山東石窩劇場(chǎng)景觀建筑設(shè)計(jì) | 三文建筑

可以仰望星空的舞臺(tái)，山東威海石窩劇場(chǎng)  

Stage under Starlit Sky Stone Nest Amphitheatre in Weihai, Shandong Province

▼石壁被完整保留，舞臺(tái)和看臺(tái)圍繞石壁設(shè)置 

Cliff completely preserved, around which stage and grandstand are set

基地，來自對(duì)場(chǎng)所的閱讀

A base emerging from reading of site and location 

石窩（露天）劇場(chǎng)的前身是一座小型采石坑，位于威海市環(huán)翠區(qū)嵩山街道五家疃村。上個(gè)世紀(jì)90年代開始，隨著中國城市化的發(fā)展，威海各地出現(xiàn)大量的采石場(chǎng)，這里也曾經(jīng)是其中的一個(gè)。近年來，隨著國家對(duì)環(huán)保的重視，幾乎所有的采石場(chǎng)都被關(guān)閉，此處也逐漸廢棄，成為遺跡，當(dāng)?shù)厝朔Q之為：“石窩子”。

設(shè)計(jì)團(tuán)隊(duì)在考察現(xiàn)場(chǎng)時(shí)候，發(fā)現(xiàn)了被廢棄的采石坑，也發(fā)現(xiàn)了它獨(dú)有的魅力。采石坑規(guī)模不大，形狀如同自然彎曲的手，曾經(jīng)采石的痕跡經(jīng)歷了歲月的侵蝕，呈現(xiàn)出一種“人工-自然”的圖景，特別是暴露在外的石壁，崢嶸奇峻，給建筑師留下了深刻的印象。如何將曾經(jīng)破壞環(huán)境的采石場(chǎng)變?yōu)樵旄Ｒ环桨傩盏挠幸鎴?chǎng)所是本案著重思考的問題。

In its previous life, the Stone Nest Amphitheatre was a small-sized stone pit located in the Wujiatuan Village at Songshan Residential District in the city of Weihai, Shandong Province, China. Since 1990s, along with the rapid urbanization of China, a great number of stone pits had emerged all over in Weihai, among which this project was one, as well. For the past few years, as the state is paying increasingly attention on environment protection, almost all of the stone pits have been closed. Accordingly, this place had also been gradually discarded and eventually turned into a relic, given a name by the local as “Shi Wozi (Stone Nest)”.   

During the site exploration, the design team found this abandoned stone pit by accident and was amazed by its charm. After years of erosion through the time, this relatively small stone pit, in a form of a naturally curved hand, renders a presence of some kind of artificial nature with its old traces of quarrying. The architect has been especially impressed by the exposed jagged precipice and steep cliff. How to transfer this stone pit that once ruined the environment into a public place that will benefit the local people? That has been the biggest question of this project.  

▼建筑與周邊村莊關(guān)系 

Relationship between architecture and surrounding villages

▼從自行車綠道看建筑 

Architecture viewed from bicycle greenway

設(shè)計(jì)靈感，從互文（Intertextuality）開始

The design concept inspired from intertextuality

選擇這里，但這里的未來是什么？這里將作為什么功能被使用？又為周邊帶來什么？……古代希臘的劇場(chǎng)，意大利錫耶納的坎波廣場(chǎng)，以及南京中山陵音樂臺(tái)為建筑師提供了靈感。在早年游學(xué)歐洲時(shí)候，希臘的埃庇道魯斯露天劇場(chǎng)（the Ancient Theatre of Epidaurus）給建筑師留下了深刻的印象，依山而建，面朝遠(yuǎn)方，人工構(gòu)筑物與自然融為一體，形成了一種獨(dú)特人文-自然景觀（Cultural-Nature Landscape）。建筑師認(rèn)為這里的環(huán)境雖然和希臘劇場(chǎng)不盡相同，但從空間邏輯上具有互文性（Intertextuality）；此外，露天劇場(chǎng)作為一種公共性場(chǎng)域（field），也會(huì)給所在的區(qū)域帶來新的活力和機(jī)遇。它可以作為廣場(chǎng)使用，為當(dāng)?shù)厝颂峁┕布瘯?huì)的場(chǎng)所，也可舉辦音樂節(jié)、戲劇節(jié)等活動(dòng)，形成公共交流。建筑師認(rèn)為這樣的處理在單純美化景觀的基礎(chǔ)上，增加了文化和產(chǎn)業(yè)功能，為此類廢棄工業(yè)遺存提供了新的解決思路。

