SCAC 福州海峽藝術中心 以科技傳承文化
By 欣建築2018/11/14
福州海峽藝術中心(Strait Culture and Art Centre,SCAC)為福州政府為提昇其文化形象與馬尾市地區發展而開發的新公共空間,負責設計的芬蘭PES建築師事務所在2013的國際競圖中脫穎而出,並試圖以「文化型態購物中心」為目標創造出一處新型態的獨特購物體驗,不但在現代化的設施中融合了文化、商業與家庭導向的娛樂服務,建築空間的樣貌也是中國文化建築中的新里程碑。面對岷江的海峽文化與藝術中心獨特地理位置帶起了連結馬尾市發展、岷江流域及當地自然環境的功能,而更重要的是喚起了民眾與文化的連結。
福州海峽藝術中心獨特的外型構想來自福州市花茉莉花的花辦,五個花辦的空間分別為歌劇院、音樂廳、多功劇院、展覽廳及電影院,五個空間也可由文化大廳及一旁高架的公共休閒區域互相連通,遊客也可由茉莉花花園及中央茉莉花廣場的二處坡道直通一旁的高架公共休閒空間,這樣的設計也將高架的公共休閒空間順勢延伸至岷江的河岸休閒區;地下層沿著梁厝河設計的購物長廊(shopping river)也將周遭景觀帶進了室內設計之中,同時也連結了福州海峽藝術中心與捷運站。
將原本大量體空間特地分隔出五個空間的設計可讓空間使用上更符合人體的尺度,也更適合在內外空間中自由轉換。在五個空間中各有著一處核心區域-一處半開放的曲形走廊以呼應海峽文化與藝術中心整體外型的曲線設計,以及中心周圍的茉莉花花園廣場。
此案中事務所選了「瓷」來做為主要建築材料,也喚起舊時中國海上絲路的歷史記憶,並與台灣藝術家施宣宇合作針對二個主要演講廳內部的音效需求特製珍貴的「中國白」瓷片,亦在歌劇院的表面舖滿了中國白瓷片與羽板窗,呈現出以創新的科技重新詮釋中國傳統的燒瓷技術,以及所表現出的聽覺與視覺的驚豔效果。
[延伸閱讀]
>芬蘭PES建築設計事務所與台灣藝術家施宣宇合作「SCAC福州海峽文化藝術中心」 開幕啟用
https://solomo.xinmedia.com/archi/158203-SCAC
> SCAC 福州海峽藝術中心 以科技傳承文化
https://solomo.xinmedia.com/archi/158183
[延伸資訊]
>芬蘭PES建築師事務所
http://www.pesark.com/
>施宣宇-九座寮聯合事務所
http://www.unit-9.com/
> 福州海?文化??中心 / PES建筑??事?
https://www.archdaily.cn/cn/904227/fu-zhou-hai-xia-wen-hua-yi-zhu-zhong-xin-pesjian-zhu-she-ji-shi-wu
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編譯簡介 蘇琨峰/Andre
一隻喜愛新事物也對舊事物固執的牡羊。台北工專土木工程科、雲林科技大學營建工程結構組、墨爾本大學經濟與商業研究所,主修商業與資訊管理。喜歡看建築、旅行探險、攝影、網球、及擔任爵士樂團薩克斯風手。目前為《欣建築/國際脈動》編譯、文字記者、規劃欣建築國外建築相關行程及國際領隊。
Article source
In 2013, the Fuzhou Government hosted an international invited competition for the Strait Culture and Art Centre with the goal of strengthening the cultural image of the city and the Mawei New Town development area. PES-Architects’ winning proposal aims to offer an extraordinary experience for ordinary users by creating a new type of “cultural shopping mall”. The cultural programmes of the Centre are complemented with commercial and family-oriented entertainment services to create a modern hybrid complex. This format is typical of the new phase of cultural building in China.
Located in Mawei New Town, facing the Minjiang River, the Strait Culture and Arts Centre is about connections. It connects cities and communities along and over the Taiwan Strait. It connects the Fuzhou Mawei New City Development and its waterways to the Minjiang River and the natural environment. And, finally, it connects people to culture.
The design takes inspiration from the petals of a jasmine blossom, the city flower of Fuzhou. The flower is manifested in the formal language and colour of the architecture. The five jasmine petal venues — opera house, concert hall, multi-functional theatre, art exhibition hall and cinema centre — are linked by a Cultural Concourse and a large roof terrace with public services and commercial and leisure facilities. The roof terrace is accessible via two ramps from the Jasmine Gardens as well as from the Central Jasmine Plaza, providing a seamless connection from the complex to the riverfront of the Minjiang River. On the underground level, a “shopping river” is located along the Liangcuo flood river to connect the landscape to the interiors, as well as providing a connection between the metro station and the Centre.
Dividing the large complex into smaller units gives the Centre a more human scale and makes it easy for users to navigate both indoors and outdoors. Each building has a core area — a semi-public, curved gallery that follows the curvature of the main façade — that integrates the public interior space with the landscape of the Jasmine Gardens around the building and further with the Mahangzhou island natural reserve in front of the Centre.
Ceramic is used as the project’s main material due to its significance in the historical context of the maritime Silk Road trade connection between China and the rest of the world. PES-Architects worked with Taiwanese ceramic artist Samuel Hsuan-yu Shih to design the artistic ceramic interior for two main auditoriums according to acoustical demands, using the legendary “China White” material and new technology. All façades are clad with white ceramic tiles and louvres, while both the opera hall and concert hall showcase this cultural material in innovative and creative ways in the acoustic wall surface.
The interior surfaces of the opera hall and concert hall are clad with topographical ceramic panels. Based on extensive studies carried out with the acousticians, two types of acoustic panels were developed: an engraved panel and a mosaic tile panel. Both panels are adaptable to the topographical surfaces that are required to achieve high quality acoustics, as well as the visual language of the design.
The main façade ceramic louvre section is lens-shaped, relating to the form used in the massing of the buildings. This also maximizes the shading capacity of the vast glass façade. The distance and angle of the louvres has also been studied with the help of complex scripting in order to achieve the optimal angle and distance between the louvres.
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編譯/蘇琨峰 圖/PES
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海峽文化與藝術中心PES Architects福州建築中國建築旅行
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