建筑設(shè)計(jì)：程泰寧/筑境設(shè)計(jì)（原中聯(lián)程泰寧建筑設(shè)計(jì)研究院）

加納國(guó)家大劇院，阿克拉，加納

建筑設(shè)計(jì)：程泰寧/筑境設(shè)計(jì)（原中聯(lián)程泰寧建筑設(shè)計(jì)研究院）

1 東入口廣場(chǎng)/East entrance

國(guó)家劇院位于加納首都阿克拉市中心兩條干道的交匯處。整個(gè)建筑包括1500座觀眾廳、展覽廳、排演廳和一個(gè)露天劇場(chǎng)。建筑面積11000m2。

環(huán)境和建筑物的性質(zhì)，無(wú)疑是我們?cè)谠O(shè)計(jì)中考慮的重要因素，賦于建筑物標(biāo)志性、紀(jì)念性也是我們所企求的。但是，在整個(gè)創(chuàng)作過(guò)程中，蘊(yùn)含在加納舞蹈、雕塑、壁畫中的原始而熾熱的情感，以及它們那夸張而富于神秘感的藝術(shù)形式，一直在震撼和激發(fā)著我們。要表達(dá)非洲藝術(shù)的神采，突出加納國(guó)家劇院的個(gè)性，成了我們的主要追求。在多方案比較的基礎(chǔ)上，最終確定了這個(gè)明顯受到地區(qū)文化背景影響的方案。這個(gè)方案將3個(gè)方形體塊加以旋轉(zhuǎn)、彎曲、切割，塑造了一個(gè)奔放而有力度、精致而又不失浪漫、內(nèi)外部空間比較統(tǒng)一的建筑形象。加納國(guó)家劇院建成后，不僅以其獨(dú)特的藝術(shù)造型，得到了加納人民的認(rèn)同和喜愛(ài)，而且，兩年內(nèi)的300多場(chǎng)演出證明，它也是一座功能齊全的現(xiàn)代化劇院。視線、聲學(xué)和舞臺(tái)設(shè)計(jì)的標(biāo)準(zhǔn)是適當(dāng)?shù)?，技術(shù)是成熟和先進(jìn)的。特別是聲學(xué)測(cè)試表明，音響設(shè)計(jì)達(dá)到了我國(guó)規(guī)定的語(yǔ)言和音樂(lè)的擴(kuò)聲系統(tǒng)一級(jí)標(biāo)準(zhǔn)。工程驗(yàn)收時(shí)得到菲利浦公司聲學(xué)專家的很好評(píng)價(jià)。

該工程系1985年在全國(guó)設(shè)計(jì)招標(biāo)中中標(biāo)，同年開(kāi)始設(shè)計(jì)，1992年竣工。本工程獲中國(guó)建筑學(xué)會(huì)創(chuàng)作獎(jiǎng)、建設(shè)部?jī)?yōu)秀設(shè)計(jì)獎(jiǎng)，入選國(guó)際建協(xié)主編的《廿世紀(jì)世界建筑精品選》。

The National Theatre is located in the intersection of the two main roads in downtown Accra, capital of Ghana. The whole building, covering an area of 11000m2, composes of a 1500-seat exhibition hall, a rehearsal room and an open theatre.

The surrounding environment and the function of the building were without any doubt important factors to be taken into consideration in design. Its symbolic and commemorative nature was also our pursuit. During the whole design process, we were always inspired by the primitive and fervent emotions radiating from the dances, sculptures and wall paintings of Ghana as well as their exaggerated and mysterious forms. How to demonstrate the charm of African arts and highlight the personality of the Ghana National Theatre became what we were seeking for. Our design, with obvious influence from the local culture, was selected from various proposals. In our proposal, three cubes were rotated, curved and sliced off to create an image that is full of freedom yet with strength, and that is delicate and romantic, producing a harmony between the interior and exterior space. Upon completion, the theater had gained approval and favor of the Ghanaian people for its distinctive art form. Within 2 years, more than 300 performances had been put on, which proved its success as a multi-functional modern theatre. The visual, acoustic and stage designs were appropriate while the technologies were mature and advanced. Furthermore acoustic tests proved that its design had reached the top state standard for sound reinforcement system in China.

