奥斯陆歌剧院.doc

奥斯陆歌剧院/斯内赫塔 07 07 May 2008 2008年5月 By Nico Saieh Filed under: Institutional Architecture , Selected , Ballet , Marble , Norway , Opera , Steel , Stone , Terrace , Wood由尼科Saieh -提起下： 体制结构 ， 选择 ， 芭蕾舞 ， 大理石 ， 挪威 ， 歌剧 ， 钢铁 ， 石材 ， 阳台 ， 木 Architects: Snohetta建筑师： 斯内赫塔 Location: Bjrvika, Oslo, Norway地点：Bjrvika，奥斯陆，挪威 Client: Ministry of Church an Cultural Affairs客户： 教会的文化事务部 Area: 38.500sqm面积：38.500sqm Construction start: 2004建设启动：2004 Completion: 2007竣工时间：2007 Contractors: 55 contracts承建商：55合同 Geological Engineer: NGI地质工程师： 下一代互联网 Structural Engineer: Reinertsen Engineering ANS结构工程师： 赖纳特森工程答 Electrical Engineer: Ingenir Per Rasmussen AS电气工程师： 每拉斯姆森由于Ingenir Theatre Planning: Theatre Project Consultants剧院规划： 剧院工程顾问 Acoustics: Brekke Strand Akustikk, Arup Acoustic声学： 布雷克东街Akustikk，奥雅纳声 Artists, integrated artwork: Kristian Blystad, Kalle Grude, Jorunn Sannes, Astrid Lvaas og Kirsten Wagle艺术家，集成艺术品： 克里斯蒂安Blystad，卡勒格鲁德Jorunn的Sannes，阿斯特丽德Lvaas摹基尔斯滕韦格尔 Photos: Snohetta, Nina Reistad, Statsbygg, Erik Berg & Nicolas Buisson照片： 斯内赫塔，尼娜赖斯塔德，Statsbygg，伯格和埃里克尼古拉斯比松 About the Building Client and the User关于创建客户端和用户 Statsbygg is Norways largest civil property manager, with 650 employees. Statsbygg是挪威最大的民用物业管理的650名员工。 It is the states main consultant on building and property issues, development and management.这是国家的建设和财产问题，发展和管理的主要顾问。 Statsbygg is a management company under the Ministry of Renewal and Administration, but provides services and support to all ministries and state organs. Statsbygg是根据重建和行政部管理公司，但提供服务和支持，各部委和国家机关。 In 1998 the National Assembly decides that Statsbygg would be the building client for the new operahouse, responsible for planning and management. 1998年，国民议会决定Statsbygg将是新的歌剧院，规划建设和管理的客户负责。 Statsbygg procure services in the private sector, but are responsible for professional coordination and quality control of the consultants, contractors and suppliers. Statsbygg采购私营部门的服务，但专业的协调和质量顾问，承包商和供应商控制的责任。 The Norwegian Opera and Ballet is the buildings end user.挪威歌剧院和芭蕾舞团的建设的最终用户。 They are Norways largest music and theatrical institution.他们是挪威最大的音乐和戏剧的机构。 Their core purpose is to be the national producer of opera, ballet, music and dance theatre, and concerts.其核心目的是要在歌剧，芭蕾舞，民族音乐和舞蹈制作戏剧和音乐会。 They intend to have approx.他们打算为约。 300 shows and 250,000 visitors per year. 300个节目和25万人次来参观。 The Operahouse will be a workplace for approx.该歌剧院将是约的工作场所。 600 employees from more than 50 professions. 600名来自50多个专业的员工。 Architects description建筑师的说明 The operahouse is the realisation of the winning competion entry.该歌剧院是获胜的比赛参赛的实现。 Four diagrams, which were part of the entry, explain the buildings basic concept.四图，这些条目的一部分，说明该建筑的基本概念。 “The wave wall” “波墙” Opera and ballet are young artforms in Norway.歌剧和芭蕾舞在挪威青年艺术形式。 These artforms evolve in an international setting .这些艺术形式的演变在国际环境。 The Bjrvika peninsula is part of a harbour city, which is historically the meeting point with the rest of the world.该Bjrvika半岛是一个港口城市，这是历史上与世界其他地区的交汇点部分. The dividing line between the ground here and the water thereis both a real and a symbolic threshold.地面之间的分界线在这里，水thereis既是一个现实和象征性的门槛。 This threshold is realised as a large wall on the line of the meeting between land and sea, Norway and the world, art and everyday life.这个界限是为实现对陆地和海洋之间，挪威和世界，艺术和日常生活上线大墙。 This is the threshold where the public meet the art.这是门槛，让市民在符合艺术。 “The Factory” “工厂” A detailed brief was developed as a basis for the competition.详细介绍了开发作为竞争的基础。 Snhetta proposed that the production facitities of the operahouse should be realised as a self contained, rationally planned factory.