編譯：季嘉葵

英國劇場(chǎng)技師協(xié)會(huì)(Association of British Theatre Technicians，簡(jiǎn)稱ABTT，成立于1961年)于1972年制作了第一部劇院設(shè)計(jì)和規(guī)劃指南。在1986年修訂后，成為任何涉及劇院建筑、裝修或者創(chuàng)造一個(gè)表現(xiàn)空間的標(biāo)準(zhǔn)參考。2010年由該組織出版、朱迪思·斯特朗（Judith Strong）編輯的《劇院建筑設(shè)計(jì)指南》（

Theatre Buildings:A Design Guide

）一書，是其繼承者。

這本書使讀者了解了劇院的規(guī)劃和設(shè)計(jì)的全過程。它在建筑物的每一個(gè)區(qū)域都有詳細(xì)的注解，包括房子前面、禮堂、后臺(tái)和行政辦公區(qū)域。它聚焦于一些具體的指導(dǎo)，比如音響、舞臺(tái)工程、燈光、聲音和視頻，禮堂和舞臺(tái)的尺寸等等。餐飲、會(huì)議和教育使用等方面也包括在內(nèi)。書中涵蓋了28座劇院的案例，《歌劇》雜志將編譯其中精彩的個(gè)案，與業(yè)界共同分享。

劇院建筑設(shè)計(jì)指南之墨爾本戲劇公司劇場(chǎng)

Melbourne Theatre Company Theatre from

Theatre Buildings: A Design Guide

墨爾本，澳大利亞維多利亞州

Melbourne, Victoria, Australia

墨爾本戲劇公司（MTC）是澳大利亞歷史最悠久的劇團(tuán)。自1954年成立以來遷址多次，有過許多不同的駐地，但一直都作為墨爾本大學(xué)的一個(gè)院系存在著。

概 要

劇院類型和運(yùn)營(yíng)形式

為上演墨爾本戲劇公司的制作而專門建造的劇院，設(shè)有兩個(gè)觀眾廳。

地址和網(wǎng)站

墨爾本，澳大利亞維多利亞州www.mtc.au

建筑計(jì)劃

建筑工期為2006年6月至2008年12月，2009年初投入使用。

觀眾席

主廳（500至550個(gè)座位）：主要為戲劇設(shè)計(jì)，設(shè)有深舞臺(tái)、全飛控設(shè)施和樂池。小廳（180個(gè)座位）：可調(diào)節(jié)的空間。

舞臺(tái)

平坦的傳統(tǒng)式臺(tái)口（最大可達(dá)9米高、16米寬），前臺(tái)口及樂池可供選擇。舞臺(tái)寬度為26米（含側(cè)臺(tái)空間），飛控廊道間距為21米。舞臺(tái)深度為19米，包括6米深的后臺(tái)。到柵頂高度為20米，到飛控廊道高度為9米。組合式全舞臺(tái)地板。

建筑師

ARM建筑師事務(wù)所的伊恩·麥克杜格爾和彼得·比克爾，澳大利亞墨爾本。項(xiàng)目管理：維多利亞州政府大項(xiàng)目組。

劇院（設(shè)計(jì)和技術(shù)）顧問

墨爾本戲劇公司與Entertech劇院顧問公司。

聲學(xué)顧問

奧雅納工程顧問公司。

造價(jià)

2009年的5500萬澳元（其中4000萬澳元由墨爾本大學(xué)捐贈(zèng)，緣于墨爾本戲劇公司是其下屬院系）。

Melbourne Theatre Company (MTC) is Australia’s oldest theatre company. Since its foundation in 1954, it has occupied various different homes while remaining a Department of Melbourne University (which it still is).

2009年初，墨爾本戲劇公司終于搬進(jìn)了屬于自己的駐地——包括薩姆納劇院（500個(gè)至550個(gè)座位）和勞勒工作室（180個(gè)座位）在內(nèi)的一個(gè)引人注目的建筑群，緊鄰墨爾本體育中心，兩者由相同的建筑師設(shè)計(jì)，并在同一時(shí)期建造。

The MTC finally moved into its own building early in 2009 – a striking complex comprising the Sumner Theatre (seating 500-550) and the Lawler Studio (seating 180). Immediately adjacent is the Melbourne Recital Centre, designed by the same architects and built at the same time.

2017年河北省非油氣持證礦山企業(yè)工業(yè)總產(chǎn)值549.57億元。其中，能源礦產(chǎn)301.64億元(煤礦287.33億元)，黑色金屬礦產(chǎn)195.26億元(全為鐵礦產(chǎn)值)，有色金屬礦產(chǎn)9.25億元，貴重金屬礦產(chǎn)1.70億元，冶金輔助原料非金屬礦產(chǎn)1.88億元，化工原料非金屬礦產(chǎn)3.83億元，建材和其它非金屬礦產(chǎn)20.33億元，礦泉水0.38億元。2017年河北省非油氣持證礦山企業(yè)工業(yè)總產(chǎn)值較上年增加131.30億元，增長(zhǎng)23.89%。

建造劇場(chǎng)的目的在于建立一個(gè)平等、動(dòng)態(tài)的工作空間，強(qiáng)調(diào)靈活使用和易于操作的重要性。墨爾本戲

Summary

Theatre type and operational format

Purpose-built theatre with two auditoria designed to house Melbourne Theatre Company productions.

