来自专筑编辑雷君的报道。从古典的中国建筑中，我们认为建筑是线性平面。多数宗教性场所，如传统的中国建筑都经历了这样一个序列，围绕着一个中心穿梭。这个电影场景般的本土序列形成了一系列地上物，共同产生了从城市规模经景观（公园）最后归于河岸的无缝过渡。

插入的中心轴（严格对称）被曲线干扰，它周围的景观徐徐流动，产生漩涡和涟漪，轻轻地指引着游客的轨迹。所有建立直接链接编排的可能性都用演艺中心作为关键结合点进行设计，在此，人流汇聚、分流、具化为空间形态系统。

我们的计划强调将轨迹作为造景元素，其印痕产生不同尺度的组合，将地面分割开，剥落表面，露出下面的草，创建阴影和座位。

From Classical Chinese architecture we thought out the organization of the building as a linear sequence of planes. Most sacred sites such as the traditional Chinese architecture are experienced in such a sequence, weaving in and out of a central. This cinematic–yet vernacular–sequence frames a series of projections that together produce a seamless transition from the urban (city) scale through the landscape (park) scale and into the riverbank.
The imposed central axis (imposing rigid symmetry) is disturbed by the curvilinear, meandering flows of the landscape around it, producing twirls and ripples that guide and gently affect the visitors' trajectory. All possibilities to establish direct links are choreographed using the presence of the performance centre as the key articulation point, where flows are collected, channelled and materialised into a manifold of spatial configurations.
Our proposal emphasizes the trajectories as the formative element of the landscape, where their imprint produce folds of various scales, ripping off the ground, peeling off the surface, uncovering the grass beneath and creating shading and sitting devices.

这一建筑基本上保持了其天然的形态：属于这个历经变迁的公园的石块，逐渐被风侵蚀，被基地的水流雕琢。这种形态的变化也代表了在周边环境中其他进程的存在。以对称原理作为对公园通道的非层次回应，两侧各有一条“沟渠”被省却，创造出隐蔽通道和风路。建筑物的东南面也被腐蚀，以顺应向上开口的风向，并捕获它流动的轨迹。

The building appears primarily as a natural formation: a stone mass belonging to the park from previous times that has changed gradually along the years; eroded by the wind, carved by flows drifting through the site. In this way the shifts in its morphology are indexical of other processes occurring within its surroundings; in principle symmetric as a non-hierarchical response to the accesses to the park and the relationship to the main plaza, two ‘ditches’ are eaten away at both sides of the performance area, creating sheltered passages and channelling the wind. The southeast flank of the building is also corroded to align to the prevailing wind direction opening up towards it and capturing its flows.

室内的对称性一直都在发生变化，因而产生了形态的差异。建筑内的强度及差异的瞬间将斜道体系作为主要的表达形式，将大堂作为第一语境。多样性从抵达建筑的一瞬间及开始体现，贯穿整个庭院，在这里，人流恢复其对称排列，在剧院两侧重新形成正交形态。这种情况也被应用于结构系统，直接连接到斜坡，并沿它们运行，在建筑表皮之前，形成了两侧的体块。

表演中心内部的环路–如同在景观和广场一样–被按顺序排布：从抵达大厅开始，系统或坡道蜿蜒前进，通过不间断的环路，连接各楼层及作为枢轴点的内部庭院。室内通道呈u型排布，从外部广场开始，返回另一层的外部广场，最后蜿蜒盘旋至作为正式剧场的室外露天场馆。

The shift in the symmetry is continued internally, where as a result a morphological exemption is created; a moment of difference and intensity within the building using the ramps system as its main expression and the lobby as its immediate context. This variation follows the arrival to the building and all the way into the courtyard, at which point, the flows regain their symmetric alignment and readopt the orthogonality to both sides of the theatre. This condition is also translated onto the structural system, linking directly to the ramps and running along them, framing the volume at both sides, just before the skin.
The circulation within the performance centre–likewise within the landscape and the plaza–is organised sequentially: upon arrival to the lobby, a system or ramps proceeds sinuously through uninterrupted loops, gently connecting all levels and using as pivoting point the internal courtyard. The internal circulation unfolds as U-turn coming from within the outside plaza, returning towards the plaza but at a different level, to finally hover over the outdoors amphitheatre whilst being at the ‘formal’ theatre.

除了中心建筑体，项目还包括更多的公共活动，如大堂、展览空间、剧院和咖啡厅，建筑层数有段两翼翅 建筑两翼空间支持组织、教育、排练等相关功能。两翼通过一个大型地下室相互连接在一起并与主建筑相同，生产和管理设施位于主体建筑中。这些功能作为建筑的骨架，从基础设施上和概念上作为背景支撑包裹着这里的演艺及公共活动。

Besides its central body, containing the more public activities such as lobby, exhibition space, theatre and café, the building counts with two wings where the support functions related to formation, education and rehearsal are located. These wings are connected to each other and to the main building through a large basement, where the production and administration facilities are. These functions behave as the framework of the building, its skeleton, both infra-structurally and conceptually embracing performances and public events through background support.


建筑设计：Plasma Studio
项目所在地：中国 广州

Architect: Plasma Studio
Location: Guangzhou, China


出处：本文译自www.world-architects.com/，转载请注明出处。