2024年5月3日发(作者：)

UED

DESIGN

FlUiD -

bUilDing

SoliDiFiED -

mUSic

流动的建筑，凝固的音乐

DiamonD anD Schmitt architEctS

加拿大多伦多市四季表演艺术中心

a.J. DiamonD

FoUr SEaSonS

cEntrE For thE

PErForming

artS

toronto,

ontario,

canaDa

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DESIGN

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加拿大歌剧公司（

COC

）是加拿大最

大的歌剧出品商，是在国内受人仰慕，

在国际上知名的文化机构。

COC

计划

让四季表演艺术中心成为世界上最好

的歌剧院，其建筑应受众人欢迎，可以

支持和带动周边区域的发展。在礼堂内

部，每个座位都要保持通畅的视线，还

要能有良好的声学效果。

四季表演艺术中心，位于加拿大多伦

多市中心区域，与商业区、市政厅和

繁华的皇后西街艺术景观区毗邻。尽

管面临

10 200

万美元的紧张预算和按

时交付的时间表，

35 716m

2

的巨大的

演出场所的挑战，四季艺术中心仍取

得了最好的声学效果，创造了很高的

运营效率，给观众带来更多美的享受

和舒适感。

该建筑的内部空间——礼堂、乐池和

舞台，与外部空间——街道形成了巨

大的反差。剧院入口戏剧性的通过五

层高的城市空间，成为城市与剧院两

者之间的纽带。宏大的入口大厅在城

市景观中如同一个显示屏，为过往行

人提供了一幅幅生动的室内景象。这

个城市空间除了担当歌剧院的前厅以

外，还能作为一个非正式的演奏和接

待大厅。楼梯（包括大楼梯、玻璃楼

梯和空中露天剧场）的作用是连接各

级剧场。

透明的建筑立面对于建筑设计的成功

至关重要，而这也理所当然做为一种

艺术形式，很长时间以来被当做优秀

的典范。它不仅能为人们真正享受一

些事情（如晚上的歌剧）提供了美好

的城市空间，其完美的透明性也是出

色的广告。“当你在街道上的时候，

你会想进入这个开放的建筑获得一种

经历，无论是完全的还是象征性的都

会有助于打破出席晚间戏剧时的恐

惧。同时，通过玻璃幕墙来体验城市

的互动关系，可以为晚上的行动带来

更多的兴奋。”

COC

的市场总监杰里

米

・

艾尔本尼说。

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世纪伟大的歌剧院（如查尔斯

.

卡尼

尔的巴黎歌剧院）非常辉煌，它们反映

了当时阶级结构的规定形式。近几十年

来，创新的舞台、年轻的导演、非常规

的表演和新的作品使歌剧得以振兴。在

多伦多，歌剧观众变得更加多样化，不

再像

20

世纪二三十年代看人们表演时

的郑重其事。四季艺术中心的设计反映

了艺术的演变和现代艺术的平民化。这

个建筑表达了开放、亲切的意识，并在

城市中牢固的确立了歌剧的场所。“歌

剧从幕布拉上去之前很久就开始了，”

玛丽亚卡拉斯说，“在幕布放下来之后

很长时间才结束。”歌剧院其实也是这

样。四季艺术中心和歌剧公司在经济、

建筑、文化方面的成功在整个城市生活

中回响。

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DESIGN

The Canadian Opera Company

(COC) is Canada's largest

producer of opera and one of

the country's most respected and

internationally acclaimed cultural

institutions. For most of it's 55-year

history the COC has performed in

rented theatre spaces that were

not designed with the particular

production, orchestral or acoustic

requirements and considerations

necessary for opera. Having

waited so long for a home,

the COC set the bar high for

Canada's first purpose-built opera

house. They wanted the Four

Seasons Centre for the Performing

Arts to rank with the best opera

houses in the world. The

building had to be welcoming

and democratic, designed to

embrace and engage the city

around it, and each seat in

the auditorium had to have an

unobstructed sightline and hear a

warm and clear acoustic.