斯诺赫塔提出的歌剧院生产放出应被视为一个自我控制，合理规划意识到工厂。 This factory should be both functional and flexible during the planning phase as well as in later use.这家工厂应该在规划阶段，既实用又灵活，以及在以后使用。 This flexibility has proved to be very important during the planning phase: a number of rooms and romm groups have been adjusted in collaboration with the end user.这种灵活性已证明是非常在规划阶段，重要的是：多间客房及罗姆组的数目已与最终用户协作调整。 These changes have improved the buildings functionality without affecting the architecture.这些变化不影响改善建筑功能的建筑物。 “The Carpet” “地毯” The competion brief stated that the operahouse should be of high architectural quality and should be monumental in its expression.比赛简介说，歌剧院要高，建筑质量，应该在它的表现巨大的。 One idea stood out as a legitimation of this monumentality: The concept of togetherness, joint ownership, easy and open access for all.站在一个想法，作为这个纪念性的合法化指出：概念的团结，共同拥有，简便，开放所有访问。 To achieve a monumentality based on these notions we wished to make the opera accessible in the widest possible sense, by laying out a carpet of horizontal and sloping surfaces on top of the building.为了实现这些概念的基础上，我们希望使歌剧在尽可能广泛的意义上获得纪念碑，通过奠定了地毯水平和坡地上楼顶的表面。 This carpet has been given an articulated form, related to the cityscape.这地毯一直给予阐明的形式，与城市景观。 Monumentality is achieved through horizontal extension and not verticality.纪念碑是通过横向延伸，而不是垂直。 The conceptual basis of the competition, and the final building, is a combination of these three elements - The wave wall, the factory and the carpet.比赛的概念基础，最终建设，是这三个因素的结合-在浪墙，工厂和地毯。 Urban situation城市情况 The operahouse is the first element in the planned transformation of this area of the city.该歌剧院是在这个城市地区的规划改造的第一个元素。 In 2010 the heavy traffic beside the building will be moved into a tunnel under the fjord.在2010年建立旁边的重型车辆将搬进峡湾下的隧道。 Due to its size and aesthetic expression, the operahouse will stand apart from other buildings in the area.由于其规模和审美表达，歌剧院将站在除了在该地区的其他建筑物。 The marble clad roofscape forms a large public space in the landscape of the city and the fjord.大理石复合roofscape形成了在城市和海湾景观大型的公共空间。 The public face of the operahouse faces west and north - while at the same time, the buildings profile is clear from a great distance from the fjord to the south.该歌剧院的公众形象面对西部和北部-而与此同时，建筑物的配置文件是从一个从很远的峡湾清楚地向南方。 Viewed from the Akershus castle and from the grid city the building creates a relationship between the fjord and the Ekerberg hill to the east.是从阿克斯胡斯城堡，从城市的电网建设之间创建一个峡湾和Ekerberg山，东面的关系。 Seen from the central station and Chr.看到中央火车站和Chr。 Fredriks sq. The opera catches the attention with a falling which frames the eastern edge of the view of the fjord and its islands. Fredriks平方米的歌剧渔获量的下降是帧的峡湾和岛屿的东部边缘的关注。 The building connects city and fjord, urbanity and landscape.建筑连接城市和峡湾，都市化与景观。 To the East, the factory is articulated and varied.到东部，工厂是阐明和多样的。 One can see the activities within the building: Ballet reheasal rooms at the upper levels, workshops at street level.人们可以看到在建筑物内的活动：芭蕾舞reheasal室的上层，讲习班街道。 The future connection to a living and animated new part of town will give a greater sense of urbanity.未来的连接到生活和城市新的动画部分给出了城市性更强的责任感。 Collaboration with artists协作与艺术家 For Snhetta, close collaboration with artists has always been an important part of building projects.对于斯诺赫塔，密切合作，与艺术家一直是建设工程的重要组成部分。 As early as the competition stage, artist were invited in as collaborators, and the wished to continue this from the beginning of the design phase.早在比赛初期阶段，艺术家被邀请作为合作者，并希望继续从设计阶段的开始。 