国立高雄艺术中心

公司：	Mecanoo	类型：	建筑 \| 景观
地区：	中国台湾	标签：	艺术中心 \| 广场空间

高雄是一个非正式的，活跃的城市，有近三百万居民。它不仅是台湾第二大城市，也是世界上最大的海港之一。在气候上遭受着台风，高温，强降雨和定期地震的剧烈的亚热带气候。新的140,000平方米的性能综合大楼必须应对所有这些极端情况。

Kaohsiung is an informal, lively city of almost three million inhabitants. Not only is it the second largest city in Taiwan and one of the world’s largest sea ports, but also host to a dramatic sub-tropical climate of typhoons, high temperatures, heavy rainfall and regular earthquakes. The new 140,000 square-metre performance complex must cope with all of these extremes.

吠叫的狗和榕树

该建筑位于高雄市区中心，原是一个占地65公顷的军事建筑群，旨在成为高雄的“中央公园”。当我们在2006年第一次参观这个遗址时，它仍然是一个被许多狂吠的狗占领的军事营地的围栏区。这里还有浓密的榕树，它们盘根错节的树干和枝干在几十年的时间里逐渐交织在一起。它们的气生枝向下长到土壤里，形成额外的树干，延伸到一个惊人的广阔区域，这些树干的树冠合而为一，就像一把巨大的雨伞。根据当地的传说，亚历山大大帝曾经把他的整个军队都藏在一棵树的树冠下。

Barking dogs and banyan trees

The location for this building is a former sixty-five hectare military compound in the centre of the metropolitan area of Kaohsiung – a place which is intended to become a sort of ‘Central Park’ for the city. When we first visit the site in 2006 it is still a fenced-off zone of military barracks occupied by a lot of wild, barking dogs. It’s also dense with banyan trees, their twisting trunks and branches having gradually interlocked over decades. Their aerial shoots grow down into the soil forming additional trunks, spreading over an astonishingly wide area, and the crowns of these trunks become one, like a huge umbrella. According to local legend, Alexander the Great once sheltered his entire army beneath the crown of a single tree.

©Harry Cock

榕树的形状反映了当地的气候。它宽阔的树冠为高雄提供了遮风挡雨的地方，完美地表达了高雄潮湿的空气。在亚热带地区，太阳大约在六七点钟落山，当它消失在地平线下时，城市就活跃起来了。在这黄昏的几个小时里，气温降低，人们在街上散步，购买食品，在外面吃饭。在檐篷下，以及在树下，非正式的表演发生:人们跳舞，演奏音乐，表演戏剧，或练习太极。第一次来台湾，我们的所见所闻、所感、所感、所感、所闻都激发我们去驾驭这独特的都市氛围。

The form of the banyan reflects the local climate. Its wide crown, providing shelter against the sun and rain, is a perfect expression of Kaohsiung’s humid atmosphere. In the sub-tropics the sun sets at around six or seven o’clock and, just as it disappears beneath the horizon, the city comes to life. During these twilight hours as the temperature cools people stroll the streets, shop for their groceries, and eat outside. Under the canopies, as well as under the trees, informal performances occur: people dance, play music, perform plays, or practice Tai Chi. What we see, hear, feel, taste and smell on this first trip to Taiwan inspires us to somehow harness this unique urban atmosphere.

©Harry Cock

©mecanoo architecten

公园的延续

我们想知道榕树能否帮助我们创造一个正式和非正式的表演空间的结合。这样，整座建筑就会24小时充满生机；我们知道，一个好的公共建筑需要好的公共空间，这是我们城市建筑的核心理念：想想伯明翰的下沉圆形剧场图书馆，或者Llotja de Lleida的城市舞台悬挑之下，利用相邻建筑的楼梯作为观众座位。这三座建筑的外观质量截然不同，但它们有一个共同点：它们与各自的地理位置、文化和气候非常匹配。

A continuation of the park

We wonder whether the banyan tree could help us to create a combination of formal and informal performance spaces. In this way the building would be full of life around the clock; a natural continuation of the park. We know that good public buildings need good public space, a mantra which is central to our approach to civic architecture: think of the Library of Birmingham’s sunken amphitheatre, or La Llotja de Lleida’s urban stage beneath a cantilever, using the stairs of an adjacent building as audience seating. The formal qualities of these three buildings are very different but they have one thing in common: they are a perfect match with their respective locations, cultures and climates.

