声学Nagata声学剧院设计剧院工程顾问结构工程师Arup美国公司。本地结构工程师结构工程协会。MEP/消防工程师Arup美国公司。当地MEP工程师WL Cassell

Acoustics Nagata Acoustics Theatre Design Theatre Projects Consultants Structural Engineer Arup USA, Inc. Local Structural Engineer Structural Engineering Associates, Inc. MEP/Fire Protection Engineers Arup USA, Inc. Local MEP Engineers WL Cassell & Associates, Inc. Project Manager Land Capital Corporation General Contractor J.E. Dunn Construction Civil Engineer Taliaferro and Browne, Inc. Security M-E Engineers, Inc. Landscape Architect Reed Hilderbrand Associates, Inc. Sound Engineering Harmonics, Inc. Lighting Lam Partners, Inc. Manufacturers Loading... More Specs Less Specs

架构师提供的文本描述。设计一个重要的新表演艺术中心的机会是由两个重大决定的：选择一个特别的地点，在俯瞰历史仓库区和新娱乐区的悬崖顶上，提供180°的视野；以及决定为交响乐、芭蕾、歌剧和剧院建造两个专用大厅。

Text description provided by the architects. The opportunity to design a major new performing arts center was precipitated by two significant decisions: the selection of an extraordinary site crowning the escarpment overlooking the historic warehouse district and the new entertainment district, affording a 180° view of the horizon; and the decision to construct two dedicated halls for symphony, ballet, opera, and theater.

堪萨斯城市中心，坐落在高原上，向南延伸到一个悬崖，从那里下降，打开了广阔的视野，这是进一步强调平坦的草原景观。在北部，人们可以看到市中心天际线的戏剧性景象，它的街道网格构成了房地产和堪萨斯城会议中心(堪萨斯城会议中心)。

Downtown Kansas City, set upon a plateau, extends southwards towards an escarpment from where it descends, opening to an expansive view, which is further accentuated by the flat prairie landscape. To the north, one sees the drama of the downtown skyline with its grid of streets framing the property and the Kansas City Convention Center.

 Floor Plan

我相信，一个项目的网站始终持有其设计理念的秘密。走来走去，我被南面的戏剧性景色所迫。因此，我把两个表演大厅朝南，由一个单一的大厅整合和连接-一个玻璃帐篷式结构所包含的广阔的玻璃门廊。在向南的土地的下降，使我们包括了一条新的道路，作为出发点，并导致一个大型地下停车场，上面有一个公园。从车库和停放层，公众登上宏伟的楼梯到大厅，与公众聚集的地区和个别剧院在每一边。认识到市中心作为一个额外的入口点的重要性，北入口在中央大街的轴线上排列，穿过大楼进入剧院大厅。

I am a believer that the site of a project always holds the secret for its design concept. Walking around, I was compelled by the dramatic view to the south. Thus, I placed the two performance halls to face south, integrated and connected by a single great lobby—an expansive glazed porch contained by a glass tent-like structure. The drop in the land towards the south allowed us to include a new road that serves as the drop-off point and leads to a large underground parking garage on top of which sits a park. From the garage and the drop-off levels, the public ascends the grand stair to the great hall, with public gathering areas and the individual theaters on each side. Recognizing the significance of downtown as an additional access point, the North Entrance was aligned on the axis of Central Street, penetrating through the building into the theater lobbies.

 © Tim Hursley

蒂姆·赫斯利

每个大厅都是一卷不同的书；比喻起来是一种乐器，透过玻璃外壳就可以看到。随着自然光线的变化，建筑物的透明度也随之变化，它反映了建筑周围的环境，同时也暗示了建筑的内部。到了晚上，整个建筑就会倒置，向外面的社区展示其所有的内部活动。

Each hall reads as a distinct volume; metaphorically evoking a musical instrument and visible through the glass shell. As the natural light changes, so does the building’s transparency, reflecting the structure’s surroundings and, at the same time, hinting at its interior. At night, the entire building becomes inverted, displaying all of its interior activities to the community outside.

 Muriel Kauffman Theatre Section

Muriel Kauffman剧院组

 Helzberg Hall Section

赫尔茨堡厅科

大厅由大厅正面的一系列通道阳台提供服务，形成了两个由白色灰泥组成的锥形堆叠环。成千上万的人在表演和休息之前和之后混在一起，彼此都能看到戏剧性的场面。因此，大厅及其周围的阳台是一个对立面内的剧院；剧院的公共领域，在那里庆祝公众是可见的南扫的城市。

The halls are served by a series of access balconies fronting on the great hall, forming two conical stacked rings of white plaster. The thousands of people mingling before and after performances and intermissions are theatrically visible to one another. Thus, the great hall with its surrounding balconies is a counterpoint to the theaters within; the theater of the public realm, where the celebrating public are visible to the southern sweep of the city.

