

虽然木立方体与邻近的16世纪拉奎拉城堡形成了鲜明的对比，但这种材料是为了优化建筑物的声学功能而选择的。使用来自特伦托的瓦尔迪菲姆的落叶松，这是一个高度重视和著名的使用克里莫纳的17世纪的大师琵琶制造者，斯特拉迪瓦利斯是最著名的，这座建筑的意图是像一种乐器的形式。

Although the wooden cubes provide a striking contrast to the neighboring, 16th-century Castle of L’Aquila, the material was chosen to optimize the building’s acoustic function. Using larch from Val di Fiemme in Trento, which is highly-valued and famously known for being used by Cremona's 17th-century master lute-makers, Stradivarius being the most famous, the building is intended to preform like a musical instrument. 

 © Marco Caselli Nirmal

c.马尔科·卡塞利·尼尔马尔

这座2500平方米的建筑有一个中央空间，里面有238个座位的礼堂，还有两个服务区：一个带门厅的公共服务区和一个有更衣室和额外支撑空间的表演服务区。每块都包着彩色和经过特殊处理的落叶松砖，宽约25厘米，厚约4厘米。可以看到的16面立方体-两面对应于支撑这两座服务大楼的基座-并不都是平等的，但取决于各种不同的交替建筑标准，这些标准给结构以轻盈、活泼和生气勃勃的外观。例如，一个玻璃包围楼梯穿过门厅的木质正面，因为它导致了第二层，而一个不透明的表面在南侧和屋顶软化自然光，以照亮过渡空间之间的礼堂和门厅。(鼓掌)

The 2,500 square meter structure features a central volume, which houses the 238-seat auditorium, and two service volumes: a public service area with a foyer and a performance service area with dressing rooms and additional support space. Each is clad in multicolored and specially treated larch tiles, measuring around 25 centimeters wide and four centimeters thick. The 16 sides of the cubes that can be seen - two corresponding to the bases supporting the two service buildings - are not all equal but vary depending on various, alternating architectonic criteria that give the structure a light, lively, and vibrant look. For example, a glass encased staircase punctures through the wooden facade of the foyer as it leads to a second story, while an opaque surface on the south side and roof softens natural light to illuminate a transition space between the auditorium and foyer.  

 Courtesy of Renzo Piano Building Workshop

仁佐钢琴建筑工场提供

门厅在一楼设有茶点区、公共卫生间、衣帽间和售票台，而空调系统的技术室位于二楼，发电厂可直接从地下的外楼梯进入。公众乘坐一条自然照明的高架人行道，在离地面一米高的地方升起，从门厅到达礼堂。

The foyer's volume is equipped with a refreshment area, public restrooms, cloakroom and ticket desk on the first floor, while the air-conditioning system's technical rooms are located on the second floor and the power plant with direct access from outside stairs on the underground floor. The public takes a naturally lit, elevated walkway, rising around one meter above ground, to reach the auditorium from the foyer. 

 Courtesy of Renzo Piano Building Workshop

仁佐钢琴建筑工场提供

238个座位的礼堂有一个舞台，可容纳大约40名音乐家.它是倾斜的，立体式立面支撑着两个相互面对的阶梯座位区域来容纳观众；较大的乐队前面有190个座位，后面的座位越小，48个座位。座位的角度确保最佳的聆听和观看条件。墙壁的生木表面挂着一系列面向观众的音响板，以反映礼堂内的声音。这些面板也是用木头制成的，但表面质量很高，在太空中“翱翔”，在某些情况下被叠加在垂直的墙壁上，但总是与它们保持分离，在其他情况下漂浮在太空中，悬挂在上面。舞台两侧的两个大约两米高的声学墙向管弦乐队反射声音，以确保尽可能好的聆听条件。

The 238-seat auditorium has a stage that can hold around 40 musicians. It’s slopped, cubic facade supports two stepped seating areas facing each other to accommodate the audience; the larger has 190 seats in front of the orchestra, the smaller, 48 seats behind it. The seats' angle ensures the best possible listening and viewing conditions. The walls' raw wood surfaces are hung with a series of acoustic panels orientated towards the audience to reflect sound inside the auditorium. The panels, also made of wood but with a high-quality finish, ‘soar’ in space, in some cases superimposed on the vertical walls, but always remaining detached from them, in other cases floating in space, hanging from above. Two approximately two-meter-high acoustic walls flanking the stage reflect sound towards the orchestra, ensuring the best possible listening conditions. 

