建筑設(shè)計： MAD建筑事務(wù)所Architects: MAD Architects

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哈爾濱大劇院，哈爾濱，中國

建筑設(shè)計： MAD建筑事務(wù)所
Architects: MAD Architects

Harbin Opera House, Harbin, China, 2015

1 東向鳥瞰/Aerial view from the east

2 哈爾濱文化島整體規(guī)劃/Master Plan of Harbin Cultural Island

MAD建筑事務(wù)所2010年贏得“哈爾濱文化島”設(shè)計國際競賽，從概念設(shè)計到建成竣工歷時6年，完成了涵蓋哈爾濱大劇院、市民文化中心和劇院周圍景觀濕地的整體規(guī)劃設(shè)計。哈爾濱大劇院規(guī)劃用地1.8km2，總建筑面積79,000m2，由包含1600座的大劇場及400座的小劇場組成。此外，劇場內(nèi)部聲學經(jīng)實際檢測被中國和歐美聲學專家評為“聲學表現(xiàn)國際一流的大劇院”。

哈爾濱大劇院坐落在松花江北岸江畔，以環(huán)繞周圍的濕地自然風光與北國冰封為設(shè)計靈感，從濕地中破冰而出，建筑宛如飄動的綢帶，從自然中生長而立，成為北國延綿的白色地平線的一部分。對比松花江江南的城市天際線，自然之美與獨特存在于此，使哈爾濱大劇院在具備功能性的同時成為一處人文、藝術(shù)、自然相互融合的大地景觀。

建筑的白色表皮仿佛是會呼吸的細胞，在北國陽光的照耀下發(fā)生“光合作用”。大劇院頂部的玻璃天窗最大限度地將室外的自然光納入室內(nèi)。自然光灑落在劇場中庭的水曲柳墻面上，凸顯了墻體結(jié)合當?shù)夭牧霞兪止ご蛟斓慕承莫氝\，也使人們無論走到哪里，都能感受到日光傾瀉的通透與空靈。小劇場的后臺也設(shè)計為透明的隔音玻璃，使得室外的自然環(huán)境成為了舞臺的延伸和背景，為小劇場的舞臺創(chuàng)作提供了新的可能性。大劇場的室內(nèi)主要以當?shù)爻Ｒ娔静乃止ご蛟?，柔和溫暖的氛圍、自然的紋理和多變的有機形態(tài)讓人感受到空間的生命感。建筑空間好似一個放大的樂器內(nèi)部，置身其中，仿佛可以看到聲音在空間中的流動。簡單純粹的材料和多變的空間組合為最佳的聲學效果提供了條件。逆光中的塵埃仿佛也在提醒這里是一個超敏感的空間，置身其中，觀眾也成為了被觀察者與表演者，在劇目上演之前，人們的意識已開始進入了某種抽象的、剝離現(xiàn)實的空間。

與一般地標性建筑孤立地佇立在城市中不同，哈爾濱大劇院是一座從四面八方都可以進入的“親切”的建筑。哈爾濱大劇院的設(shè)計強調(diào)市民的互動與參與。建筑頂部的露天劇場和觀景平臺向市民開放，成為公園的垂直延伸，可以看到松花江江南、江北的城市天際線以及周邊自然景觀。即使不進劇場觀看演出，市民也可以通過建筑外部環(huán)繞的坡道從周圍的公園和廣場一直走到屋頂，用身體近距離接觸建筑戲劇化的體驗和意境。

音樂家孔巴略（Combarieu，Jules）曾說：“音樂是思維著的聲音?！惫枮I大劇院為產(chǎn)生這樣的聲音提供合適的氛圍場所，并成為了一座從物理上到精神上與人和自然互動的建筑，讓我們重新思考人與自然的關(guān)系?！?/p>

3 首層平面/Floor 0 plan

4 二層平面/Floor 1 plan

MAD Architects unveils the completed Harbin Opera House, located in the city of Harbin in Northeast China. In 2010, MAD won the international open competition for Harbin Cultural Island, a master plan consisting of an opera house, a cultural center, and the surrounding wetland landscape along Harbin's Songhua River. The sinuous opera house is the focal point of the Cultural Island, with a building area of approximately 79,000m2of the site's 1.8km2total area. It features a grand theater housing an audience of over 1,600 and a smaller theater to seat 400 people.

