Bothi Sides / DJA. Image © Uldis Lapiņš
灯光、镜头、建筑：那是布景设计与建筑的交汇点
Lights, Camera, Architecture!: Where Set Design and Architecture Cross Over
由专筑网李韧，曹逸希编译
Kanye West和弗兰克·盖里（Frank Gehry）有哪些共同点？
就第一印象来讲，共同点并不明显。但是，他们设计的细部都十分引人关注，例如通过夸张的比例和尺度来吸引眼球，亦或是通过厚重的混凝土部件来强调整体效果，还可以直接通过脚手架来表达工业、未完成的感受，这些听起来很熟悉，不是吗？
就如同建筑一样，布景的设计也非常重要，因为这能够激发强烈的场所感。那么它们的约束条件也几乎类似，例如预算、功能需求、场地特征，因为项目布景是对当地真实生活的一大描述，而建筑则是整个环境中所呈现的某个片段。那么请欣赏一些设计优良的布景作品，从而了解建筑的本质。
What do Kanye West and Frank Gehry have in common?
As a first impression, not much. However, they have both engaged on stages with striking design details: the use of exaggerated scale and dimensions to manipulate visual perception, bulky concrete walls and slabs to emphasize heavyweight and grandiosity, visible scaffolding to create an industrial, unfinished feel... Sounds familiar, doesn’t it?
Just like architecture, set design is very prominent, evoking a strong sense of the place, all while working within a limited capacity. The two fields also work within the same constraints - budget, program requirements, and site specificity, and just as acting is a brief depiction of real life, theater sets are the presentation of a snippet of architecture and built environments. Take a look at some fascinating set designs that get the essence of architecture.
Ugly Lies the Bone - Design by Es Devlin
英国 伦敦 国家剧院
Ugly Lies the Bone / Es Devlin. Image Courtesy of Es Devlin
“Ugly Lies the Bone”讲述了Jess的故事，她是一位从阿富汗归来的美国公民，她即将看到家乡佛罗里达，可是这里已经不是当年的样子。为了克服内心的恐惧，她通过虚拟现实建立了全新的世界，里面有她的朋友、她的家庭，以及她自己。为了展示这个“新世界”，设计大师Es Devlin制作了一张由2000座建筑模型组合而成的城镇，而这些迷你模型都由国家剧院场景工作室的设计师们手工制作，从一个弯曲的背景中凸出来，让观众们看起来会有身临其境的感受。
National Theatre, London, UK
Ugly Lies the Bone play tells the story of Jess, an American citizen just returned from Afghanistan, who is about to see that her Florida hometown is not the place she left years ago. To confront her fears, she builds a new world through virtual reality, slowly restoring her relationships, home, and herself. To display this “new world” Es Devlin, a set design heavyweight, created a map of the town made up of 2,000 building models. The miniature replicas, which were applied by hand by the National Theatre Scenic Workshop, protrude from a curved backdrop, making it seem as though the audience is looking through a VR set.
F*CK THE POLAR BEARS - Design by Chiara Stephenson with director Caroline Byrne
英国 伦敦
F*CK THE POLAR BEARS / Chiara Stephenson. Image Courtesy of Chiara Stephenson
F*CK THE POLAR BEARS / Chiara Stephenson. Image Courtesy of Chiara Stephenson
这场表演的主题是严肃对待气候变化的重要性，如果我们继续忽视大自然，那么我们最终会失去它。该项目由设计师Chiara Stephenson和导演Caroline Byrne共同合作，构思了漂浮在黑色石油湖面上的悬浮式建筑框架，从而强调了全球变暖、石油危机、海平面上升等问题。建筑框架表现为静态元素，会根据整场表演而旋转、发光，甚至改变色彩。设计师说，这座建筑框架有两个作用，首先是表达了建筑自身，另外则表达了“如果我们继续忽视大自然，那么我们最终会失去它”的理念。
我认为剧场的设计决策与剧院美学需要的不仅仅是装饰。它们还具有或微妙或直接的含义，这也许能够决定表演的走向。——Chiara Stephenson
Bush, London, UK
The play's main theme asserts the importance of taking climate change seriously, showing that if we continue to ignore taking responsibility of the future of our planet we will all end up losing our “home”. Designer Chiara Stephenson collaborated with director Caroline Byrne to create a suspended skeletal house frame floating over a lower black oil lake, highlighting the fragility of our planet with global warming, the oil industry, and rising sea levels. The frame, which first appears as a static element, revolves, glows, and changes colors according to the events of the play, becoming a character itself. According to the designer, the frame had two jobs, one is to imply the physical architecture of a house, and the other, to show how fragile “the walls of our house will become if we continue to ignore climate change.”
I think design decisions and aesthetics in theatre need to be more than just decorative. They have to provide significance as subtle or as blunt as that might be depending on the play in hand - Chiara Stephenson
BOTH SIDES - Design by DJA
拉脱维亚 里加
Both Sides / DJA. Image © Uldis Lapiņš
Both Sides / DJA. Image © Uldis Lapiņš
拉脱维亚建筑事务所DJA为去年拉脱维亚百年庆典设计了“BOTH SIDES”型舞台，这个巨大的多边形表面代表着拉脱维亚的国旗，不仅仅是国家的象征，同时也象征着巨大的表演区域，其中有图像、视频、灯光，它们都投射在这个表面之上。面积约2000平方米的巨型舞台就是这样一个平面，既能够产生投影的效果，又能够用于表演。
Arena Riga, Riga, Latvia
Latvian architecture office DJA designed BOTH SIDES for the apotheosis of Latvia's centenary celebrations last year. The grand polygonal surface, which was designed as the Latvian flag, was not only symbolic of the nation but as a large performance area, with images, videos and lights projected onto the surfaces. The massive stage - 2000 square meters - was faceted both to create distinct spaces for projection and to provide room for large and small performances alike.