©Iwan Baan

©Shawn Liu Studio

©NAARO

©Ethan Lee

©Iwan Baan

©Ethan Lee

©Shawn Liu Studio

榕树的开放的、保护性的形状成为设计的一个跳板。它广阔的遮蔽冠变成了榕树广场，一个部分封闭的公共空间，凉爽的风可以自由流动。在四个正式的表演大厅之间，形成支撑波浪形屋顶的“树干”，从地面到加5米的地形成为公园景观的一部分。在屋顶与地面接触的地方，建筑变成了一个露天剧场，面向周围的公园，公园反过来又成为了它的舞台和布景。

The open, protective shape of the banyan tree becomes a springboard for the design. Its expansive sheltered crown becomes the Banyan Plaza, a partially enclosed public space where the cooling wind can freely flow. Between the four formal performance halls, which form the ‘trunks’ that support the undulating roof, a topography rising from ground level to plus five metres becomes part of the park’s landscape. Where the roof touches the earth the building becomes an amphitheatre, open towards the surrounding parkland which, in turn, becomes both its stage and its set.

©Iwan Baan

货船

每一个表演场地和门厅都有其独特的氛围，共同营造出一个流动连接的空间。榕树广场的墙壁和连续的天花板表面是中性的白色，允许人工光线和投影来改变情绪。12个枝形吊灯悬挂在广场的波浪形状上，整座建筑就像是在夜晚盛装打扮了的人。但问题仍然存在：如何实现一个货船大小的空间，几乎160米宽，225米长？它应该用灰泥、瓷砖、铝还是钢来覆盖?

Cargo ship

Each performance venue and foyer has its own unique atmosphere and together create one fluidly connected space. The walls and continuous ceiling surface of the Banyan Plaza is a neutral white, allowing for artificial light and projections to alter the mood. With twelve chandeliers suspended against the billowing form of the plaza, the building can really dress up for the night! But a question remains: how do you materialise a space the size of a cargo ship, almost 160 metres wide and 225 metres long? Should it be clad in stucco, tiles,aluminium, or steel?

©Iwan Baan

©Shawn Liu Studio

一片榕树

2008年，我们受邀为米兰的Salone del Mobile设计一个展馆。我们决定建造“一片榕树”——一个1:4比例的切片模型，长20米，宽3.5米，用于研究和测试榕树广场的瓷砖覆层。我们把瓷砖贴在让人联想到中国瓷器的模型上，我们还测试了环境照明。变化的颜色和大气是壮观的;另一方面，弧形立面上的瓷砖覆层不太成功，原因是米兰的雨下得很大，不可能把瓷砖粘到天花板上。

A Piece of Banyan

In 2008 we are invited to design a pavilion for the Salone del Mobile in Milan. We decide to build ‘A Piece of Banyan’ – a 1:4 scale model of a sliced fragment, twenty metres long and three and a half metres wide, to research and test the proposed ceramic tile cladding for the Banyan Plaza. We affix tiles to the model reminiscent of the craqueléof Chinese porcelain and we also test the ambient lighting. The changing colours and atmospheres are spectacular; the tile cladding on the curved facades, on the other hand, is less of a success. For one, it’s raining heavily in Milan and is impossible to glue the tiles to the ceiling.

©Harry Cock

©mecanoo architecten

©Christian Richters

©mecanoo architecten

我们继续进行研究，于是发现了高雄造船工业的精细调整、当地可获得的技术的想法。我们说服每个人，榕树广场应该有一艘货船的细节，而不是一艘豪华游艇。例如，应该有起吊点，以便悬挂灯、横幅和织物。我们不想追求完美光滑的外观——我们想雇佣造船工人做他们最擅长的事情：创造一个持久耐用的表皮，一些承包商可能会被这个尺度吓到。我们最终希望建筑看起来像陆地上的一艘船。

We continue our search for the building’s skin and the idea arises to use the finely tuned, locally accessible techniques of Kaohsiung’s ship building industry. We convince everyone that the Banyan Plaza should have the detailing of a cargo ship, and not of a luxury yacht. There should be hoist points, for example, so that lights, banners and fabric can be hung. We don’t want to aim for a perfectly smooth façade – we want to employ the ship builders to do what they do best: create a durable, long-lasting skin on a scale that some contractors would be intimidated by. We ultimately want the building to look like a ship on the land.