Location and web reference

Melbourne, Victoria, Australia.

www.mtc.au

Building programme

Construction stage ran from June 2006 to December 2008. Building opened early 2009.

Auditorium

Main auditorium (seating 500-550) –designed primarily for drama with deep stage,full flying facilities and orchestra pit. Smaller auditorium (seating 180) – adaptable space.

Stages

Flat, traditional proscenium (variable up to 9m high × 16m wide) with an optional forestage or orchestra pit. Stage width is 26m (with wing space) and 21m between fly galleries. The stage depth is 19m including 6m of rear stage. The height is 20m to grid and 9m to fly galleries. Fully modular stage floor.

Architect

Ian McDougall and Peter Bickle of Ashton Raggart McDougal, Melbourne, Australia.Project managed by： Major Projects Victoria for Victorian State Government.

Theatre (design and technical) consultants

Melbourne Theatre Company with Entertech Theatre Consultants.

Acoustic consultants

Arup.

Building cost

AUS$55 million in 2009 (AUS$40 million contributed by University of Melbourne of which MTC is a Department).劇公司還希望該建筑能營(yíng)造出戲劇氛圍和歸屬感，最終通過競(jìng)標(biāo)選出專業(yè)的設(shè)計(jì)團(tuán)隊(duì)。

主觀眾席與亮起的“戲劇名言”墻

The brief for the theatre called for an egalitarian,dynamic working space, emphasizing the importance of flexibility in use and ease of operation. MTC also wanted a sense of theatricality and of destination. The specialist design team was selected by competition.

劇場(chǎng)外觀由高亮白色管道構(gòu)成外層結(jié)構(gòu)，這些管道從建筑結(jié)構(gòu)黑色緞面鋁包層的實(shí)際外墻上向前延伸。這種設(shè)計(jì)使得建筑充滿生氣，當(dāng)人們?cè)诎滋旖?jīng)過時(shí)，會(huì)感覺管道似乎在移動(dòng)和變化；而夜晚時(shí)，這些管道會(huì)被點(diǎn)亮。

The exterior of the theatre comprises an exoskeleton of highlighted white piping that is brought forward off the satin-finished black aluminum cladding of the actual mass of the structure. This animates the building both during the day, when the piping appears to shift and change as you pass by, and by night, when it is illuminated. The two auditoria share generous foyers, with a café and bars,offering views across the city. Striking forms and bright colours serve to animate the spaces.

主廳迎合戲劇風(fēng)格的需要，其深色的木墻上鮮明地裝飾著過去的戲劇經(jīng)典名句，并且可以根據(jù)演出的需要變暗或者改變顏色。薩姆納劇院的前臺(tái)是完全可變的，可以改變空間以適應(yīng)舞臺(tái)演出規(guī)模的需要。劇場(chǎng)配有全套的自動(dòng)飛控設(shè)施、模塊化的舞臺(tái)地板、充足的化裝間空間，演職員集中的辦公室以及重要的技術(shù)基礎(chǔ)設(shè)施裝置——包括電力設(shè)施、數(shù)據(jù)設(shè)施以及整個(gè)場(chǎng)地的傳動(dòng)裝置。同樣地，勞勒工作室的空間也是可以完全重構(gòu)的，該場(chǎng)地具有飛行桁架網(wǎng)格、模塊化座椅系統(tǒng)以及它自己的化裝間和高質(zhì)量設(shè)備。

The main auditorium picks up on the requirement for theatricality with its dark timber walls illuminated by quotes from past plays, dimmed or colour changed as productions require. The proscenium for the Sumner is fully adjustable, allowing the room to be varied to fit the scale of the productions on stage. There are full power flying facilities, a modular stage floor, ample dressing room space, centralized offices for staff and significant installations of technical infrastructure – including power, data and rigging points across the entire venue.Likewise the Lawler Studio space is fully reconfigurable with a flown truss grid, modular seating system, and its own dressing rooms and high-quality equipment.

整個(gè)建筑的周邊設(shè)計(jì)都考慮到了方便演員、劇組人員和觀眾的出行問題。從建筑的入口處到所有的化裝間、舞臺(tái)區(qū)域和辦公室，都鋪有平坦的地板，電梯可以到達(dá)劇場(chǎng)的各個(gè)層面。各種隱藏的門使得演員和工作人員能夠穿過劇場(chǎng)，而不會(huì)被觀眾的人流絆住，并給導(dǎo)演增加了靈活性，在整個(gè)觀眾席的周圍都可以設(shè)置演員的進(jìn)出點(diǎn)。

Access around the entire building has been designed to facilitate cast, crew and audience movement. There is flat-floor travel from the entry of the building to all dressing rooms, stage areas and offices and lift access to all levels of the building. Various hidden doors enable cast and crew to move through the building without being caught in audience crushes and allow directors increased flexibility for actors’ entry or exit points around the entire auditorium.