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建築鳥瞰杀意毫,aerial view ? Iwan Baan


As the largest cultural constructionproject built in Taiwan in the last 40 years, Weiwuying Arts Center hasofficially opened to public in October 2018. The single sweeping buildingcovers a surface area of 35 acres (141,000 sqm) and is set in the spectacular116-acre (470,000 sqm) subtropical park in the heart of Kaohsiung, making itthe world’s largest performing arts centre under one roof as well as Taiwan’smost significant cultural investment in a generation. It incorporates fivestate of the art performance spaces: a 2,236-seat Opera House, a 1,981-seatConcert Hall, a 1,210-seat Playhouse, a 434-seat Recital Hall and an OutdoorTheater linking the building to the park.

河岸視角更少,view from the waterfront ?NAARO

高雄六米,人口約300萬糊涂鬼,位于台灣南部实验品,曾經是一個重要的國際港口她倒水,現在是一個現代化起筷、多元化的城市马上可,有著豐富的文化內涵斤两。它不僅是台灣第二大城市我顺便,也是世界上最大的海港之一间七八,而且還擁有台風她哥哥,高溫羽毛枕,強降雨和定期地震的劇烈的亞熱帶氣候崇敬。 新建的藝術中心必須應對所有這些極端情況精魄。

Kaohsiung is an informal, lively city of almost three millioninhabitants. Not only is it the second largest city in Taiwan and one of theworld’s largest sea ports, but also host to a dramatic sub-tropical climate oftyphoons, high temperatures, heavy rainfall and regular earthquakes. The new140,000 square-metre performance complex must cope with all of theseextremes.  

Barking dogs and banyan trees

這座建築的選址在高雄都會區中心的一處佔地65公頃的軍事大院內脚走,該地原本打算建成為城市的“中央公園”千雪。 2006年过一声,這里曾是一個帶有獵犬的軍事用地公案, 布滿了榕樹接撞,其扭曲的樹干和樹枝在數十年間逐漸交織在一起画出四。 枝干在空中芽生長到土壤中人身,形成了額外的樹干论缺少,它們分布在一個驚人的廣闊區域中卡飞快,像一個大傘一樣己身边。 根據當地人說航行,亞歷山大大帝曾經將他的全部軍隊庇護在這些樹的樹冠下七步跟。

The location for this building is a former sixty-five hectaremilitary compound in the centre of the metropolitan area of Kaohsiung a placewhich is intended to become a sort of ‘Central Park’ for the city. When wefirst visit the site in 2006 it is still a fenced-off zone of military barracksoccupied by a lot of wild, barking dogs. It’s also dense with banyan trees,their twisting trunks and branches having gradually interlocked over decades.Their aerial shoots grow down into the soil forming additional trunks,spreading over an astonishingly wide area, and the crowns of these trunksbecome one, like a huge umbrella. According to local legend, Alexander theGreat once sheltered his entire army beneath the crown of a single tree.

這些榕樹的形狀反映了當地的氣候可奇怪。 它寬大的樹冠学好,遮日曬雨淋身材中,是高雄潮濕空氣的完美體現地注视。在亞熱帶地區心攻击,太陽大約在六七點鐘下山肥厚,在它消失在地平線下的時候甚至带,這座城市開始活躍起來眼媚笑。在這暮色中碎片炸,隨著氣溫的降低蝶面具,人們在街上散步嘻嘻,購物我心时,在外面吃飯砍腻。 在樹冠下华丽,人們會進行非正式的表演︰跳舞别说你,演奏音樂地权利,表演戲劇或練習太極拳内竟。 它們給這座城市創造一個獨有的氣氛都喂喂,這也成為了設計的出發點丑男人。

The form of the banyan reflects the local climate. Its widecrown, providing shelter against the sun and rain, is a perfect expression of Kaohsiung’shumid atmosphere. In the sub-tropics the sun sets at around six or seveno’clock and, just as it disappears beneath the horizon, the city comes to life.During these twilight hours as the temperature cools people stroll the streets,shop for their groceries, and eat outside. Under the canopies, as well as underthe trees, informal performances occur: people dance, play music, performplays, or practice Tai Chi. What we see, hear, feel, taste and smell on thisfirst trip to Taiwan inspires us to somehow harness this unique urbanatmosphere.

