重庆大剧院

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063 | 07 | 2012chongQing grand theater重庆大剧院项目名称：重庆大剧院设计者：曼哈德·冯·格康、克劳斯·棱茨设计合伙人：尼古劳斯·格茨项目地点：重庆项目经理：福尔克玛·西福斯初步设计人员：海科·提斯、莫妮卡凡·弗特、罗伯特·弗里德里希斯、马提亚斯·伊斯梅尔、托比亚斯·约尔契克、多米尼克·雷、克里斯提安·达勒、尤莉亚·格龙巴赫施工图设计人员：凯斯汀·施泰因法特、尼尔斯·德特雷夫斯、克努特·马斯、朱欢、杨·施托尔特、李铮昊委托人： 重庆市江北嘴中央商务区开发投资有限公司建筑面积：100 000m2容纳人数：大剧场 1 744人〔可额外增加88人〕，中剧场 873人〔可额外增加65人〕设计时间：2005年1月建成时间：2009年6月手绘图：曼哈德·冯·格康摄影：Hans-Georg Esch, Heiner Leiska图纸：gmp手绘草图大剧院壮丽而雄伟地位于长江上游的尖岬上，面对重庆城市中心半岛。其地理位置的独特性、令人印象深刻的城市轮廓视野，加之雕塑般的建筑设计，使大剧院成为一个标志性建筑，一个世界各地文化交流的场所。中央”的位置是展示大厅，所有的门厅都可通往此地。各种各样的演出和活动可同时进行，并彼此独立。观看艺术演出的观众由道路层面进入入口大厅，那里设有衣帽间、卫生间、这座玻璃雕塑建筑位于一个石质基座上面。建筑平面和立面看上去有些随意轻松的海洋氛围，但是它们满足严格的功能要求。问讯处、售票处、宣传工作办公间等设施。检票后，观众踏上庄严宽阔的楼梯进入剧场大厅层面的前厅。观众在前厅中可以观赏位于长江和嘉陵江对岸的重庆城区天际轮廓，以及科学中心和穿越江北城新区的美丽的林荫大道。大剧院不是那种由常规的墙面和窗面构成其外立面的典型建筑。从室内透射出来的灯光，太阳、云彩和水在多面玻璃上的折射，使大剧院在新颖而神秘的光的动感中不断变换身姿。当日光和阳光能够或应该射入建筑内部时，玻璃外壳是调节气候的表层，使室内和室外视线相互联系，达到内外交流的效果。应该隐蔽的室内空间，例如在舞台台塔，将由第二层实体外壳提供必要的遮蔽。由主舞台、辅助舞台、侧台和子舞台构成的主体区域构成了大剧院观众与艺术家内部工作之间的界面。侧台和后舞台上面楼层设有排练厅设施。这些用房在两个剧场，即大剧场和中剧场的剧场前厅位于纵轴线，类似于船的“龙骨线”上，以此分别在“船头”和“船尾”处构成入口区。在中部，即入口区“船公开演出时可通过电梯和楼梯由大剧场的前厅到达。后舞台和服务设施可以由“大剧场”和“中剧场”共享。而两个剧场在空间布局上是功能彼此独立的区域。拥有两个楼座的剧场几何形体为传统的马蹄形。在声学和视角方面，剧场的布局适于各种音乐和非音乐演出，包括歌舞演出、话剧、交响乐、室内乐和大型歌剧演出。74

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新建筑／gmp剧院项目的中国实践 gmp THEATRE pRojECT pRACTICE IN CHINA大剧院的基座层设有大面积的餐饮设施。同时可利用面向城市林荫道的大型院的顶层，许多练习室和排练厅均设在这里。该区域是开放区域，人们可以平台作为室外餐饮区。旅游者可以在这里逗留、休息并欣赏重庆城市的美景。从大剧场的前厅到达这里。

由于餐饮设施既可由大剧院的门厅也可由室外进入并使用，因此餐饮设施可独立于剧场而单独运营。餐饮区对面设有一个附设前厅的多功能厅。多功能厅重庆大剧院可通过三条道路（北面、西北面和南面三条道路）直接到达。因也拥有观赏嘉陵江对岸的全景视野。多功能厅经露天阶梯与大剧院广场连接，此，可实现各种交通工具，如公共汽车、出租车、小汽车、货车的分流，并因而可独立使用，不受各类演出活动的影响。 基座层的的南侧设有两层地下形成一个总的交通体系。大剧院建筑物的每一侧都设有单独的下客区和出入停车库。大剧院的送货交通自北面进行。舞台设备区、餐饮区和大型客车停口，以保证交通的畅通无阻。车场交通实行分流，各有自己的车辆出入口，以避免互相干扰。机电设备和舞台仓库库房以及厨房备餐冷藏设施和垃圾存放设施也设在基座层。

观众可从四面八方以各种方式接近大剧院。靠水一侧林荫大道的延伸处设有渡轮码头，实现水上交通工具的停靠。大剧院南侧设有两条通往地下停大剧院的上部楼层根据功能要求作了相应的布局。剧院工作人员和艺术家从车库的出入道路。入口区设有电梯和楼梯直接通往上面的大剧场前厅。重广场层面的两个专用入口乘电梯和楼梯进入办公间和更衣室。更衣区、道具庆大剧院周围广场主要供行人使用。只有南段可作为出租车和贵宾下客区库房和舞台制作间位于大剧院8层，即舞台层面。其上方的16层设有其他使用。因此，重庆大剧院没有背面。建筑物的四周和所有立面都向观众开放，制作间和道具用房。行政管理用房和小型工作间位于22层。26层是大剧使其可进入建筑。