2 總平面/Site plan

3 露天劇場(chǎng)入口/Entrance of amphitheatre

4 入口局部/Part of the entrance

5 首層平面/Floor 0 plan

7 東立面/East elevation

8 加納貨幣/Ghana currency

9 露天劇場(chǎng)/Amphitheatre

10 西入口/West entrance

11 觀眾廳內(nèi)景/Interior view

評(píng)論

張雷：加納國(guó)家大劇院于1985年－1992年間設(shè)計(jì)建造，此時(shí)我國(guó)改革開(kāi)放已全面展開(kāi)，建筑設(shè)計(jì)領(lǐng)域也走向繁榮。該項(xiàng)目設(shè)計(jì)展現(xiàn)了建筑師扎實(shí)的空間形式修養(yǎng)，嫻熟的材料結(jié)構(gòu)技術(shù)駕馭，以及開(kāi)放包容的自信心。建筑規(guī)則布局的3個(gè)方形體塊，被精確地旋轉(zhuǎn)、彎曲、切割，像一組滿載而歸的航船，暗示了加納首都阿克拉的港口城市特質(zhì)，創(chuàng)造了大劇院內(nèi)部空間和外部形式的高度統(tǒng)一。范路：20多年前建成的加納國(guó)家劇院，今天看來(lái)依然體現(xiàn)了高超的設(shè)計(jì)水準(zhǔn)。該建筑以直線與曲線相結(jié)合的基本形體、清晰明確的形體組合，構(gòu)成簡(jiǎn)潔有力的整體形象。這一建筑形象既充分體現(xiàn)了加納藝術(shù)中原始、夸張、熾熱的神秘感，也很好地應(yīng)對(duì)了城市環(huán)境、結(jié)構(gòu)體系、使用功能和內(nèi)部空間諸多實(shí)際問(wèn)題。而建筑師總結(jié)的理性與意象相復(fù)合的設(shè)計(jì)方法，既是當(dāng)年打破思想束縛的體現(xiàn)，也是對(duì)建筑設(shè)計(jì)過(guò)程基本規(guī)律的深刻思考。

項(xiàng)目信息/Credits and Data

主持建筑師/Principal Architect: 程泰寧/CHENG Taining

建筑設(shè)計(jì)團(tuán)隊(duì)/Project Team: 葉湘菡，沈之翰，蔣淑仙/ YE Xianghan, SHEN Zhihan, JIANG Shuxian

建筑面積/Floor Area: 11000m2

設(shè)計(jì)時(shí)間/Design Period: 1985

12 總統(tǒng)包廂/President's box

13 三層展廳/Exhibition hall, floor 2

Comments

ZHANG Lei: The National Theatre of Ghana was built in the period of 1985 – 1992 when China's reform and opening up was in full swing and the field of architectural design was booming. The project reflects the architect's knowledge in spatial design and mastery of material structure, as well as his open attitude and self-confidence. The three square blocks in orderly layout, after being rotated, curved, and sliced off, look like a fleet coming back from a rewarding journey, suggesting the identity of Accra, capital of Ghana, as a port city. In this way, the architect also creates a high degree of harmony between the interior space and exterior form of the Theatre.

FAN Lu: Even in today's point of view, Ghana NationalTheatre completed over 20 years ago is a building with excellent design. Formal strategies of combination of straight lines and curves, clear compositional relation and concise quality make contribution to the building's overall looking. Its icon fully expresses the sense of primitive, exaggerating and mysterious in Ghana art, but also responses well to building's practical requirements, such as surrounding environment, structural system, interior space and functions. The reason-image method summarized by the chief architect in design process, reflects the breakthrough of mind restraints then and exploration on fundamental methodology in architectural design as well.

Ghana National Theatre, Accra, Ghana, 1992

Architects: CHENG Taining/CCTN

14.15 剖面/Section