Embedded within Harbin's wetland, the Harbin Opera House was designed in response to the prowess and spirit of the city's untamed wilderness and frigid climate. Appearing as if sculpted by wind and water, the building seamlessly blends with nature and the topography-a transfusion of local identity, art, and culture. "We envision Harbin Opera House as a cultural center of the future-a tremendous performance venue, as well as a dramatic public space that embodies the integration of human, art and the identity of the city, while synergistically blending with the surrounding environment", said MA Yansong, the founding principal architect of MAD Architects.

On the exterior, the architecture references the rolling landscape of the surrounding area. The resulting curvilinear fa?ade composed of smooth white aluminum panels becomes the poetry of edge and surface, softness and sharpness. The journey begins with crossing the bridge onto Harbin Cultural Island, where the undulating architectural mass wraps a large public plaza, and during winter, melts into the snowy environment.

The architectural procession choreographs a conceptual narrative, one that transforms visitors into performers. Upon arrival at the grand lobby, visitors will see large transparent glass walls spanning the lobby, visually connecting the curvilinear interior with the swooping fa?ade and the exterior plaza. Elevated above, a crystalline glass curtain wall soars over the lobby space supported by a lightweight diagridstructure. Comprised of glass pyramids, the surface alternates between smooth and faceted, referencing the billowing snow and ice of the frigid climate. Visitors are greeted with simple opulence of natural light and the sensation of materials before seated.

5 從水池遠望夕陽下的劇院/Sunset view of the opera house from the pond

6 大劇院西北角外觀/Exterior view from northwest of Harbin Opera House

7 從南側(cè)看向大劇場大堂/South side view into the lobby of the grand theatre

Presenting a warm and inviting element, the grand theater is coated in wood extensively, emulating a wooden block that has been gently eroded away. Sculpted from Manchurian Ashes, the wooden walls gently wrap around the main stage and theater seats. From the proscenium to the mezzanine balcony, the use of ordinary materials and simplistic spatial configuration achieves world-class acoustic quality. The grand theater is illuminated in part by a subtle skylight that connects the audience to the exterior and the passing of time.

Within the second, smaller theater, the interior is connected seamlessly to the exterior by large, panoramic windows behind the stage. This wall of sound-proof glasses provides a naturally scenic backdrop for performances and activates the stage as an extension of the outdoor environment, eliciting improvising opportunities.

Harbin Opera House emphasizes public interaction with and participation in the building. Both ticketholders and the general public can explore the fa?ade's carved paths and ascend the building as if traversing local topography. At the apex, visitors discover an open, exterior performance space that serves as an observation platform of a panoramic view towards Harbin's metropolitan skyline and the surrounding wetlands below. Visitors return to the expansive public plaza while descending, and are invited to explore the grand lobby space.

Surpassing the complex opera house typology, MAD articulates an architecture inspired by nature and saturated in local identity, culture and art. As the Harbin Opera House deepens the emotional connection of the public with the environment, this building is consequently theatrical in that of both its performance of narrative spaces and the context of the landscape.□

8 屋頂平臺/Rooftop terrace

項目信息/Credits and Data

主持建筑師/Principal Architects：馬巖松，黨群，早野洋介/MA Yansong, DANG Qun, Yosuke Hayano

業(yè)主/Client：哈爾濱松北投資發(fā)展集團有限公司/Harbin Songbei Investment and Development Group Co., Ltd.