Already chosen, but what does its future look like? What functions are supposed to be granted? And what will it to the surroundings bring? … The ancient Greek amphitheatres, the Piazza del Campo in Siena and the musical stage of Dr Sun Yat-sen' Mausoleum in Nanking have inspired the architect. During his early years of overseas study tour in Europe, the Ancient Theatre of Epidaurus in Greece, leaning against the mountains and facing the distance, has made a profound impression on him with its unique cultural-natural landscape, of which the artificial structures blend perfectly into the nature. Although the environment of this old stone pit is quite different from that of the ancient Greek amphitheatre, the architect finds a logical intertextuality between them and sees that an open-air theatre, as a public field, will bring fresh vigor and new opportunities to the local community, which could be used as a public communication piazza for gatherings, musical and theatrical festivals. More than mere simple beautification of the landscape, this kind of disposal is also supposed to augment cultural and industrial functions to the project, which should provide solution concepts on these abandoned industrial remains.  

建筑，人與自然的中間

The architecture between human and nature

從某種意義上講，這是一個(gè)景觀性建筑（architecture in landscape）。建筑師希望以一種“輕”的姿態(tài)來處理場(chǎng)地，建筑的形態(tài)，以及兩者之間的關(guān)系。

In a sense, this project is a kind of architecture in landscape. And, according to the architect, a “l(fā)ight” posture should be taken to deal with the site, the architectural form and their relations in between. 

▼場(chǎng)地原貌 

original view of the site

▼草圖-1 

sketch-1

▼草圖-2 

sketch-2

▼生成圖

generation diagram

場(chǎng)地中原有石壁被完整的保留，不做任何處理，成為劇場(chǎng)的背景墻。石壁因?yàn)殚_采石料形成弧形，使其具有很好的聲學(xué)效果。在建筑師看來，石壁本身就是觀演最重要的內(nèi)容，它不僅是舞臺(tái)背景，也是演出者本身，石壁的存在決定了整個(gè)劇場(chǎng)的性格和氣氛，是空間的起點(diǎn)。

看臺(tái)環(huán)抱石壁設(shè)立，從舞臺(tái)地平面逐漸抬高，與石壁一起形成聚攏的場(chǎng)。舞臺(tái)和看臺(tái)的形狀根據(jù)原有地形設(shè)置，并不追求對(duì)稱；看臺(tái)的臺(tái)階被設(shè)計(jì)成自由的折線狀態(tài)，進(jìn)一步加強(qiáng)了場(chǎng)地的景觀性。

The cliff of the site is intactly preserved, without any processing, as the background wall of the amphitheatre, which, with its arc-shaped form produced by quarrying, realizes excellent acoustics. From the architect’s point of view, the cliff itself is the most significant content of entire the performance, which is not only the background of the stage, but also one of the major performers. Its existence, as the start point of the whole space, determines the characteristics and atmosphere of the theatre. The audience area is set up hemming in the cliff, of which the height is gently elevated starting from the horizontal plane of the stage, forming a rounding up field. The shapes of the stage and the audience area are fitted to the original terrains, not pursuing symmetry. The seat terraces of the audience area are designed as free broken lines to strengthen the landscape efficacy of the venue.      