Snhetta have tried to avoid having artist apply decoration to the architecture, prefering to allow for an open dialogue between artists, artisans and professionals with various approaches to important building elements.斯诺赫塔试图避免艺术家申请装修的架构，宁愿让艺术家之间，工匠和专业人员的建设的重要组成部分的各种办法进行公开对话。 With the operahouse, the architect intended that both the large marble clad roofscape and the aluminium clad facades should be approached as collaborative endeavours.随着歌剧院，建筑师的意图是大型大理石复合roofscape和铝复合外墙应协同努力接近。 An early collaboration was established for the sone roof with artists: Kristian Blystad, Kalle Grude og Jorunn Sannes.一个早期的合作，设立了与艺术家曾根屋顶：克里斯蒂安Blystad，卡勒格鲁德Jorunn的Sannes摹。 One year later, in accordance with the guidelines for state funding building projects, a committee for integrated artwork was established.一年后，按照国有资金建设项目，综合艺术品委员会的指导原则成立。 This committee engaged the artists Astrid Lvaas og Kirsten Wagle to collaborate on the design of the metal cladding elements.这个委员会的艺术家从事阿斯特丽德Lvaas基尔斯滕韦格尔摹上进行合作的包层金属设计元素。 Choice of materials材料的选择 The materials, with their specific weight, colour, texture and temperature, have been vital to the design of the building.其具体的重量，颜色，质地和温度的材料，一直在至关重要的建筑设计。 Snhettas architecture is narative. Snhettas架构narative。 It is the materials which form the defining elements of the spaces.这是材料构成空间的决定性因素。 It is the meeting of the materials which articulates the architecture through varied detail and precision.这是该材料详细阐述，通过不同的结构和精度上。 In the operahouse, three main materials were specified as early as the competition entry: White stone for the carpet, timber for the wave wall, and metal for the factory.在悉尼歌剧院，三个主要材料指定早在参赛：白色石头的地毯，木材的浪墙，和金属的工厂。 During the continued work on the project, a fourth material, glass, which allows for the exposure of the underside of the carpet, has been given specific attention.在该项目上继续工作，四分之一的材料，玻璃，其中规定对地毯的下部可以接触，已给予特殊的关注。 Stone 石 After an international tender competition, th italian marble, La Facciata, was chosen.经过国际招标竞争中，日的意大利大理石，香格里拉Facciata，被选中。 This is a stone which, in common with other marbles, retains its brilliance and colour even when wet.这是一个石头，共同与其他大理石，保留其光芒的颜色，即使湿。 It has the necessary technical quality in terms of stabitity, density, and longevity.它在stabitity，密度必要的技术质量和使用寿命。 The producer, Campolonghi, has had the professional ability, capacity, and experience necessary for such a large and complex project.制片人，坎波隆吉，一直有专业能力，能力和经验，这样一个庞大而复杂的工程需要。 The accessibble area of the carpet is approx.的地毯accessibble面积约。 18,000 m2.一点八万平方米。 Its detailed design has been important: the architect desired that it should not interfere with the general dorm of the building but that it simultaneously was articulated enough to be ineresting at close quarters.它的详细设计工作已经重要的：理想，它不应干预大厦的一般宿舍，但它必须同时进行了阐述，足以在近距离ineresting建筑师。 Together with the artists several alternatives were proposed before a particular non repetitive pattern with integrated riased areas, special cuts, various surface textures, and specific details were designed to articulate the main geometry.连同之前几个选择一个特定的非集成riased地区，特别削减，各种表面纹理的重复模式提出的艺术家，以及具体的细节是为了阐明主要几何。 Timber 木材 Oak has been chosen as the dominating material for both the wave wall and the main auditorium.橡树已被选定为主导的材料，浪墙和大礼堂。 For the wave wall it has a light and varied surface.对于浪墙，它具有轻，不同的表面。 Oak is used throughout for the floors, walls and ceilings.橡树通篇使用的地面，墙壁和天花板。 The wave wall has a complex organic geometri made up of joined cone shapes.波墙已经加入了圆锥形状的一个复杂的有机geometri。 It is also an important acoustic attenuator within the foyer space.这也是一个重要的大厅内空间声衰减器。 To achieve these goals it is made up of smaller elements which can deal with the changing geometry and provide acoustic absorption.