劇院建筑

季嘉葵

劇院建筑設(shè)計(jì)指南之曼徹斯特皇家交易所劇院

曼徹斯特，英國(guó)

Manchester.UK

兩個(gè)世紀(jì)以來(lái)，皇家（棉花）交易所是曼徹斯特商業(yè)生活的核心。當(dāng)前建筑物于1847年啟用時(shí)，曾被描述為世界上最大的商業(yè)交易所。甚至在隨著棉花貿(mào)易重心的轉(zhuǎn)移、該交易所逐漸變得多余前，將規(guī)模擴(kuò)大了一倍。自1976年以來(lái)，皇家交易所一直設(shè)有同名劇院。這座圓形的多層劇院因其親密性和強(qiáng)烈的感情性而具有很高的影響力，可以說(shuō)是20世紀(jì)英國(guó)建造的最具創(chuàng)新性的劇場(chǎng)空間。

For two centuries the Royal （Cotton） Exchangewas central to the commercial life of Manchester.When the current building opened in 1847 it wasdescribed as the biggest commercial room in theworld. It then doubled in size before graduallybecoming redundant as the cotton trade movedelsewhere. Since 1976， the Royal Exchange hashoused the theatre of the same name. This multi-level theatre in-the-round is high ly influential for itsintimacy and intensity and could well claim to be themost innovative theatre space created within the UKin the last century.

觀眾廳由劇院公司在邁克爾-埃利奧特的指導(dǎo)下開(kāi)發(fā)，他對(duì)如何將他們的作品展現(xiàn)出來(lái)有著非常清晰的認(rèn)識(shí)。由設(shè)計(jì)師理查德內(nèi)格里設(shè)計(jì)的原型，首先是在腳手架中建造的，而后才被建筑師構(gòu)建為永久性結(jié)構(gòu)。

The auditorium was deve[oped by the theatrecompany， under the direction of Michael Elliot， whohad a very clear vision of how their work was tobe presented. A prototype， conceived by designerRichard Negri， was first built in scaffolding beforearchitects were invited to develop a permanentstructure

觀眾廳被設(shè)計(jì)為獨(dú)立于歷史建筑的巨大石質(zhì)大廳。建筑師設(shè)計(jì)了一個(gè)七面“劇院模塊”，直徑為21.3米，高度為13.7米，由鋼和玻璃制成。該模塊被設(shè)想為一個(gè)獨(dú)立的單元，具有透明的支撐框架，觀眾、表演者和舞臺(tái)工作人員都共享同一個(gè)私密空間。門(mén)廳使用了大廳的周邊區(qū)域，而輔助設(shè)施則設(shè)于大樓的其他區(qū)域。

The auditorium is designed to sit within themassive stone hall， independent of the historicstru ctu re. The architects devised a seven-sided'theatre module'， with a diameter of 21.3m and aheight of 13.7m， constructed of steel and g[ass. Themodule was conceived as a free-standing unit witha tra nspa rent suppo rting fra mework within whichthe audience， performers and stage crew all slia rethe same intimate space. The foyer makes use of thesu rrounding a reas of the G reat Hall while the supportfacilities are housed in other pa rts of the building.

1996年，曼徹斯特市中心被愛(ài)爾蘭共和軍的炸彈炸毀。盡管觀眾廳的結(jié)構(gòu)本身沒(méi)有受到損壞，但這次轟炸嚴(yán)重?fù)p壞了皇家交易所大樓。在對(duì)歷史悠久的大廳進(jìn)行必要修復(fù)工作的同時(shí)，劇院利用這個(gè)機(jī)會(huì)對(duì)房屋的正面和背面進(jìn)行了徹底的改建，包括引入了一個(gè)適應(yīng)性極強(qiáng)的100座工作室劇院。與此同時(shí)，觀眾廳的技術(shù)設(shè)施得到了改進(jìn)，餐廳、酒吧和前廳都進(jìn)行了更新。街道入口也進(jìn)行了重新設(shè)計(jì)，安裝了一架新的玻璃電梯和橋梁，首次將所有公共層面連接起來(lái)，將一個(gè)20世紀(jì)70年代的標(biāo)志性劇院帶入了21世紀(jì)的建筑風(fēng)格。

ln 1996， the centre of Manchester was devastatedby an IRA bomb. It severely damaged the RoyalExchange buildl ng，though the audito rium structu reitself remained unscathed. While the necessa ry workwas underta ken to restore the historic hall， the theatretook the opportu nity to ma ke radical changes to thefront and back of house， including the introduction ofan ada pta ble lOO-seat studio theatre. At the same timethe audito rium's technica linstallations were im proved，and resta u ra nt， ba rs and front of house facilitiesrenewed. The street entrances were a[so redesigned.A new glazed lift and brid ges were insta lled， lin king allpublic levels for the first time and bringing an iconic1970s theatre into the twenty-first centu ry.