架构师提供的文本描述。2007年，由珀金斯威尔(Perkins Will)、植物建筑师霍尔·舍伊特(Hoerr Schaudt)景观建筑师和阿德里安·布莱克韦尔城市项目(Adrian Blackwell City Projects)组成的多伦多设计财团赢得了一场国际设计竞赛，以振兴内森菲利普斯广场(Nathan Phillips Square)-这是多伦多最重要的公共空间，也是1961年由Finish Architect Vijlio Revell设计的标志性市政

Text description provided by the architects. In 2007, a Toronto Based design consortium made up of Perkins+Will, Plant Architect, Hoerr Schaudt Landscape Architects and Adrian Blackwell Urban Projects won an international design competition for the revitalization of Nathan Phillips Square – the most significant public space in the city of Toronto and the “front door” to the iconic City Hall designed by Finish architect Vijlio Revell in 1961.

 © Steven Evans

(C)史蒂文·埃文斯

这项名为“阿戈拉剧院”的获奖设计，庆祝了城市生活的剧院，并为11英亩的公共广场带来了严格的可持续性覆盖。关键战略包括开放广场中心，创造一个无限潜力的空间，通过创建新的城市森林来强化广场上的生物质量，并通过创造程序化的多孔边缘条件来激活广场的周长。

The competition winning design entitled Agora Theatre, celebrates the theatre of urban life and brings a rigorous overlay of sustainability to the 11 acre public square. Key strategies include opening the centre of the square to create a space of infinite potential, intensifying the bio mass on the square through the creation of a new urban forest and energizing the perimeter of the square through the creation of a programmed yet porous edge condition.

 © Steven Evans

(C)史蒂文·埃文斯

广场上最重要的建筑元素之一，现在正在建设后期阶段是新的永久阶段结构，其详细设计一直由多伦多办公室的珀金斯将。舞台结构的设计意图是多种多样的。在基本的方案层面上，这一阶段将取代几代临时业绩结构，这些临时业绩结构在温暖的几个月期间每年都会干扰广场。新的舞台将提供一个覆盖的表演空间，架空栅格用于照明和舞台索具，后台空间和完整的支持空间，包括更衣室，绿色房间和舞台下面的AV支撑。新阶段也将作为广场公共空间的延伸。剧院的底座被设计成一套宽阔的公共楼梯和平台，这些楼梯和平台连接到现有的高架道结构，构成广场的框架。该设计将有效地激发广场上层公共空间的活力，强化城市剧院的概念。当舞台不用于制作时，舞台将配备咖啡桌和椅子，提供独特的景观和集合空间，使其免受极端的阳光和雨水的影响。

One of the most significant architectural elements on the square, now in the later stages of construction is the new permanent stage structure, the detail design of which has been led by the Toronto office of Perkins + Will. The design intent of the stage structure is manifold. At a basic programmatic level, the stage will replace generations of ad hoc temporary performance structures that clutter the square on an annual basis during the warm months. The new stage will provide a covered performance space with an overhead grid for lighting and stage rigging, back stage space and a full complement of support spaces including dressing rooms, a green room and AV support below the stage. The new stage will also function as an extension of the public space of the square. The base of the theatre is designed as a set of broad public stairs and platforms that connect to the existing elevated walkway structure framing the square. The design will effectively animate the upper level public spaces of the square and reinforce the notion of urban theatre. When not in use for productions, the stage will be furnished with café tables and chairs and provide a unique prospect and gathering space protected from extreme sun and rain by the glazed theatre roof.

 © Steven Evans

(C)史蒂文·埃文斯

作为一个整体，振兴的总体规划带来了物质丰富，景观纹理和色彩，一直是需要的叠加。正式的语言通常是克制和尊重Revell的大胆雕塑塔和会议室。作为这种约束的一个例外，剧院在广场的西北象限上表现为一种大胆的雕塑形式。新剧院与东面的拱形仪式坡道和南面三座混凝土喷泉拱门的原始设计元素一起，成为广场上的一个决定性元素，使人们可以看到市政厅大厦和议会厅。剧院的设计以高度简化和抽象的几何语言实现其复杂的规划和都市化议程。结构和戏剧支撑成分的多次反复和精细化导致了一种简洁的表达，它与Revell的中叶现代主义产生了共鸣，同时也清晰地将其解读为一个当代插曲。

As a whole, the master-plan for the revitalization brings an overlay of material richness and landscape texture and colour that have always been wanting. The formal language is generally restrained and deferential to Revell’s boldly sculptural towers and council chamber. An exception to this restraint, the Theatre manifests itself as a bold sculptural presence on the north-west quadrant of the Square. Joining the original design elements of the arched ceremonial ramp to the east and the three concrete fountain arches to the south, the new Theatre acts as a defining element on the Square, framing the view towards the City Hall Towers and Council chamber. The design of the theatre achieves its complex programmatic and urbanistic agendas within a highly simplified and abstracted geometrical language. Numerous iterations and refinements of both the structural and theatre support components lead to a distilled expression which resonates with Revell’s mid-century modernism while clearly reading as a contemporary insertion.

 © Steven Evans

(C)史蒂文·埃文斯

两根细长的V形钢柱架在舞台的南北边缘，从整体的石材和混凝土底座出现，在最高层与横跨东西方边缘的两根斜箱梁相连。占主导地位的是一条连续的白钢丝带，它可以折叠和弯曲来定义表演的空间。平衡V柱的灵感来自于一系列支撑Revell会议室穹顶的对角线混凝土支柱。上层建筑，漆成白色，支持一个轻管状的空间框架，上面有一个破碎的玻璃天篷。在空间框架内有许多“优点”，为戏剧舞台的各个方面创造了高度灵活的电枢。一系列可伸缩的天气和黑色窗帘被谨慎地安置在空间框架内，可以在屋顶结构的边缘降低，以创造一个可控的戏剧环境，或在舞台不使用时提升。无论是在季节上还是在每天的基础上，舞台都能迅速从一个支持伦敦金融城对文化活动的多样化恭维的表演空间转变为一个支持城市生活戏剧的公共空间。常设舞台定于2012/13年度节日期间开放。

Two slender V-shaped steel columns frame the North and South edges of the stage, emerging from the monolithic stone and concrete base and connecting at the highest level with two canted box beams spanning across the Eastern and Western edges. The dominant reading is a continuous ribbon of white steel that folds and cants to define the space of performance. The inspiration for the balancing V columns was taken from a series of diagonal concrete struts that support the dome of Revell’s council chamber. The super structure, painted white, supports a light tubular space frame with a fritted glass canopy above. Within the space frame are numerous “strong points” which create a highly flexible armature for all aspects of theatrical staging. A series of retractable weather and black-out curtains are discretely housed within the space frame and can be lowered at the edge of the roof structure to create a controlled theatrical environment or raised when the stage is not in use. Both seasonally and on a daily basis, the stage can quickly convert from a performance space supporting the City’s diverse compliment of cultural events to a public space that supports the theatre of urban life. The permanent stage is scheduled to open for events over the festive season of 2012/13.

 © Steven Evans

(C)史蒂文·埃文斯