建筑设计师安德鲁·利利曼，杰里米·斯图尔特，乔诺森·考勒室内设计安德里亚·威尔逊，杰奎琳·坎宁安项目组卢克·戴维，Beata Szulc，乔纳森·戴维斯，格雷格·斯普林斯，道格·迪克森，迈克尔·埃德蒙兹，伊恩·苏蒂斯，德博拉·比奈，史蒂夫·克里斯蒂制造商装货公司。多规格少规格

Design Architects Andrew Lilleyman, Jeremy Stewart, Jonothan Cowle Interior Design Andrea Wilson, Jacqueline Cunningham Project Team Luke Davey, Beata Szulc, Jonathan Davis, Greg Stretch, Doug Dickson, Michael Edmonds, Ian Surtees, Deborah Binet, Steve Christie Manufacturers Loading... More Specs Less Specs

 © John Gollings

约翰·戈林斯

架构师提供的文本描述。珀斯竞技场可能就像古希腊神话中的特洛伊木马-一个欲望的对象，被拖入伟大的胜利，并允许它带来它的狂暴的娱乐。珀斯竞技场拥有多达1.5万个座位，一个可供体育比赛使用的屋顶，36个贵宾超级包厢，5个大型多用途活动厅，6个餐饮分店和一个700多个地下室停车场，成为该市独立的娱乐盛宴。

Text description provided by the architects. The Perth Arena is perhaps like the ancient Greek myth of the Trojan Horse – an object of desire, dragged into great triumph and allowed to bring its rampage of entertainment with it. With up to 15,000 seats, an operable roof for sporting matches, 36 VIP super boxes, five major multi‐purpose event rooms, half a dozen food and beverage outlets and a 700‐space basement car park, the Perth Arena becomes a stand‐alone entertainment extravaganza for the city.

 © Peter Bennetts

(Peter Bennetts)

珀斯竞技场的特点是一个可伸缩的屋顶，可以在7分钟内打开，这样自然光线就可以淹没中心球场。酒店还设有五间多功能活动室、六家餐饮分店、最先进的音响设施、功能空间、酒店套房、咖啡厅和地下室停车场。体育馆的设计非常灵活，一般入场音乐会可容纳多达15，500人，网球模式可容纳多达14，000人。或者，竞技场可以关闭与3000人的亲密音乐会。

Perth Arena features a retractable roof that can open in seven minutes allowing natural light to flood the centre court. It also features five multi‐purpose event rooms, half a dozen food and beverage outlets, state of the art acoustics, function spaces, corporate hospitality suites, cafes and a basement car park. The stadium has a very flexible design, allowing for crowds of up to 15,500 in general admission concert mode and up to 14,000 in tennis mode. Alternatively, the arena can be closed down for an intimate concert with 3000 people.

 © Peter Bennetts

(Peter Bennetts)

引人注目的设计灵感来自弗里曼的12面圆屋和209个不规则形状的克里斯托弗·蒙克顿的“永恒之谜”。设计总监霍华德·拉格特(Howard Raggatt)说，这座地标建筑的设计是为了激发象征性的解读，从各个方面创造出直接的视觉反应，并成为城市整体设计和建筑战略的组成部分。

The striking design was inspired by the 12‐sided Round House in Fremantle and the 209 irregular shaped pieces of Christopher Monckton's Eternity Puzzle. 'This landmark building has been designed to provoke symbolic interpretation, create direct visual responses from all approaches, and become an integral part of the city’s overall urban design and architectural strategy,' said design director Howard Raggatt.

 © John Gollings

约翰·戈林斯

我们的建筑策略很简单：不妥协地提供一个核心的多功能竞技场，然后以可变的循环和引人注目的结构围绕它。大多数这种类型的场馆在核心功能周围提供连续的重复空间。我们已经探索了这种建筑类型学的另一种方式。而不是单一的正面，我们创造了极端的可变性，给建筑一个不同的脸从各个角度。无论是从西面的高架高速公路、南面的大林荫大道、北边的铁路线，还是东边的新城市发展，每一个立面都呈现出新的活力。它的内部，特别是入口和伟大的公共场合，最能表达我们对建筑物的看法。珀斯竞技场的灵感来自于整个公共建筑的体验，尤其是俯瞰这座城市的经历。

Our architectural strategy was simple: provide a core multi‐functional arena without compromise and then surround it with variable circulation and a striking configuration. Most venues of this type provide continuous repetitive spaces around the core function. We have explored this building typology another way. Instead of a singular facade we have created extreme variability, giving the building a different face from every angle. Whether approaching from the elevated freeway to the west, the grand boulevard to the south, the railway lines on the north or new urban developments to the east, every facade presents a new dynamic. It is the interior, and especially the entrance and great public concourses, that best express our vision for the building. Instead of a brutally unimaginative interior, Perth Arena is inspired by the whole experience of a public building, and especially the experience of looking out to the city.

 © John Gollings

约翰·戈林斯

可持续的特点包括：公共大厅的混合模式自然通风、通过座位平台的置换空调系统、减少能源消耗、屋顶上的光伏(太阳能)阵列、水井级固定装置和配件以及无水小便池、当地来源的材料(例如，西澳大利亚花岗岩作为入口门厅)和水敏感景观设计。

Sustainable features include mixed mode natural ventilation to public concourses, displacement air conditioning system through the seating plats reducing energy consumption, photo voltaic (solar) array on the roof, WELLS‐rated fixtures and fittings and waterless urinals, locally sourced materials (e.g. West Australian granite for the entry foyers) and a water sensitive landscape design.

 © John Gollings

约翰·戈林斯

ARM和CCN就艺术家的选择向客户提供咨询意见，并参与了对最终设计的评审。六年的制作过程中，杰弗里·德雷克-布罗克曼的“图腾”利用精密的机器人和校园折纸制作了一件令人难忘的公共艺术品。它的移动面板被编程为开放和关闭，就像花瓣，以回应人们走过，它拍摄几何激光投射到墙上的竞技场在夜间。“图腾”被亲切地称为“珀斯菠萝”。

ARM and CCN provided advice to the client on artist selection and were involved in reviews of the final design. Six years in the making, Geoffrey Drake‐Brockman’s 'Totem' draws on sophisticated robotics and schoolyard origami to make a memorable piece of public art. Its moving panels are programmed to open and close like flower petals in response to people walking past and it shoots geometric laser projections onto the wall of the Arena at night. 'Totem' has affectionately become known as the 'Perth Pineapple'.

 First Floor Plan

一层平面图

Architects ARM Architecture, CCN

Location Perth WA 6000 Australia

Category Recreation & Training

Project Director Stephen Ashton

JV Director Dominic Snellgrove

Design Director Howard Raggatt

Project Architects Stephen Davies, Peter Keleman

Senior Team Leader Steve Christie

Area 28300.0 m2

Project Year 2012

Photographs Greg Hocking, Peter Bennetts , John Gollings

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