The Four Seasons Centre occupies

an entire urban block in the heart

of Toronto's downtown, with the

business community, City Hall and

the thriving Queen Street West arts

scene at its doorstep. This 35,716

square metre performance

facility was challenged with a

tight $102M budget and an on-

time schedule delivery. Despite

these challenges Canada's new

opera house has achieved an

acoustic experience among

the very best in the world, has

created operational efficiencies

and has excelled in providing

audience interest and comfort.

The architectural composition of

the building contrasts the street-

related elements with the interior

elements - the auditorium, pit

and stage.

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三层

二层

一层

1.

站立观赏区

音乐厅

3.

舞台

4.

排练厅

5.

道具储藏室

6.

更衣室

7.

贵宾包厢

8.

舞蹈工作室

The dramatic entrance to the

opera is via the five storey City

Room, forming a link between the

city and the opera. This grand

entrance hall acts as a lantern

in the cityscape, providing the

passerby with glimpses of an

animated interior. In addition

to serving as the lobby of the

opera house, the city room can

serve as an informal recital and

reception hall. A play of staircases

– grand stair, glass stair and aerial

amphitheatre – connect all the

levels of the opera house.

The transparency of the facade

is paramount to the success of

the architectural concept for

the building, designed to make

accessible an art form that has

long been considered elitist.

“

Not

only is the City Room a wonderful

people place where you can

truly enjoy being part of an event

such as a night at the opera,

but its wonderful transparency is

a great advertisement for that

experience. When you are on the

street you really want to be part of

the experience and the openess

of the building, both literally and

figuratively helps to break down

the intimidation factor of attending

an evening at the opera. Likewise

the interactive relationship

experienced with the city through

the glass walls makes the act

of being part of an evening

that much more exciting

”

says

COC marketing director Jeremy

Elbourne.

The great nineteenth-century opera

houses such as Charles Garnier's

Paris Opera are magnificent, but

they have a formality that reflects

the class structure of the time.

In recent decades, innovative

staging, youthful directors,

unconventional interpretations,

and new works have reinvigorated

opera. In Toronto opera

audiences have become more

diverse and it is no longer unusual

to see people in their early 20s

and 30s at performances. The

design of the Four Seasons Centre

reflects the evolution of the art and

the subsequent democratization

of the genre. It's architecture

communicates a sense of

openness and accessibility

and firmly establishes a place

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DESIGN

for opera in the city.

“

Opera

begins long before the curtain

goes up,

”

Maria Callas said,

“

and ends long after it has gone

down.

”

The same can be said

of opera houses. The success of

the Four Seasons Centre and the

opera company, economically,

architecturally, and culturally,

reverberates throughout the life of

the city.