为了实现这些它是由更小的分子组成，可以处理不断变化的几何图形，并提供吸声目标。 Inside the auditorium oak has been chosen for a number of reasons: It is dense, easily formed, stable and tactile.大礼堂内的橡树已选几个原因：它是密集，容易形成，稳定和触觉。 The oak has been treated with amonia to give a dark tone.橡树已治疗amonia给予一个黑暗的基调。 Here too oak is used for floors, walls, and ceilings, as well as balcony fronts, and acoustic reflectors.这里也橡木用于地面，墙壁和天花板，以及阳台战线，和声学反射。 Metal 金属 An operahouse is designed and built to have a long lifespan.一个歌剧院的设计和建造有很长的寿命。 This means that a simple, modern metal cladding, such as we associate with factories and workshops, needs to be re-evaluated and redesigned.这意味着，一个简单的，现代的金属包，例如我们的工厂和车间副，需要重新评价和重新设计。 After a consideration of aesthetics, longevity, maleability and the possibility to make very flat panel, aluminium wa chosen.经过美学，长寿，maleability并有可能考虑作出非常平板，铝华选择。 To give the panels further quality, a collabarative process was begun with two artists.为了让小组进行进一步的品质，collabarative进程开始同两位艺术家。 The design team initially aimed for an industrial modulrity but that the panels themselve should have greater visual quality.最初的设计团队为目的的工业modulrity但该小组themselve应该有更大的视觉质量。 The panels were punched with convex spherical segments and concave conical forms.各小组的拳打脚踢与凸，凹球面部分锥形形式。 The pattern was developed by the artists based on old weaving techniques.该模式是由旧的编织技术为基础的艺术家。 In all, eight different panels were designed which give a constantly changing effect depending on the angle, intensity and colour of the light playing on them.在所有8个不同的面板，设计了使不断变化的影响的角度，强度和对他们的轻打颜色而定。 Glass 玻璃 The high glass facade over the foyer has a dominant role in the views of the building from the south, west, and north.在大厅的玻璃幕墙已高，在从美国南部，西部建设的意见主导作用，和北部。 Early in the project it was realised that this glass faced was more important than previously assumed, both during the day and night when it would act as a lamp illuminating the external surfaces.在项目早期，它意识到这玻璃，面对的是更重要比原先设想的两个白天和黑夜何时会采取行动，因为一盏灯照亮的外部表面。 The glass faade is up to 15 meters high.在玻璃幕墙达15米高。 It was the architects intention to design a glass construction with an absolute minimum og columns, framing, and stiffening in steel.这是建筑师的设计意图以绝对最低摹列的玻璃建筑，框架，并在钢加劲。 The solution was to use glass fins where minimised steel fixings are sandwiched inside the laminates.解决的办法是在尽量减少使用钢材定价是夹内的玻璃层板鳍。 The requirements for the glasss stiffness increased due to the desire for large panels and slim joints where the panels meet.对玻璃的刚度的要求增加，由于大板和关节希望渺茫如果小组举行会议。 Thick glass of this sort tends to be quite green rather than transparent.这一类的厚玻璃往往是绿色的，而不是完全透明。 It was therefore decided that the faade of the operahouse would use low iron glass.因此，会议决定，该歌剧院外观将采用低铁玻璃。 Plan solution, general arrangement计划解决方案，一般安排 The building is split in two by a corridor running north-south, the opera street.该建筑分为两个运行南北走廊南部，歌剧街。 To the west of this line are located all the public areas and stage areas.对于这条路线位于西部的所有公共领域和阶段的地区。 The eastern part of the building houses the production areas which are simpler in form and finish.此外，大楼的东部地区房屋的生产是在形式和完成简单。 Comprising 3 to 4 storeys above ground.包括3至地上4层。 There is also a basement level - U1 - below this part of the building.还有一个地下层- U1的-低于这一建设。 The sub stage area is a further 3 storeys deep.小组阶段，面积有3层深。 The buildings western part 该建筑的西部 A marble clad plaza leads the visitors to the foyer and other public areas.大理石复合广场带领旅客到休息室及其他公共场所。 A secondary entrance on the north faade gives firect access to the restaurant and foyer.在北立面中学入学给予firect进入餐厅和大堂。 