▼建筑鳥瞰 

Bird's eye view of architecture

▼舞臺(tái) 

Stage

▼石壁與舞臺(tái)互相咬合 

Cliff and stage biting into each other

▼看臺(tái)上設(shè)有天窗為下面的咖啡廳提供照明 

Skylights on grandstand providing lighting for café below

▼石窩劇場(chǎng)全貌 

Full view of Stone Nest Amphitheatre

原場(chǎng)地地坪呈從石壁向下的斜坡，與看臺(tái)的抬起趨勢(shì)相反。依循這個(gè)特征，看臺(tái)下面被藏入了一個(gè)新的建筑體量。它與看臺(tái)共用支撐結(jié)構(gòu)，在功能上包括儲(chǔ)藏、公共衛(wèi)生間和咖啡廳，可以為劇場(chǎng)提供后勤和公共配套服務(wù)。為了不遮擋和搶奪石壁的“主角”地位，建筑高度盡量壓低，外形也趨于規(guī)整。建筑正立面由一系列落地窗洞組成，窗洞與窗洞之間的墻面厚度被有意強(qiáng)化，建筑師希望給人一種洞穴的感覺，回應(yīng)場(chǎng)地原有采石坑的歷史。建筑兩側(cè)設(shè)有臺(tái)階和坡道，供人們進(jìn)出舞臺(tái)區(qū)域。臺(tái)階和坡道被高大的墻包圍，或略顯壓迫，或曲折，成為進(jìn)入主區(qū)域之前的過渡空間，起到了“欲揚(yáng)先抑”的效果。建筑材料選用毛石，磊筑，而其中的大部分石塊來自于平整場(chǎng)地時(shí)候挖掘出的石頭。建筑師希望從形式和物理屬性上表達(dá)建筑是從場(chǎng)地中生長而出的概念。

The ground of the original site is a slope descending downhill from the cliff, contrary to the ascend tendency of the audience area. Complied with this feature, a new architectural structure is added under the audience area, and they share the same supporting system, with functions of storage, public restrooms and café, providing the theatre with logistics and public supporting services. To avoid taking away the protagonist status of the cliff, the height of the architecture has been brought down as possible and its exterior appearance tends to be relatively orderly and neat. A series of French windows form the front architectural fa?ade. And, with intentionally consolidated thick walls between the windows, the architect hopes to give a feeling of a cave, echoing its history as stone pit. On both sides of the building, steps and ramps are arranged for people’s entering and leaving the stage zone, surrounded by high and big walls and slightly oppressive or circuitous, becoming transitional space before entering the main space, which cause an effect of “refraining before highlighting”. Rubbles are chosen as building materials for masonry construction, among which most of the rubbles come from the stones excavated during site formation. Through this, the architect hopes to express the concept that, both in terms of form and physical attributes, the architecture naturally grows out of the site.  

▼石頭臺(tái)階聯(lián)系咖啡和舞臺(tái) 

Stone steps connecting café and stage

▼建筑立面使用地方傳統(tǒng)壘石工藝 

Building facade using local traditional stone-laying technique

在此處，景觀并不是一個(gè)獨(dú)立存在的內(nèi)容，建筑也不是。兩者之間存在著相互轉(zhuǎn)化的可能性。建筑前的綠地被石頭鋪裝的小徑分割成大小不一的區(qū)塊，與看臺(tái)的臺(tái)階劃分形成呼應(yīng)；進(jìn)入劇場(chǎng)的流線呈現(xiàn)一個(gè)彎曲的弧，人們?cè)诘巧峡磁_(tái)之前，需要繞建筑至少半周，這也強(qiáng)化了場(chǎng)所的儀式感。

Here, the landscape is not an independent content, and neither is the architecture, between which a possibility of mutual transformation exists. The green belt before the architecture is divided into sections uneven in size by stone pathways, echoing the terrace partition of the audience area. And the traffic line leading into the theatre takes shape of a curve, demanding that people have to walk around the whole architecture for at least a half circle before entering the theatre, which strengthens the sense of ritual, as well.  