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DESIGN

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royal

conSErvatory

oF mUSic tElUS

cEntrE For PErFormancE anD lEarning

加拿大蒙特利尔市

泰勒斯皇家音乐学院表演培训中心

UED

DESIGN

在蒙特利尔，这个新建筑充当了布鲁尔大

街上现存的历史建筑风貌的背景。历史建

筑与新建筑之间的空间是封闭的，这样，

天光点亮了从布鲁尔大街入口延伸到音乐

大厅及其门厅的法院。几座廊桥连接于上

部空间，使新旧建筑在高处得以连接。新

建筑的现代玻璃系统与历史建筑色彩丰富

的外立面交相辉映。

泰勒斯中心提供了灵活、全面的有线基础

设施，以轻松的适应新的技术，包括电子

技术和影像研讨使用的宽带技术和先进的

数字声学仪器。建筑师与这个核心用户群

密切合作，以创造教学与辅导空间，体现

了皇家音乐学院（

RCM

）对于音乐教学大

纲改革的目标。这座容纳

1100

座位的迈克

尔和宋雅克尔纳音乐厅经过精心设计，为

生活和播音表演创造出最佳的声学环境。

大厅空间被波浪形木质的整块遮蔽物做成

的天棚加以区分，这个设计为皇家音乐学

院（

RCM

）创造出标志式的图像，并使这

里成为全世界音乐爱好者的圣地。

泰勒斯表演培训中心的全部设计强调卓越

的听觉效果，这个目标贯穿于全新设施和

修复设施之中，贯穿于希望使皇家音乐学

院（

RCM

）的教育使命成为自然地化身之

中，也贯穿于培养文化与社会领域杰出音

乐人才的要求之中。

Montreal – The new additions act as

a backdrop against which the existing

heritage buildings are featured on Bloor

Street. The space between the historic

and new buildings is enclosed to create

a skylit pedestrian court extending from

the Bloor Street entrance to the Concert

Hall and Lobby. A series of bridges

traverse the upper level, facilitating

circulation between the upper levels of

the old and new buildings. Contemporary

glazing systems for the new additions

provide dynamic counterpoints to the

polychromatic facades of the heritage

buildings.

The TELUS Centre is conceived

to provide a flexible, fully-wired

infrastructure to adapt easily to new

technologies, including e-learning and

videoconferencing workshops using

broadband technology and advanced

digital acoustic instruments. The

architects worked closely with a core user

group to create teaching and instruction

spaces that reflected the RCM

’

s

objectives for the evolution of its music

programs. It will also house the 1100-seat

Michael and Sonja Koerner Concert

Hall which has been sculpted to create

an optimal acoustical environment for

live and broadcast performances. The

design of the Hall, distinguished by an

undulating wood

‘

veil

’

integrated with

the canopy over the stage, will create

a signature image for the RCM and

establish the venue as a destination for

music lovers worldwide.

The overall design of the TELUS Centre for

Performance and Learning emphasizes

the primacy of acoustics throughout

its new and renovated facilities and

is conceived to create a physical

embodiment of the RCM

’

s educational

mission and its mandate to nurture the

vital role of music in culture and society.

翻译：刘胜杰，北方工业大学建筑工程学院

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DESIGN

贝多芬曾经说过：“建筑艺术像我因此，当听觉的艺术和视觉的艺术

的音乐一样，如果说音乐是流动的进行完美的结合时，他们会带给人

建筑，那么建筑可以说是凝固的音无以伦比的美的享受。这种享受

乐。”古已有之。如北京天坛的回音壁与

三音石，又如河南省陕县的蛤蟆音

建筑是造型的艺术，人们是从它的

塔。

形体、色彩、空间等要素中去体验

美感；音乐是时间的艺术，人们是现代，建筑与音乐的结合更多是以

从它的逻辑、组合，从它的起、表演艺术中心的形式呈现的。以下

承、转、合等要素中去体验美感。加拿大的两个艺术中心的设计，都

建筑是属于眼睛的艺术，它在给你从音乐的旋律中寻找灵感，创造出

视觉方面的强烈震撼之后，化为音动感、流畅的空间。在室外设计方

符，回响在你的脑海里；音乐是属面，建筑师采用透明的玻璃幕墙的

于耳朵的艺术，它在给你听觉方面形式，在复杂的建筑环境下，弱化

的深深感动之后，让你体会到严谨了与其他建筑风格上的对比，同时

的结构和形式美，而这正是建筑特也弱化了建筑的体量感，使建筑具

有的。那些高低起伏的建筑群是那有了音乐般的流动性；在室内设计

样和谐协调，是因为它们富有美的方面，强调空间的连贯性，也强调

“旋律”，体现了建筑美的特有法空间的灵活性，使建筑更加灵活生

则。那些宏伟壮丽的交响乐是那样动。试想，在富有旋律美的建筑中

匀称完整，是因为它们具有严谨的表现富有结构美的音乐，让人怎么

结构，体现了音乐美的特有法则。会不感动。

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