建筑設(shè)計(jì)：斯諾赫塔建筑事務(wù)所

1 凹形坡/Sunken grooves

2 外景/Exterior view

2008年12月1日——該項(xiàng)目將極為復(fù)雜的功能整合到一個(gè)簡單的總平面中，將既實(shí)用又直觀的造型手法用于外形的塑造上。低垂的形式與城市內(nèi)部融為一體，而不是一種突兀的造型表達(dá)。可登臨的屋頂與寬敞的公共大堂使建筑成為供人社交的紀(jì)念性建筑，而不是一座雕塑。

歌劇院既是一處景觀也是一座建筑，這就會(huì)培養(yǎng)公眾意識(shí)，促使人們欣賞藝術(shù)。街道層上的大窗讓公眾能一睹布景工作室內(nèi)的風(fēng)采。建筑也會(huì)吸引不熟悉歌劇、芭蕾和管弦樂的聽眾?？赏ㄏ蛩叺目Х葟d和禮品店，既可以為歌劇院營收，又能給公眾提供便利。這些部分的設(shè)計(jì)非常仔細(xì)，以使它們與建筑大膽設(shè)計(jì)的整體特色結(jié)合得天衣無縫。

這座歌劇院由一個(gè)競賽獲獎(jiǎng)方案建成。方案中的4個(gè)圖示說明了建筑的基本概念。

“海浪之墻”

歌劇和芭蕾在挪威都是新興的藝術(shù)形式，它們是在國際環(huán)境中不斷發(fā)展的。比約維卡半島是港口城市的一部分，在歷史上是與世界各地交匯的地方?！按税丁钡年懙嘏c“彼岸”的海水之間的界線既是現(xiàn)實(shí)中的又是象征性的。這個(gè)界線被建成三重交界線上的一面大墻——海水與陸地、挪威與世界、藝術(shù)與日常生活，這也是公眾走進(jìn)藝術(shù)的界線。

“創(chuàng)作工廠”

競賽編制了詳細(xì)的任務(wù)書作為基礎(chǔ)。斯諾赫塔提出：歌劇院的創(chuàng)作設(shè)施要建為自成一體、設(shè)計(jì)理性的“工廠”。這座工廠在設(shè)計(jì)階段以及后期使用中應(yīng)當(dāng)既實(shí)用又靈活。這種靈活性被證明在設(shè)計(jì)階段是非常重要的：許多房間和房間組合在與最終用戶的合作下進(jìn)行了調(diào)整。這些調(diào)整在不影響建筑本體的情況下提高了實(shí)用性。

“屋頂?shù)靥骸?/h2>

競賽任務(wù)書要求歌劇院具有很高的建筑品質(zhì)和紀(jì)念性的表達(dá)。一組概念作為這種紀(jì)念性的根據(jù)是引人注目的：親密無間、產(chǎn)權(quán)共有、對(duì)所有人開放便捷。為了實(shí)現(xiàn)以這些概念為基礎(chǔ)的紀(jì)念性，我們希望在建筑頂部鋪一條由水平面和斜面組成的“地毯”，讓歌劇院盡可能便捷。這條地毯被賦予一種與城市景觀相結(jié)合的整體形式。這種紀(jì)念性是通過水平延伸而非垂直性實(shí)現(xiàn)的。

這次競賽的概念基礎(chǔ)以及最終的建筑綜合了這三種因素——海浪之墻、創(chuàng)作工廠和屋頂?shù)靥骸！酰ㄉ袝x 譯）

3 外景/Exterior view

Monday, December 1, 2008 – The project developed a highly complicated programme into a simple general plan that integrated both a practical and intuitive sculptural approach to modeling the exterior form. Its low slung form became a link within the city rather than a divisive sculptural expression. Its accessible roof and broad, open public lobbies make the building a social monument rather than a sculptural one.

The building is as much landscape as architecture and thus fosters public awareness and engagement with the arts. Generous windows at street level provide the public a glimpse of the scenery workshop activities. The building still finds an audience with public who are not opera, ballet or orchestra fans. The cafes and gift shop,with their access to the waterfront are destinations which offer opportunities to generate revenue for the institution while providing a general public amenity.Care was taken with the design of these components so that they are seamlessly integrated into the overall character of the building's bold design.

The opera house is the realisation of the winning competition entry. Four diagrams, which were part of the entry, explain the building's basic concept.

"The Wave Wall"

Opera and ballet are young art forms in Norway.These art forms evolve in an international setting. The Bj?rvika peninsula is part of a harbour city, which is historically the meeting point with the rest of the world.The dividing line between the ground "here" and the water "there" is both a real and a symbolic threshold.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. This is the threshold where the public meet the art.

4 外景/Exterior view

5 內(nèi)景/Interior view

項(xiàng)目信息/Credits and Data

客戶/Client: 教會(huì)及文化事務(wù)部/Ministry of Church and Cultural Affairs

地質(zhì)工程師/Geological Engineer: NGI

結(jié)構(gòu)工程師/Structural Engineer: Reinertsen Engineering ANS

電氣工程師/Electrical Engineer: Ingeni?r Per Rasmussen AS

藝術(shù)家及藝術(shù)品統(tǒng)籌/Artists, Integrated Artwork: Kristian Blystad, Kalle Grude, Jorunn Sannes, Astrid L?vaas og Kirsten Wagle

承包商/Contractors: 55 contracts

劇院規(guī)劃/Theatre Planning: Theatre Project Consultants

聲學(xué)/Acoustics: Brekke Strand Akustikk, Arup Acoustic

面積/Area: 38,500m2

攝影/Photos: Erik berg (fig.1,2,5,9,11,12), Jens Passoth(fig.3), Trond Isaksen, Statsbygg (fig.4), Gerald Zugmann(fig.6,10), Jiri Havran (fig.13,14)

線圖/Drawings: Sn?hetta

6 外景/Exterior view

"The Factory"

A detailed brief was developed as a basis for the competition. Sn?hetta proposed that the production facilities of the opera house should be realised as a selfcontained, rationally planned "factory" . This factory should be both functional and flexible during the planning phase as well as in later use. This flexibility has proved to be very important during the planning phase: a number of rooms and room groups have been adjusted in collaboration with the end user. These changes have improved the buildings' functionality without affecting the architecture.

