Sydney Opera House Concert Hall Renewal / ARM Architecture
由专筑网小R编译
悉尼歌剧院是全球瞩目的建筑精品，但是在2012年之后，一系列的问题逐渐浮现，比如无法使用的剧院机械、糟糕的声学体系，还有不完善的无障碍设施等等，为了解决这些问题，悉尼歌剧院的CEO Louise Herron公布了“十年复兴”计划，这是为了迎接2023年的到来——这是悉尼歌剧院交付使用的50周年，ARM Architecture则受邀负责音乐厅的更新改造，这是很重要的一部分，建筑师于2015年开始设计工作，音乐厅于2022年7月重新开放。
Text description provided by the architects. The Sydney Opera House is a world-renowned architectural masterpiece, but by 2012, it was facing a series of problems, including end-of-life theatre machinery, poor acoustics, and accessibility issues. To address these issues, SOH CEO Louise Herron announced a "Decade of Renewal" leading up to the building's 50th anniversary in 2023. ARM Architecture was appointed to the Concert Hall Renewal project, the last and largest of the renewal projects, commencing design work in 2015, with the Hall reopening in July 2022.
该项目包含有三个部分，首先建筑师需要改善音乐厅目前的声学环境，除此之外还要调整其中的功能，改善空间的交通流线，为了解决声学问题，全新的建筑干预措施应用于Peter Hall设计空间之中，18个全新的花瓣形反射板替代了原有的反射系统，其表面参考了原有座椅的红色调，除此之外，反射板也给舞台上的表演者们带来了最为直接的反射，让他们能够更好地接收到舞台上的声音。
The brief for the project was threefold: to fix the Concert Hall’s poor acoustics, to improve the functionality of the room, and to improve accessibility to both the front of house and back of the house. To solve the notoriously inconsistent room acoustic, new architectural interventions were introduced into the Peter Hall designed space. The original clear "donut" overstage reflectors were replaced with 18 new petal-shaped reflectors, finished in a magenta color that references the original seat fabric. The new reflectors provide direct and early reflections to the musicians on stage, allowing them to hear themselves and each other.
雕刻木材面板应用于舞台周围，它们的目的是让声音分散，减少直接反射，从而产生环绕立体声的效果，墙体材质和原有墙体相同，给整个音乐厅带来了微妙的触觉感受，更加吸引着人们的到来。
Sculpted timber panels were also introduced around the stage, stall surrounds, and rear walls, replacing the original timber paneling. These new panels diffuse the sound and prevent direct reflections, resulting in a sense of envelopment in the music. Made in the same brush box timber as the original walls, these add a subtle tactile element to the Hall, inviting the hand to run along them.
舞台在原有基础上降低了约400mm，同时也进行了重建，还增加了自动化舞台设施，这不仅仅改善了舞台空间的功能，也促进了人们的视线以及不同乐器之间的声学连接。
The stage was lowered by 400mm and completely rebuilt, including the introduction of automated stage risers. This not only improves the functionality of the room but also sightlines and the acoustic connection between different orchestral sections.
为了满足现代化的音乐演出，建筑师还增加了一系列的自动化帘幕，它们固定于舞台顶部，演出时从舞台正面徐徐展开，这不仅替代了原来需要手动操作的幕布，也改善了音乐厅的声学和美学效果。
To cater to amplified and contemporary music performances, a series of automated drapes were introduced that deploy from the crown over the stage, the upper side walls of the ceiling, and the box fronts adjacent to the stalls. These transform the Hall’s acoustics and aesthetic for these shows, doing away with the previous ad-hoc manual deployment of black cloth by SOH staff.
全新的剧院机械和飞行系统是整个改造中的最大自动化升级，这结合了对于天花板结构的整体性加固，目的是提升飞行能力和增加荷载位置的灵活性，全新的技术很好地缩短了两场演出之间的转换时间，也减少了很多需要手动解决的工作。
The largest automation upgrade was the introduction of a new theatre machinery and flying system overstage. This involved significant strengthening of the ceiling structure to allow for increased flying capacity and flexibility in load locations. This new technical overlay not only improves the changeover time between show types (a must-have outcome of the project) but also reduces many manual handling tasks.
在音乐厅之外，建筑师增加了一条全新的通道和电梯，这很好地改善了人们的流线体验，让使用者可以更加快速便捷地进入各个大厅和楼层，在这之前，人们则需要通过楼梯到达，除此之外，演员流线也得以改善，表演者可以更加高效地进入后台更衣室。
Outside the Hall, a new passageway through the side foyer stair and a new lift in the northern foyer have been inserted into these hybrid Jorn Utzon & Hall designed spaces. These have transformed the visitor experience by finally allowing equitable access to all foyer and Hall levels, where previously, visitors had to climb 50 risers in two flights of stairs. Accessible dressing rooms for performers, and improved access to the stage were other key upgrades.
音乐厅的改造给人们带来了一个功能更加齐全的空间，使得悉尼歌剧院更加完善。
The result is a renewed Concert Hall for future generations that is functional, accessible, and acoustically on par with the great Halls of the world.
建筑设计：ARM Architecture
类型：剧院 改造 地标
面积：7500 m²
时间：2022年
摄影：Martin Mischkulnig, Anna Kucera, Daniel Boud, Chris Bennett
声学顾问：Müller-BBM
项目负责人：Howard Raggatt
项目建筑师：Andrew Hayne
项目团队：Mark Raggatt, Peter Bickle, Stuart Webber, Aaron Robinson, Andrea Wilson, Paul Buckley, Justin Fagnani, Leo Carson, Rocio Batlle, Mario Posala, Daniel Lazarow
剧院设计：Theatre Plan UK, Schuler Shook
立面工程：Arup
结构工程：Arup
机电工程：Steensen Varming
水利工程：Warren Smith Consulting Engineers
遗产保护顾问：Design 5
无障碍顾问：iAccess
建筑测绘：Group DLA
投资估算：Rider Levett Bucknall
竖向运输顾问：Norman Disney Young
承包商：Taylor Constructions
项目管理：悉尼歌剧院
城市：悉尼
国家：澳大利亚
THEATERS & PERFORMANCE, RENOVATION, LANDMARKS & MONUMENTS
SYDNEY, AUSTRALIA
Architects: ARM Architecture
Area: 7500 m²
Year: 2022
Photographs:Martin Mischkulnig, Anna Kucera, Daniel Boud, Chris Bennett
Acoustics Consultants: Müller-BBM
Project Director: Howard Raggatt
Project Architect: Andrew Hayne
Project Team: Mark Raggatt, Peter Bickle, Stuart Webber, Aaron Robinson, Andrea Wilson, Paul Buckley, Justin Fagnani, Leo Carson, Rocio Batlle, Mario Posala, Daniel Lazarow
Theatre Design: Theatre Plan UK, Schuler Shook
Facade Engineers: Arup
Structural Engineers: Arup
Mechanical And Electrical Engineers: Steensen Varming
Hydraulic Engineers: Warren Smith Consulting Engineers
Heritage Consultants: Design 5
Access Consultants: iAccess
Building Surveyors: Group DLA
Quantity Surveyors: Rider Levett Bucknall
Vertical Transportation Consultants: Norman Disney Young
Contractors: Taylor Constructions
Project Managers: Sydney Opera House
City: Sydney
Country: Australia
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