 © Atelier Traldi

Atelier Traldi

音乐人的更衣室在大厅对面的一侧，可以进入自主独立的房间。该通道与门厅中的高架、玻璃人行道类似，与外部直接相连，用于乐器，包括钢琴、竖琴、打击乐器等大型乐器。

The musicians' dressing rooms are on the side opposite the foyer and give access to the autonomous, independent room. This access, which crosses an elevated, glazed walkway similar to the one in the foyer, being directly connected with the exterior, is for the musical instruments, including large pieces such as pianos, harps, percussion instruments, etc. 

 © Marco Caselli Nirmal

c.马尔科·卡塞利·尼尔马尔

在更衣室的底层设计了一个“绿区”，艺术家们可以在那里休息和见面；还计划为房屋经理和控制展位留出两个小空间。列车长和领队艺术家的更衣室，配备浴室和外面的一个小等候区，位于一楼。管弦乐队音乐家的更衣室和洗手间在二楼。更衣室是模块化的：它可以细分为不同大小的空间为男性和女性取决于每个在客人交响乐团的数量。

A ‘green area’ where the artists will be able to rest and meet one another is planned on the dressing-room volume's ground floor; two small spaces intended for the house manager and control booth are also planned. The conductor's and lead artists' dressing rooms, equipped with bath and a small waiting area outside, are located on the first floor. The orchestra musicians' dressing room and lavatories are on the second floor. The dressing room is modular: it can be subdivided into variously-sized spaces for men and women depending on the number of each in the guest orchestras. 

服务区的各个楼层都是通过电梯连接起来的，电梯的大小允许不同类型的用户使用。获得工具运输工具、提供餐饮服务和设施维护，穿过礼堂前的室外区域。

The service volumes' various floors are interconnected by lifts whose size allows various kinds of users to take them. Access for means for the transport of instruments, for the provision of catering services and for the facilities' maintenance cross the outdoor area in front of the auditorium.

 © Marco Caselli Nirmal

c.马尔科·卡塞利·尼尔马尔

此外，这些建筑坐落在一个非常合适的广场上，这个广场的设计是为了在夏季将礼堂的功能扩展到室外。该区域面向礼堂的音量可以配备座位，可容纳约500人的露天表演或观看音乐会活动在一个大屏幕上，从正面。这个区域是沿着轴排列的，从礼堂的三卷书的两侧涌出，这些轴相交，产生了尺寸和几何学的图案。

In addition, the buildings sit on a well suited piazza that is designed to extend the auditorium’s functions outdoors in the summer. The area facing the auditorium's volume can be fitted with seating to accommodate around 500 people for open-air performances or view concert activities on a big screen projecting from the facade. This area is laid out along axes springing from the sides of the Auditorium's three volumes, which intersect, generating patterns of dimensions and geometry.

值得注意的是，包括了90多棵新种植的树木，以补充用于建造立方体的木材。

It is worth noting that more than 90 newly planted trees were included to replenish the timber used to construct the cubes. 

建筑师Renzo Piano大楼车间地点Viale Medaglie D‘Oro，意大利67100 L’Aquila，主管P.Colna Model C.Colson，Y.Kirkos Client Provincia Autonoma di Trento-合作建筑师Atelier Traldi，米兰结构工程师Favero

Architects Renzo Piano Building Workshop Location Viale Medaglie D'Oro, 67100 L'Aquila, Italy Category Auditorium Associate in Charge P.Colonna Models C.Colson, Y.Kyrkos Client Provincia Autonoma di Trento Collaborating Architect Atelier Traldi, Milan Structural Engineer Favero & Milan Acoustics Müller BBM Landscape Franco Giorgetta Fire Prevention GAE Engineering Security New Engineering Site Supervision I.T.E.A. Area 2500.0 sqm Project Year 2012