設(shè)計團隊/Design Team：Jordan Kanter, Daniel Gillen, Bas van Wylick，劉會英，傅昌瑞，趙偉，李健，鄭芳，Julian Sattler, Jackob Beer, J Travis Russett, Sohith Perera, Colby Thomas Suter，于魁，Philippe Brysse，黃偉，F(xiàn)lora Lee，王偉，謝怡邦，Lyo Hengliu, Alexander Cornelius, Alex Gornelius，毛蓓宏，Gianantonio Bongiorno, Jei Kim，陳元宇，于浩臣，覃立超，Pil-Sun Ham, Mingyu Seol，林國敏，張海峽，李廣崇，Wilson Wu，馬寧，Davide Signorato, Nick Tran，向玲，Gustavo Alfred Van Staveren，楊杰/Jordan Kanter, Daniel Gillen, Bas van Wylick, LIU Huiying, FU Changrui, ZHAO Wei, Kin Li, ZHENG Fang, Julian Sattler, Jackob Beer, J Travis Russett, Sohith Perera, Colby Thomas Suter, YU Kui, Philippe Brysse, HUANG Wei, Flora Lee, WANG Wei, XIE Yibang, Lyo Hengliu, Alexander Cornelius, Alex Gornelius, MAO Beihong, Gianantonio Bongiorno, Jei Kim, CHEN Yuanyu, YU Haochen, QIN Lichao, Pil-Sun Ham, Mingyu Seol, LIN

Guomin, ZHANG Haixia, LI Guangchong, Wilson Wu, MA Ning, Davide Signorato, Nick Tran, XIANG Ling, Gustavo Alfred Van Staveren, YANG Jie

合作建筑師/Associate Architects：北京市建筑設(shè)計研究院/ Beijing Institute of Architectural Design （BIAD） Institute No.3幕墻顧問/Fa?ade ＆ Cladding Consultants：英海特幕墻顧問公司，中國京冶工程技術(shù)有限公司/Inhabit Group, China Jingye Engineering Co., Ltd.

建筑信息建模BIM：鏗利科技有限公司/Gehry Technologies Co., Ltd.

景觀設(shè)計/Landscape Architect：北京土人景觀與規(guī)劃設(shè)計研究院/Beijing Turenscape Institute

室內(nèi)設(shè)計/Interior Design：MAD建筑事務(wù)所，深圳市科源建設(shè)集團有限公司/MAD Architects, Shenzhen Keyuan Construction Group Co., Ltd.

室內(nèi)裝飾顧問/Interior Decoration Consultants：哈爾濱唯美源裝飾設(shè)計有限公司/Harbin Weimeiyuan Decoration Design Co., Ltd.

建筑聲學顧問/Acoustics Consultants：華東建筑設(shè)計研究院有限公司聲學及劇院專項設(shè)計研究所/Acoustic and Theater Special Design ＆ Research Studio of East China

Architectural Design ＆ Research Institute （ECADI）

建筑照明設(shè)計/Lighting Design：中外建工程設(shè)計與顧問有限公司/China International Engineering Design ＆Consult Co., Ltd.

舞臺燈光和舞臺音響設(shè)計/Stage Lighting and Acoustics Design：華東建筑設(shè)計研究院有限公司聲學及劇院專項設(shè)計研究所/Acoustic and Theater Special Design ＆ Research Studio of East China Architectural Design ＆Research Institute （ECADI）

舞臺機械設(shè)計/Stage Mechanical Engineers：北京新紀元建筑工程設(shè)計有限公司/Beijing New Era Architectural Design Ltd.

標識設(shè)計/Signage Design：深圳市自由美標識有限公司/ Shenzhen Freesigns Signage Co., Ltd.