▼夕陽中的石窩劇場(chǎng) 

Stone Nest Amphitheatre in setting sun

▼夜晚的石窩劇場(chǎng) 

Stone Nest Amphitheatre at night

▼室內(nèi)的暖光與舞臺(tái)的燈光形成戲劇性效果 

Indoor warm light and stage lighting creating dramatic effects

▼使用中的石窩劇場(chǎng) 

Stone Nest Amphitheatre in use

室內(nèi)，略顯粗獷的慵懶 

The interior in a rough but languorous style 

建筑的室內(nèi)空間不大，空間布局相對(duì)簡(jiǎn)單，傾斜的屋頂，不規(guī)則的天窗暗示了建筑與看臺(tái)的關(guān)系，又加強(qiáng)了室內(nèi)的戲劇性。建筑師希望空間氣氛上給人以熱烈、硬朗的感覺：洞穴、礦坑和工業(yè)感是室內(nèi)設(shè)計(jì)的基本意向。石材、略顯粗獷的木材、皮革、金屬成為塑造空間的首選材料，工業(yè)風(fēng)的燈具和家具也進(jìn)一步加強(qiáng)了這種氛圍；暴露的光源形成讓人迷離的炫光，配合東西兩側(cè)墻面的橙黃和天窗內(nèi)壁的寶石藍(lán)，建筑室內(nèi)給人一種復(fù)古的慵懶感。

在建筑師的想象中，未來的某一時(shí)刻，在這里聽著民謠，喝著啤酒，仰望星空……生活本就應(yīng)該如此。

The interior space of the architecture is small and relatively simply planned, with slanting roof, on which the irregular skylights imply the connection of the building to the audience area while enhancing the dramaticism indoors. Through the fundamental intension of cave, pit and industrial sense for the interior architecture design, the architect hopes to endow the spatial atmosphere with an ardent and hard touch. Stone, slightly rough timer, leather and metal become the preferred materials for the spatial moulding. Lamps and furniture in industrial style also intensify this aura. Exposed light sources produce enchanting dazzle lighting. Coupled with the orange hue on the east and west walls and the sapphire tone on the inner walls of the skylights, the interior architecture emits a retro lethargic sense.    

In the architect’s vision, at some point in the future, people can be listening to folk songs, drinking beer and looking up into the starlit sky, in which way life is actually supposed to be.

▼建筑室內(nèi)空間作為咖啡廳使用 

Interior space of building used as café

▼室內(nèi)吧臺(tái) 

Bar in interior space

▼室內(nèi) 

Interior space

▼夜晚鳥瞰 

Bird's eye view of architecture at night

▼位置圖 

Location

▼建筑總平圖 

Site plan

▼石窩劇場(chǎng)爆炸圖 

Axonometric explosion

▼一層平面圖

First floor plan

▼剖面圖-1 

Section-1

▼剖面圖-2 

Section-2

_{項(xiàng)目信息}

_{名稱：石窩劇場(chǎng)}

_{地點(diǎn)：山東省威海市環(huán)翠區(qū)嵩山街道五家疃村}

_{業(yè)主：嵩山街道人民政府}

_{建筑、室內(nèi)、景觀設(shè)計(jì)：三文建筑（www.3andwichdesign.com）}

_{主持建筑師：何崴}

_{設(shè)計(jì)團(tuán)隊(duì)：陳龍、唐靜、李婉婷、李俊琪、張嬌潔、林培青、趙馨澤、紀(jì)梓萌、劉松、李虹雨（實(shí)習(xí)）}

_{設(shè)計(jì)時(shí)間：2019年3月-6月}

_{建成時(shí)間：2019年10月}

_{場(chǎng)地面積：1500平方米}

_{建筑面積：280平方米}

_{攝影：金偉琦}

_{Project info}

_{Project name: Stone Nest Amphitheatre} 

_{Location: Wujiatuan Village, Songshan Residential District, Weihai, Shandong Province, China} 

_{Client: People’s Government of Songshan Residential District} 

_{Architectural, interior architectural and landscape design: 3anwich Design / He Wei Studio}

_{www.3andwichdesign.com}

_{Principle architect: Prof. Dr. He Wei}

_{Design team: Chen Long, Tang Jing, Li Wanting, Li Junqi, Zhang Jiaojie, Lin Peiqing, Zhao Xingze, Ji Zimeng, Liu Song, Li Hongyu(intern)}

_{Land area: 1500 sqm}

_{Construction area: 280 sqm}

_{Design time: Mar. to June, 2019} 

_{Completion time: Oct., 2019}

_{Photography: Jin Weiqi}

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_{投稿郵箱：info@landscape.cn}

_{項(xiàng)目咨詢：18510568018（微信同號(hào)）}