A continuation of the park

Mecanoo想知道榕樹是否可以創建出一個正式和非正式的表演空間努力。這樣一來前两方,這座建築就會24小時充滿生機太强人,成為公園的自然延續陌保持。好的公共建築需要好的公共空間发动他,這是Mecanoo對待城市建築的核心理念树墩上。例如伯明翰下沉的圓形劇場圖書館完成整,或是拉洛特賈德勒萊達的城市舞台绪波动,利用相鄰建築的樓梯作為觀眾席坐禅类。 這三座建築的形式品質有很大不同访大,但它們有一個共同點︰它們完美地匹配了各自的地理位置精变,文化和氣候期可。

We wonder whether the banyan tree could help us to create acombination of formal and informal performance spaces. In this way the buildingwould be full of life around the clock; a natural continuation of the park. Weknow that good public buildings need good public space, a mantra which iscentral to our approach to civic architecture: think of the Library ofBirmingham’s sunken amphitheatre, or La Llotja de Lleida’s urban stage beneatha cantilever, using the stairs of an adjacent building as audience seating. Theformal qualities of these three buildings are very different but they have onething in common: they are a perfect match with their respective locations,cultures and climates.


The open, protective shape of the banyan tree becomes aspringboard for the design. Its expansive sheltered crown becomes the BanyanPlaza, a partially enclosed public space where the cooling wind can freelyflow. Between the four formal performance halls, which form the ‘trunks’ thatsupport the undulating roof, a topography rising from ground level to plus fivemetres becomes part of the park’s landscape. Where the roof touches the earththe building becomes an amphitheatre, open towards the surrounding parklandwhich, in turn, becomes both its stage and its set.


Each performance venue and foyer has its own unique atmosphereand together create one fluidly connected space. The walls and continuousceiling surface of the Banyan Plaza is a neutral white, allowing for artificiallight and projections to alter the mood. With twelve chandeliers suspendedagainst the billowing form of the plaza, the building can really dress up forthe night!


An open-air theatre nestles on the roof where the structure curves to the ground, with the surrounding park forming the stage. Designed with the subtropical climate in mind, the open structure allows the wind to blow freely through Banyan Plaza. The seamless flow between interior and exterior creates opportunities for crossovers between formal and informal performances.

The four halls

四個表演廳中的每一個都有自己的聲學挑戰山顶吻,設計團隊與聲學家Albert Xu合作饭啦。 構建了一個1:10比例模型带尖刺,以測試最復雜的場地(可容納1981個座位的音樂廳)的性能种服务。 盡管規模如此之大知觉,他們還是希望劇院具有親切的感覺底报仇。 如果每個听眾都能看到鋼琴家的手风景,那不是很好嗎解早? 劇院的階梯選擇了葡萄園的形狀打脸,以舞台為中心意志里,使不同樓層高度的露台環繞著講台小三除。 舞台四面都有座位急败坏,觀眾非痴馕涔Γ靠近表演舞台路程使。 觀眾從一樓進入排隊的橡樹地板反正作,螺旋形的坡道將他們引向黃金座位你转性。

Each of the four performance halls has its own acousticchallenge, and so we collaborate with acoustician Albert Xu. He constructs a1:10 scale model to test the performance of the most complicated venue: the1,981-seat Concert Hall. Despite its size we want the theatre to have anintimate feel. Wouldn’t it be great if every member of the audience could seethe hands of the pianist? We choose the shape of a stepped vineyard with astage at its centre, so that terraces at different floor heights encircle thepodium. With seating on all sides of the stage, the audience is in closeproximity to the performance itself. The public enters the oak-lined from theground floor and spiraling ramps lead them to their golden seats.


The 2,236-seat Opera House is arranged in the form of ahorseshoe with three circled balconies. The seating is upholstered in a mixtureof red and purple fabrics with a pattern of Taiwanese flowers, contrasting withthe darker walls. This theatre is not only suitable for Western opera, with anorchestra of over seventy musicians, but can also be acoustically adapted toaccommodate Chinese opera by manoeuvring a suspended acoustic canopy.


The Playhouse, with its 1,210 seats in Mecanoo Blue, isdesigned to host a variety of drama and dance performances. Flexibility is thecore element in the design of this multifunctional space. The layout isadaptable and can be changed from a typical proscenium stage with the audiencein front, to a thrust stage with the audience on three sides.


The 434-seat Recital Hall has the most intimate atmosphere ofthe four. With its asymmetrical composition and seating across two levels, itis designed for chamber music and recital performances. The seats have the samegolden fabric as the Concert Hall and oak lines the walls. The upper part ofthis hall is enclosed by a circle of sound absorbing curtains, allowing for thereverberation time within the space to be tuned to specific types ofperformance.



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