厂区面积9，700平方米总楼面面积10，000平方米制造商装车.多规格少规格

Site Area 9,700 sqm Gross Floor Area 10,000 sqm Manufacturers Loading... More Specs Less Specs

 © Brigida Gonzalez

c Brigida Gonzalez

架构师提供的文本描述。节日礼堂的几何形态是从地形条件发展而来的，它与现存的仙人掌有着充分的关系。这座建筑的形式和位置都与背后的岩层所造成的令人印象深刻的景观环境有关，也与其相邻的历史建筑的动态存在有关。这座现存的建筑和那座新的建筑是面向彼此的。它们通过视觉交互来补充和提升各自对景观的引用的建筑清晰度。新建筑增加了自然环境和建筑环境的现有质量。除了几何学之外，色彩还增强了新旧之间的二元性。在夏季节日期间，当西番莲的白色表面在光学上脱颖而出时，季节的变化带来了合奏的一种自然的逆转。节日大厅的甜点类似于一种构造分层结构。它中间的裂缝和断层指示着进入建筑物内部的道路。晚上，独特的立面上的切口和褶皱让人能够洞察大厅的光彩照人。

Text description provided by the architects. The geometry of the Festival Hall developed from the topographical conditions, placing it in an adequate relationship with the existing Passionsspielhaus. The building’s form and positioning both relate to the impressive landscape setting defi ned by the rock formations in the back, and to the dynamic presence of its neighboring historical counterpart. This existing building and the new one are oriented towards one another. They complement and elevate their respective architectural articulation of the reference to the landscape by interacting visually with one another. The new building increases existing qualities of the natural and architectural environment. Aside from the geometry, colour also enhances the duality between old and new. While the white surface of the Passionsspielhaus stands out optically during the time of the summer festival, the changing of seasons brings upon a cromatic reversal of the ensemble. The confi guration of the Festival Hall resembles a tectonic stratifi cation. Its crevices and faults lying in between indicate the way into the building’s interior. At nighttime the incisions and folds in the distinctive façade allow insight into the radiant foyer.

 © Brigida Gonzalez

c Brigida Gonzalez

因此，在新建筑物的内部继续使用地形印记。这一理念以两个不同的参数为指导：内部与周围自然空间之间的相互关系，以及一个功能良好的、国际知名的音乐厅的空间构成。流动的视觉和功能空间引用不符合体系结构。不同用途和几何学的区域表现出创造性的参与，与沟通和平静，活力和集中。移动的顺序微妙地由房间的感官体验所引导。通道楼梯与景观融为一体，从而引导游客进入建筑物。

Access The topographic imprint on the new building is consequently continued within its interior. The deisgn idea is guided by two defi ning parameters: the interrelation between the interior and the surrounding natural space as well as the spatial confi guration of a functional, internationally acclaimed concert hall. Flowing visual and functional spatial references defi ne the architecture. Areas with diverse usage and geometry show the creative engagement with communication and calm, dynamism and concentration. The sequences of movment are subtly guided by the sensory experience of the rooms. The access staircase is integrated into the landscape thus guiding visitors into the building

 © Brigida Gonzalez

c Brigida Gonzalez

活动衣帽间和接待处位于入口处附近。门厅-一个不对称的建筑体积-允许多方面的看法周围的自然以及邻近的帕西昂斯斯皮尔豪斯。沿着相反方向运行的楼梯通向上廊，在那里，室内和外部空间之间令人印象深刻的关系可以通过充足的玻璃西面再次体验。这个级别也承载了建筑物的次要功能。方向、房间顺序和功能关系是建筑设计的组成部分：充足的交通区域、收缩和扩展的流通区域以及不同的空间高度在感官上解释了建筑的构造几何。以一种后续和有效的方式，接近音乐厅是通过一个温和的上升入口水平。门厅的各个级别通过两个入口处与音乐厅相连。后者像贝壳一样位于建筑物的中心，其后方部分锚定在岩石中。从大厅到音乐厅的过渡伴随着空间和大气的变化：动态性、可变性和不对称性让位于最大浓度、静态平静和正交性。

Functions Cloakroom and reception desk are situated near the entrance. The foyer – an asymmetric construction volume – allows manifold views onto the surrounding nature as well as onto the neighboring Passionsspielhaus. A staircase running in the opposite direction leads onto the upper gallery where the impressive relationship between interior and exterior space can be experienced again through the ample west façade made of glass. This level also hosts the building’s secondary functions. Orientation, room sequence and functional relations are integral parts of the architectural dramaturgy: ample communication areas, retracting and expanding circulation areas and varying room hights translate the building’s tectonic geometry in a sensory manner. In a consequent and effective way, the approach to the concert hall is staged through a gentle surge of the entrance level. The respective levels of the foyer are connected with the concert hall through two entrances. The latter is situated in the centre of the building like a shell, its rear part being anchored in the rock. The transition from the foyer into the concert hall is accompanied by spatial and atmospheric change: dynamism, variability and asymmetry give way to maximum concentration, static calm and orthogonality.

 © Brigida Gonzalez

c Brigida Gonzalez

材料像接连的房间，材料的概念，同样地被一个感官感知到各自的使用区域。空间元素在几何、触觉和表面上的差异，增加了单个功能区的感官体验，促进了定位。冬季日落时大厅里的亮光增加了这一相遇区域的交际性。随着一颗露的宝石的隐喻，音乐厅被一种明显的材料变化所取代：木头表面和柔和的颜色创造了一个温暖的房间组成的紧张的安静，从而引导游客的注意力在后面的表演。多项技术设备和改造大厅的可能性，使多样化的用途，远远超出了古典音乐会和节日场地的功能。

Materials Like the succession of rooms, the mterials concept is equally defi ned by a sensorial perception of the respective usage areas. Differentiations in geometry, haptics and surfaces of room elements increase the senorial experience of single function areas and facilitate orientation. The shine in the foyer during the winter’s sunset increases the communicative character of this area of encounter. Following the metaphor of an exposed jewel, the concert hall is defi ed by a distinct change of materials: wood surfaces and subdued colours create a warm room composition of tense quiet thus directing the visitors’ attention onto the performance to follow. Multiple technical equipment and the possibility to transform the hall allows a varied use which reaches far beyond the function of a classical concert and festival venue.

Architects Delugan Meissl Associated Architects

Location Mühlgraben 56, 6343 Mühlgraben, Austria

Category Dance Hall

Architect in Charge Sebastian Brunke

Design Team Jörg Rasmussen, Torsten Sauer, Eva Schrade, Simon Takasaki, Anja Vogl

Area 4.5 m2

Project Year 2012

Photographs Brigida Gonzalez

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