©Sytze Boonstra

©National Kaohsiung Center for the Arts (Weiwuying)

©Ethan Lee

©Shawn Liu Studio

四个大厅

每个表演大厅都有自己的声学特质，所以我们与声学家Albert Xu合作。他构建了一个1:10的比例模型来测试最复杂的场馆的性能，例如有1981个座位的音乐厅，无论其规模有多大，我们依旧希望空间内有一个亲密的感觉。如果每位观众都能看到钢琴师的手，那不是很棒吗？因此我们选择了阶梯式葡萄园的形状，在它的中心有一个舞台，因此不同楼层高度的露台环绕着平台。由于在舞台的四面都有座位，观众离演出本身很近。公众从一层进入橡树林，螺旋状的坡道将他们引向金色的座椅。

The four halls

Each of the four performance halls has its own acoustic challenge, and so we collaborate with acoustician Albert Xu. He constructs a 1:10 scale model to test the performance of the most complicated venue: the 1,981-seat Concert Hall. Despite its size we want the theatre to have an intimate feel. Wouldn’t it be great if every member of the audience could see the hands of the pianist? We choose the shape of a stepped vineyard with a stage at its centre, so that terraces at different floor heights encircle the podium. With seating on all sides of the stage, the audience is in close proximity to the performance itself. The public enters the oak-lined from the ground floor and spiraling ramps lead them to their golden seats.

©Shawn Liu Studio

©Ethan Lee

这座有2236个座位的大厅院呈马蹄形排列，有三层环形听室。座位的装饰是红色和紫色面料的混合，带有台湾花卉的图案，与深色的墙壁形成对比。这个剧院不仅适合有超过70名音乐家组成的管弦乐队的西方歌剧，而且还可以通过操纵一个悬挂的声学天篷来适应中国歌剧。

The 2,236-seat Opera House is arranged in the form of a horseshoe with three circled balconies. The seating is upholstered in a mixture of red and purple fabrics with a pattern of Taiwanese flowers, contrasting with the darker walls. This theatre is not only suitable for Western opera, with an orchestra of over seventy musicians, but can also be acoustically adapted to accommodate Chinese opera by manoeuvring a suspended acoustic canopy.

©National Kaohsiung Center for the Arts (Weiwuying)

©Ethan Lee

第三个剧场有1210个座位，采用经典的Mecanoo蓝色，旨在举办各种戏剧和舞蹈表演。灵活性是这个多功能空间设计的核心元素。灵活的适应性布局，可以将舞台从面向一面观众变为面向三面观众。

The Playhouse, with its 1,210 seats in Mecanoo Blue, is designed to host a variety of drama and dance performances. Flexibility is the core element in the design of this multifunctional space. The layout is adaptable and can be changed from a typical proscenium stage with the audience in front, to a thrust stage with the audience on three sides.

©Ethan Lee

有434个座位的演奏厅是四个演奏厅中气氛最亲和的。其不对称的组成和座位跨越两层，它是专为室内乐和独奏表演。这些座椅和音乐厅一样采用了同样的金色布料，墙壁上也有橡木线条。这个大厅的上部被一圈吸音窗帘包围，在有特定表演类型时提供了延音与混响。

The 434-seat Recital Hall has the most intimate atmosphere of the four. With its asymmetrical composition and seating across two levels, it is designed for chamber music and recital performances. The seats have the same golden fabric as the Concert Hall and oak lines the walls. The upper part of this hall is enclosed by a circle of sound absorbing curtains, allowing for the reverberation time within the space to be tuned to specific types of performance.