David Bowie's Diamonds Dog Tour - Design by Mark Ravitz
多地区
Diamond Dogs Tour / Mark Ravitz. Image Courtesy of Mark Ravitz
Power、Nuremberg、Fritz Lang的“大都会”是Mark Ravitz在这个场景设计中所应用的关键词。设计师将舞台设计为充满活力的城市环境，在单调的“灰色”城市景观中添加了彩色的动态效果。
音乐会中布景设计的重要意义在于这个词本身，“布景”设计既是表演者表演的基础，也限定了风格、动作、色彩、场面等视觉参数。——Mark Ravitz
Multiple Locations
Power, Nuremberg, and Fritz Lang’s “Metropolis” were the keywords that Mark Ravitz used in his creative process of designing David Bowie’s set design. The designer transformed the stage into an urban, dynamic environment, adding color and movement into the rather dull, “grayish” cityscape.
The importance of set design in a concert: The word itself, “set” design lays the groundwork of the visual presentation of the performer. It ‘sets’ visual parameters for style, movement, color, and spectacle - Mark Ravitz
Deutschunde - Design by Bettina Pommer
德国 汉堡
Deutschunde / Bettina Pommer. Image © Krafft Angerer
“Deutschunde”由Siegfried Lenz的一本著作改编而成，其中讨论了德国的纳粹主义以及战后人们对于变化的应对策略。设计师将舞台缩小到三面墙，移动与平衡都集中在一个角落之中，地板与墙体可以互换。人物没有藏身之所，因此只能与空间对抗，否则就会摔倒或消失。
在这项作品中，我把注意力集中在个体与抽象系统建筑形式以及空间运动可能性之间的对抗。对我而言，重要的是那些舞台设计中曾经为人所遗漏的部分，这为观众留下了想象的空间。——Bettina Pommer
Thalia Theater, Hamburg, Germany
Deutschunde is an adaptation of a well-known book by Siegfried Lenz, which talks about National Socialism in Germany and how people coped with dramatic change after the war. The designer reduced the stage to three walls, all shifting and balancing on one corner - the floors become walls, and vice versa. The protagonists are left with no place to hide and have to fight against the space to prevent stumbling and disappearing.
In my work, I’m always focused on the body and its struggling with systems-abstract architectural forms and the possibilities or obstructions of movement in the space. For me it is important that the stage design doesn’t allege specific places.It leaves space for the viewers’ own imagination - Bettina Pommer
Voodoo Lounge / The Rolling Stones - Design by Stufish Entertainment Architects / Mark Fisher
多地区
Voodoo Lounge / Stufish. Image Courtesy of Stufish
Voodoo Lounge / Stufish. Image Courtesy of Stufish
Mark Fisher为滚石乐队（Rolling Stones）构思了一座“千兆字节城市”，这代表了信息时代。设计师们希望通过建造大型像素塔楼、钢丝网状的背景，以及巨大如眼镜蛇般的悬臂来表达现在所看到的未来。
Multiple Locations
Mark Fisher created a ‘gigabyte city’ for the Rolling Stones as a manifestation of the “information age.” The designers wanted to display the ‘future as seen in the present’ by building large pixelated towers and steel mesh-like backdrop, with an overwhelming cantilevered cobra-shaped structure arching above the band.
A Bigger Bang / The Rolling Stones - Design by Stufish Entertainment Architects
多地区
A Bigger Bang / Stufish. Image Courtesy of Stufish
A Bigger Bang / Stufish. Image Courtesy of Stufish
设计的灵感来源于奢侈的歌剧布景，设计师们充分利用钢桁架结构体系承重性能的优势，让观众们仿若置身于阳台之上。
舞台建筑的主要目的是让乐队有着适当的活动空间，使得他们能够更好地把控整个场面。我们希望观众们同样拥有良好的体验，在其中，乐队成员们和观众都位于戏剧化的空间之中，这里有着个性、奢侈、雄心勃勃的滚石风格。——Stufish
Multiple Locations
Inspired by the concepts of extravagant opera sets, the designers took advantage of the load-bearing qualities of the steel truss structural system and allowed the audience to be situated in balconies in the set design itself.
The main purpose of stage architecture is to give the band the scale and presence that allows them to take command of the stadium environment. We want the audience to experience a spectacle bigger that the individual band members and put them into a theatrical setting that reflects the style, extravagance, and ambitions of the Rolling Stones. - Stufish
She Loves Me - Design by Rockwell Group
美国 纽约
She Loves Me / Rockwell Group. Image © Paul Warchol
She Loves Me / Rockwell Group. Image © Paul Warchol
“She Loves Me”的舞台设计是以布达佩斯的一部20世纪30年代的舞台剧为背景，有着新艺术主义风格的表现形式。这种风格在当时影响了布达佩斯的许多建筑，它们广泛引用的案例有彩色玻璃、有机线条、母题以及奢侈的装饰等。因此设计师们希望通过使用大量的新艺术细节，来构思丰富多彩的城市环境，其中有浮雕建筑、折中主义街道、夸张视角等等。舞台上的建筑元素能够向下或向侧移动，从而在舞台上定义新的空间。
New York, New York (USA)
The stage design of She Loves Me, a play set in the 1930s in Budapest, is a lavish representation of Art Nouveau architecture. The architecture style, which influenced many buildings in Budapest at the time, extensively used stained glass, organic lines, motifs, and lavish ornamentation. The designers wanted to “use a riot of Art Nouveau details” by creating a colorful urban context with bas-relief buildings, eclectic streets, and exaggerated perspectives. Buildings and architectural elements on stage move downwards and sideways, defining new spaces within the set.
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