 © Tim Hursley

蒂姆·赫斯利

如果场地作为一个整体产生一个复杂的设计，那么声学策略就是设计HelzbergHall的发电机。与长田声学公司的YasuHisa丰田公司合作，该大厅的体积和几何概念逐渐发展。从一开始，我们就想要一个亲密无间的大厅，让公众与乐师们有一种拥抱的感觉。与传统的舞台和观众之间的正面关系不同，我们把音乐制作人与公众联系在一起。在1600个座位数中，这使得亲密关系成为可能，我们努力让每个人都能在没有阳台或天花板的情况下体验音乐。我们还希望大厅内的空间体验能唤起建筑物的外部设计。因此，北面的扇形几何图形在内部得到了回响，支持了内部器官的雕塑布局；当它到达天花板时，它就分开了，形成了天窗，使日光和太阳能够穿透和反射器官。

If the site generates the design of a complex as a whole, then the acoustic strategy is the generator of the design of Helzberg Hall. Working with Yasuhisa Toyota of Nagata Acoustics, a volumetric and geometric concept for the hall evolved. From the outset, we wanted a hall that was intimate and in which the public is engaged with the musicians in a feeling of embrace. Rather than the traditional frontal relationship of stage and audience, we surrounded the music makers with the public. With the 1,600 seat count, which makes great intimacy possible, we strove to have each and every person experience the music without a balcony or ceiling above them. We also wanted the spatial experience within the hall to evoke the exterior design of the building. Thus, the fanning geometry of the northern façade is echoed within the interior, supporting the sculptural arrangement of the organ within it; as it reaches towards the ceiling it branches apart, forming skylights that allow the daylight and sun to penetrate and reflect upon the organ.

 © Tim Hursley

蒂姆·赫斯利

 © Tim Hursley

蒂姆·赫斯利

与赫尔茨堡厅的温馨亲热相对应的是，穆瑞尔考夫曼剧院充满节日气氛和活力。三个阳台把大厅围成了马蹄形的围场.每个阳台被分解成一系列的步骤，从中央后阳台级联到舞台两侧的各个盒子。步进增强了视线，并提供了一种亲密感和与舞台上的行动联系。阳台栏杆是对18世纪和19世纪剧院镀金、闪闪发光、点燃蜡烛的阳台的当代重新诠释。灯光透过玻璃状的外壳反射，形成一个不断变化的吊灯状表面。大厅的音箱是由起伏的墙壁组成，形状像垂直堆叠的桶，由丰田公司为最佳的声音反射而设计。为了将这些形状整合到一起，一系列的板条提供了一个屏幕状的外壳.由堪萨斯城艺术学院的学生们构思和设计的一系列壁画，直接在声学结构上进行绘画和照明。整体效果是充满活力的壁画，丰富的红色，绿色，蓝色和黄色，融入了房间的几何结构。

In counterpoint to the warm intimacy of Helzberg Hall, the Muriel Kauffman Theater is festive and exuberant. The three balconies envelop the hall in a horseshoe-like enclosure. Each balcony is broken down into a series of steps cascading from the center rear balcony to the individual boxes on either side of the stage. The stepping enhances sightlines and provides for a sense of intimacy and connection with the action on the stage. The balcony balustrades are a contemporary reinterpretation of the gilded, glittering, candle-lit balconies of 18th and 19th century theaters. The lights reflect through the glass-like enclosure to form an ever-changing chandelier-like surface. The hall’s acoustic enclosure is composed of undulating walls, shaped like vertical stacked barrels and designed by Toyota for optimal sound reflection. To integrate these shapes into the whole, a series of slats provide a screen-like enclosure. A series of murals, conceived and designed by the students of the Kansas City Art Institute, are painted and illuminated directly on the acoustical structures. The overall effect is of a dynamic mural, rich in reds, greens, blues and yellows, fused into the geometry of the room.

 © Tim Hursley

蒂姆·赫斯利

Architects Safdie Architects

Location 216 NW 107th St, Kansas City, MO 64155, United States

Category Performing Arts Center

Associate Architect BNIM Architects

Project Year 2011

Photographs Tim Hursley, Michal Ronnen Safdie

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