To the south, the foyer opens up to the inner oslo fjord and views of Hovedya island.在南面，大厅开放的内在奥斯陆峡湾和Hovedya岛。 To the west and north it is views of the city which dominate, while the auditoria lie to the east.向西部和北部，是城市的主导意见，而礼堂位于东面。 There can be as many as 1900 audience members in the building.可以有多达1900观众的建设。 1400 in the main auditorium, 400 in stage 2 and 150 in rehearsal room 1, which doubles as a black box theatre. 1400在大礼堂，400名第2阶段和150排练室1，作为黑盒剧场双打。 There is a brasserie to the south of the foyer, a restaurant to the north and several bars which can be run separately from the performances.有一对大堂，向北部和可运行的表演分别南部几个酒吧餐厅啤酒。 Service functions such as education spaces, cloakrooms, toilets, information/ticketing desk and diverse smaller rooms are located around the foyer.例如教育空间，衣帽间，洗手间，票务信息服务台和多样化的小房间/服务职能遍布大堂。 From the foyer, at ground level, and from the public galleries, access is provided to the two main auditoria.从大堂，地面，并从公众席，提供通往两个主要礼堂。 The large stage area occupies a significant part of the building footprint.大舞台面积占地建筑面积的重要组成部分。 Here is the main stage (16m x16m) with an 11.8m deep substage, two side stages and two rear stages, as well as a scenery hall and store.这里是主舞台（16米x16m与11.8米深亚阶），两个阶段和两个侧后方阶段，以及风景大厅和存储。 There is a free height of minimum 9m throughout these areas.有一个最低分全免费这些地区的高度。 Storage for the backdops is located above the rear side stage.为backdops存储是位于上面的背面阶段。 Finished scenery for several performances and acts can stand ready on the rear and side stages as well as below stage.几个表演和行为成品风景可以站在后方和侧阶段准备以及如下阶段。 In addition, the large rehearsal room is located in direct connection to the stage areas and can provide further scenery storage should this be necessary.此外，大型彩排室在直接连接到舞台的领域，可以提供进一步的风景存储这应该是必要的。 The orchestra rehearsal room - an acoustically sensitive space - is also located in the western part of the building - at basement level.乐团排演室- 1听觉敏感的空间-也位于大楼的西部-在地下一层。 This hall is the orchestras most important rehearsal space and can also be used for recording purposes.这个大厅是乐团最重要的排练场，也可以记录用途。 The requirement for variable acoustics is achieved by the use of adjustable panelling and drapes.对于变量声学要求达到的可调镶板和窗帘使用。 The room can achieve similar acoustics to the main auditorium.房间内可达到相同的声学的大礼堂。 A passage from the foyer, along the southern faade, leads to rehearsal room 1 allowing it to be used as a public performance space.从门厅通道沿南部外观，导致排演室1允许它作为公共空间的使用性能。 The same area of the building at the upper levels houses sponsor lounges and a VIP room.在大厦的房子上层同一地区赞助休息室和贵宾室。 The buildings eastern part该建筑的东部 To the east of the opera street are located all the production and administration areas; approx 1000 rooms of varing size and function.对歌剧街道东位于所有的生产和管理领域;约1000间客房的时变大小和功能。 The opera street is the main communication artery for all the employees - almost 600 persons from more than 50 professions.歌剧街道是所有雇员-近600人的主要沟通来自50多个专业动脉。 A large loading dock running east west splits the back of house area in two.大型卸货运行东西方分裂的房子早在两个方面。 Here also, the dimensions of the space are given by the size of scenery elements, up to 9m high.在这里也对空间的尺寸给出由风景元素的大小，高度达9米。 To the north lie the hard workshops where the scenery is made.在北面，在于硬研讨会，其中的风景了。 Several professions have their workspaces here, carpenters, metalworkers, painters and decorators.几个专业，这里的工作区，木匠，铁匠，画家和装饰。 The finished scenery is moved through the loading dock and directly into the rear stage area.完成的风景，通过移动装卸码头，并直接进入后方舞台面积。 To the south lie all the other functions necessary to serve the needs of the dancers and singers: Soft workshops with costume production, wigs, hats