大劇院容量/Grand Theater Capacity：1600座/1600 seats小劇院容量/Small Theater Capacity：400座/400 seats

建造時間/Construction Period: 2010-2015

建筑面積/Building Area: 79,000m2

建筑高度/Building Height: 56m

攝影/Photos: Hufton ＋ Crow , Adam M?rk

9.10 大劇場大堂/Lobby of the grand theater

11 小劇場大堂/Lobby of the small theatre

12 小劇場縱剖面/Longitudinal section of the small theatre

13 大劇場橫剖面/Transversal section of the grand theatre

14 大劇場縱剖面/Longitudinal section of the grand theatre

15 大劇場主舞臺及舞臺前部裝置/View of the grand theater's main stage and the proscenium

16 用水曲柳雕刻成的大劇場/The grand theatre sculpted in Manchurian Ash

17 周圍景色通過全景窗成為小劇場的背景幕布/Panoramic window backdrops the small theatre stage with the surrounding landscape

18 小劇場觀眾席/Auditorium of the small theatre

評論

包泡：哈爾濱大劇院設(shè)計的精神意境，初始是延續(xù)了從“浮游之島”開始的在曼哈頓上空飄動的意境。鄂爾多斯美術(shù)館的建筑有如從天上降落，大地在波動。北部灣一號方案的一開始，馬巖松就找到切入點：“看到海！我就想到山?！焙Ｔ趧樱揭苍趧?。這幾個作品，它們有一致的精神意境指向。是什么？設(shè)計在具體的城市和自然環(huán)境中抒發(fā)作者內(nèi)心騷動的情感，創(chuàng)造出不同的天地對話的詩意。

哈爾濱大劇院的建筑設(shè)計之初，精神走向是明確的：北國茫茫千里冰雪、松花江、江水濤濤的大時空感。取想象抒發(fā)情感，而非邏輯和理性，延續(xù)浮游之島以來的MAD對山水城市美學的探討。然而這次建筑的意象遠沒有被深入細致地提煉和展開。它不必“取悅驕狂的世人”，讓欣賞它的朋友，無論貴賤，皆可暫時忘卻現(xiàn)實中的階級矛盾，在“生動、明朗的詩情”中迷不知返——我一直以為哈爾濱是座有普希金氣質(zhì)的城市。for the Harbin Opera House: to create a sense of large spatiotemporal space as seen in North China - thousands of miles of ice and snow and the roaring waves of the Songhua River. It is to imagine and express feelings rather than follow any logicality and rationality, which is the extension of his MAD Architects' exploration on the aesthetics of shan-shui cities ever since the Flowing Island. However, the image of this building is far from full development.

劉晨：古希臘之后，劇院成為最凸顯社會等級的建筑，從古羅馬大劇場到巴黎歌劇院，變臉不變心。劇院設(shè)計繞不開貴族與平民的階級矛盾，這是歷史遺留的命題作文，有各種寫法，但無論“折衷主義”的駢文還是“現(xiàn)代主義”的說明文或議論文，都是八股文。馬巖松還沒能顛覆等級八股，但他在劇院“優(yōu)美而純真”的靈魂上頗下了一番功夫，讓

Comments

BAO Pao: The design of the Harbin Opera House continues the artistic conception that the Flowing Island is fl oating in the sky over Manhattan. The Erdos Art Gallery is a building that falls from the sky, and makes the earth moving. MA Yansong has found the entry point from the very beginning in deciding the scheme of Beibu Gulf No.1 Project by claiming "I think of mountains at the sight of the sea." The sea is moving, and so is the mountain. What is the artistic message that these designs mentioned above intend to convey？Probably, they are designed in the specific city and fit in the natural environment to express the architect's intrinsic emotions with different poetic dialogues between the sky and the earth.

At the beginning, MA clari fi ed his design conception

LIU Chen: Ever since the ancient Greeks left their last traces of a theatrical culture, the theater has become a most hierarchical type of architecture. From the Roman amphitheater to the Opéra de Paris, be it ornate eclecticism or plain modernism, hierarchy is a sanctioned practice in the design of theatres. The Harbin Grand Theater is no exception in that regard. But still, with deliberate e ff orts, the architect succeeded in creating an un fl attering, at once simplistic and sophisticated piece of work. Its power of enchantment and seduction consists in the purity of its soul, which would eventually prevail over its hierarchical body in the course of time.