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新建筑／gmp剧院项目的中国实践 gmp THEATRE pRojECT pRACTICE IN CHINAThe Grand Theater is situated on a headland above the Yangtze, directly opposite the business district of the Chongqing metropolis. The uniqueness of

the location and the panoramic view of the imposing cityscape, together with the building's sculptural architecture, will make the theater a landmark.A stone platform base supports the glass sculpture; the ground plan and elevation are subject to strict functional requirements despite their seemingly

arbitrary expressiveness and maritime Grand Theater does not have the typical façades made up of wall and window surfaces. Due to the light that urges its way out from the inside, and

the reflections of the sun, clouds and water on the complex-angled and broken glass surfaces, the building appears to glow in new moods created

by the light. Wherever daylight and sunshine make their way into the building's interior, the glass shell becomes a climatic skin allowing for views in and

out of the building, connecting the interior and the exterior. In the areas were the interior should remain hidden, e.g. in the tall stage towers, a second,

massive shell provides the necessary concert halls with their respective foyers are situated in the longitudinal axis, similar to the keel line of a ship, thus forming entrance areas at the bow

and the stern. In the center, in other words midship of these entrance areas, is the exhibition hall, which joins all the theater foyers together. All kinds of

performances and events can take place simultaneously, independent of one rgoers and opera-goers enter the entrance foyers at street level, where they find the information desks, ticket offices and PR offices, plus

cloakrooms and toilets. After tickets are checked, audiences for concerts and plays go up grand staircases to the actual auditorium levels, where they

cross the foyers into the auditoria. From these foyers, theatergoers and concertgoers get a unique view of the skyline of Chongqing across the Yangtze

and Jialing rivers, the Science Center and the elegant boulevard leading through the new Jiangbeicheng geometry of the concert hall follows the proven, traditional horseshoe shape with two tiers. In terms of acoustics and sightlines, the proportions of the

hall cater for a wide range of musical and spoken events. These include singing and dance events, plays, orchestral music and chamber music, and of

course international opera central block of the main, ancillary, side stages and pits forms the interface between the auditorium and the internal working and artistic parts of

the Grand Theater. Rehearsal stage facilities are envisaged above the lateral and back stages. For public events, these premises are linked to lifts and

staircases via the foyer of the Grand Hall. Conceptually, all backstage and service facilities can be used jointly by the Grand Hall and the Medium Hall.

Even so, the spatial allocations of the two theaters are planned as discrete and functionally self-contained areas.79

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063 | 07 | 2012The base structure of the Grand Theater is earmarked for large catering facilities. It is thus possible to offer outdoor catering via an ample terrace area,

which faces the urban boulevard. Tourists can linger here, for refreshment and to take in the incomparable view of Chongqing. The gastronomy facilities

can be accessed both from the theater foyer and from outside, i.e. independently of the theater performances. A banqueting room with the attached

foyer area is located opposite the restaurant areas, likewise with a panorama view across the Jialing. The banqueting room is connected via external

steps across the theater forecourt, and can be used separately and independently of events at the theaters. In the southern area of the base level is

the underground garage on two parking levels. Servicing of the Grand Theater is from the north. Here, the delivery areas for stage equipment, catering

and bus/coach parking are separated, each with separate entrance and exit roads. Thus different functions do not get in each other’s way and cause

hold-ups. Technical and stage storage areas and kitchen facilities for preparing food are likewise integrated into the base, as are sundry cooling and

waste upper floors of the theater are organized in accordance with the functional specifications. Employees and artistes use two separate entrance

areas from forecourt level via lifts and staircases to reach their workplaces and dressing rooms. The dressing rooms, storage and stage workshops are

accommodated on Level +8.000m, the stage level. On Level 16.000m above that, there are further workshops and props. Level +22.000m is reserved

for administration and smaller workshop units. The highest generally accessible level (+26.000m) is reserved for the numerous practice rooms. This area

is public, and can therefore be reached by the audience from the foyer of the Grand Hall.

The Grand Theater Chongqing is directly accessible via three streets (north, north-west, south). A wide variety of different kinds of traffic (bus, taxi, private

cars, delivery vehicles etc.) can therefore be kept separate, as part of a superordinate traffic-management scheme. The Grand Theater thus has

separate entrance drives and accesses on each side of the building, guaranteeing unencumbered traffic tgoers and theatergoers can reach the building from all directions via different transport modes. From the river, a ferry terminal on the extension

to the grand boulevard provides transport. On the south side, there are the two entrance roads into the car parks for private cars. Thence, an access

area with lifts and steps leads directly to the upper main foyer. The large plaza around the theater is principally reserved for pedestrians. Only in the

southern section is there a pick-up/set-down area for VIPs and taxis. The Grand Theater Chongqing thus has no back. All sides and façades of the

building are open to visitors and allow access to the theater.82

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