"The Carpet"

The competition brief stated that the opera house should be of high architectural quality and should be monumental in its expression. One idea stood out as a legitimisation of this monumentality: the concept of togetherness, joint ownership, easy and open access for all. 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.This carpet has been given an articulated form, related to the cityscape. Monumentality is achieved through horizontal extension instead of verticality.

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. □

7 平面/Plan

8 立面/Facade

評(píng)論

龍灝：和很多尺度巨大、拒人千里的公共性、紀(jì)念性建筑不同，建筑師在挪威國家歌劇與芭蕾舞劇院的設(shè)計(jì)中反其道而行之，將該建筑的體量結(jié)合內(nèi)部功能的組織通過切塊的手法進(jìn)行了體量消解，并且在臨海一面直接將屋面傾斜直插入海，為市民提供了一個(gè)巨大的、可與建筑“親近”的、開放的公共空間，同時(shí)自身也成為了港口中一道獨(dú)特的景觀。建筑在材料色彩的運(yùn)用上也頗具匠心，外觀以白色、透明為主，而室內(nèi)則在很多同類建筑都會(huì)采用的木質(zhì)面層材料的組合上結(jié)合燈光布設(shè)進(jìn)行了設(shè)計(jì)處理，大廳樓梯一側(cè)是厚重的木質(zhì)欄板，而另一側(cè)卻是輕薄的白色玻璃，凸顯了建筑師設(shè)計(jì)時(shí)的放松與俏皮。

范路：對(duì)挪威國家歌劇與芭蕾舞劇院建筑來說，從海面開始上升轉(zhuǎn)折至屋頂?shù)男逼率侵饕O(shè)計(jì)特色。這種形式語言，把建筑與景觀、紀(jì)念性與公共性、豎直向與水平向、表演藝術(shù)與日常生活整合在了一起。而斜坡四周圍欄的處理方式同樣回應(yīng)了這種多義整合的特性。室外斜坡與圍欄墻體沒有直接相交，而是留出下沉的凹槽。這些凹槽作為階梯或坡道，在邊緣形成了快捷路線，以減少對(duì)于斜坡上休閑活動(dòng)的干擾。凹槽中設(shè)置了燈光，在夜晚照亮了斜坡的造型輪廓。而在白天，下沉處理削弱了圍墻的豎向尺度，帶來斜坡可以向四周延伸出去的意向。還要提及的是，歌劇院室內(nèi)休息廳中臺(tái)階欄板的處理也延續(xù)了這種多義邏輯。臺(tái)階梯段和外側(cè)欄板用橡木飾面，與表演廳外部的木質(zhì)“波浪墻”連為一體。而臺(tái)階另一側(cè)的圍欄卻由淺白色半透明玻璃構(gòu)成，以柔和的方式呼應(yīng)了休息廳中的白色柱子和灰白色地面與天花。

9.10 內(nèi)景/Interior views

Comments

LONG Hao: Unlike many public and monumental buildings which are large-scaled and inaccessible,the architects did the opposite in the design of the Norwegian National Opera and Ballet. By dicing method, the volume of the building is dissolved in combination with the organization of internal programs.To the seaside, the sloped roof thrusts directly into the sea, creating a huge but closely interactive open space for the public and making itself some unique landscape in port. The colours used for the architecture materials are also very ingenious: The outer appearance is mainly white and transparent, while timber surface material often used in many similar cases is adopted for the interior, but subtly composed and designed in parallel with the lighting disposition. The parapet on one side of the staircase in the great hall is made by thick wooden boards, yet the parapet on the other side is made by thin white glass plates, highlighting the relaxed and playful attitude of the architects while designing it. (Translated by CHEN Xi)

11 舞臺(tái)/Stage

FAN Lu: The architecture of Norwegian National Opera and Ballet locates in the fjord of Bj?rvika, Oslo, which features walkable slanted roof decks stretching from the sea level to the building top.Through these expressive formal languages, multiple dimensions are integrated as a whole -architecture and landscape, monumentality and publicity, verticality and horizontality, performing arts and daily lives. The multi-dimensional and integrative strategy is manifested in outdoor parapet design, in which the slanted roof slabs join up the fencing walls with sunken grooves. Those grooves serve as stairs or ramps, providing passways along the roof edge and separating circulation from resting areas. Illuminating system is set in grooves which highlights the confines of the roofs at night.While by day, the sunken disposal reduces the scale of fencing walls,and brings about a sense that roof slabs could extend outwards freely. Once again, the delicate strategy is applied for the interior parapet design. The fencing wall on one side of stairs in the foyer is cladded with wood, which could be regarded as a part of the waving wall of the auditorium. But the other side of those stairs is made of translucent glasses, the tone of which echoes the pale white colours of columns, floors and ceilings in the foyer.

12 觀眾席/Auditorium

13 樓梯扶手/Handrail

14 排練廳/Rehearsal room