江西撫州尋夢牡丹亭 中國江西

業主：撫州市文化旅游投資發展有限責任公司

設計單位：中國建筑設計研究院有限公司

設計團隊：王冠，李欣葉，孫群，范佳，劉倩，王嘉婧，孫超，王建武

用地面積：153 000 平方米

建筑面積：11 000 平方米

設計時間：2017年

竣工時間：2019年

Client: Fuzhou Cultural Tourism Investment Development Co.,Ltd

Architect: China Architectural Design and Research Group

Design team: Wang Guan,Li Xinye,Sun Qun,Fan Jia,Liu Qian,Wang Jiajing,Sun Chao,Wang Jianwu

Site Aera: 153,000 m2

Built: 11,000 m2

Design Date: 2017

Completion Date: 2019

設計與構思

“尋夢牡丹亭”實景演出文化公園選址于文學家湯顯祖故鄉江西撫州臨川文昌里，總占地面積11 萬平方米，從北至南由配套功能服務區、演出游園區以及歷史保護街區三部分組成。該片區由于交通不便，成為城市發展中被邊緣化的老舊城區，隨著新興小商業的發展，老舊建筑面臨被拆除的困境。項目旨在活化傳統戲劇，結合老舊街區改造，激活城市更新。

“千年湯顯祖，尋夢牡丹亭”，長達500 米的三幕實景互動性演出，承載了建筑師對現實、地獄與天堂體驗的極致想象。建筑師致力于將中國古典戲劇故事抽象為融傳統造園和建筑于一體的意境空間，依托周邊具有歷史感的老屋舊宅，使現實夢境化、使夢境詩意化，創造出具有中國古典氣質的真實烏托邦。項目作為規劃建筑景觀舞美一體化設計，巧妙詮釋了新與舊、商業與文化、現實與幻想的融合，園區設計滿足了“白天游園，夜晚觀演”的復合化使用要求，提供了全天候的沉浸式表演與游園空間。

新建的演出游園區緊鄰文昌里歷史老街區，力求讓修葺后的老宅能夠承載部分文化配套功能，例如小型戲曲歷史展覽廳、公共休息廳、演員化妝室、商業零售等，將新的功能業態植入老街區，使之呈現出別樣的更新發展方式，促進老舊街區的復興與有機更新。

傳統戲曲與老舊街區只有被活化利用才能長久存留，其文化價值也才能得以充分展現。撫州作為湯顯祖創作《牡丹亭》的故地，項目不僅需要滿足實景舞臺布景的需要，更面臨如何重拾文化遺珠，在建筑學語境下重新演繹百年《牡丹亭》戲劇靈魂的責任。

園區規劃充分尊重場地現狀，將保留魚塘開挖擴大為水深3米的人工湖，舞美設計團隊鋪設水下演員行走棧道，整個湖面成為戲曲演出的水上主舞臺。根據《牡丹亭》戲曲的故事內容，幾百米的狹長場地被劃分為“游園驚夢”“魂游尋夢”“三生圓夢”三個主題演出實景舞臺。

一層平面圖

Design Concept

The site of the "Dream of Peony Pavilion" live performance cultural park was chosen in Wenchangli,Linchuan,Fuzhou,Jiangxi Province,the hometown of the litterateur Tang Xianzu.the large-scale live performance park covers a total area of 110 000 square meters,and it is divided into three sections from the north to the south,namely the supporting Functional Service Area,Performance Park Area and Historical Protection Blocks.The area has become an old and marginalized part of the urban development due to its inconvenient traffic.With the development of new small businesses,the old buildings are facing the dilemma of being demolished.The project is designated to revitalize traditional theater,and activate urban regeneration in combination with old city renovation

“With Tang Xianzu a Thousand Years Ago,Seeking the Dream of Peony Pavilion".The 500-meterlong three-act interactive performance carries the architect's experience for the ultimate imagination of reality,hell and heaven.The architect is committed to abstracting the classical Chinese play into an imaginative space featuring "the traditional gardening and architecture”,relying on the surrounding old houses with a sense of history to dream the reality and poeticize the dream,creating a real utopia with classical Chinese temperament.As the design integrates planning architecture,landscape and stage art,the project skillfully interprets the fusion of new and old,business and culture,reality and fantasy,and the park is designed to have composite functions integrating night performance and daytime garden tour are both satisfied,providing an all-weather immersive performance and gardening tour space.

The new performance park area is adjacent to the old Wenchangli historical neighborhood,and seeks to enable the restored old mansion to accommodate some of the cultural supporting functions,such as a small theater history exhibition hall,public lounge,actors' dressing rooms,commercial retail,etc.with new functional formats implanted into the old neighborhood,so that it can present a different way of regeneration and development,and promotes the revival and organic regeneration of the old city.

Only when the traditional opera and old neighborhoods are revitalized and utilized can they survive for a long time,and their cultural value can be fully revealed.As the hometown of Tang Xianzu to create The Peony Pavilion,the project is not only to meet the needs of live stage sets,but also to shoulder the responsibility of regaining the cultural heritage and retranslating the soul of the century-old Peony Pavilion opera in an architectural context.

西立面圖

北側配套功能服務區總建筑面積1.1 萬平米，包括游客接待中心、辦公區及演員排練廳和員工宿舍等。為了與文昌里歷史文化街區相互協調，建筑造型設計收放自如，融入傳統“坡屋頂”與“合院”等抽象元素，并滿足大空間的功能需求。整體建筑群通過連廊連接不同功能用房，充分考慮結合地方河道與局地小氣候與風向，引入自然通風和采光，實現生態與節能。

戲曲講究通過“起承轉合”帶動觀眾的情緒變化，這與中國傳統造園的手法是一致的。通過深入研究劇本內容與情感，建筑師團隊提煉出戲曲邏輯與園林布局邏輯的共通之處，演員們在建筑師精心布置的“場景”中穿梭：站在超出正常尺度的柱上舞蹈，在被切割過的“殘亭”旁揮舞衣袖。建筑空間超越了功能本身，通過探究戲曲的抽象知覺與象征意義，達到觀者情感與場所精神在一定程度上的統一。

材料與建構

建筑師不斷思考《牡丹亭》每段主題所傳達出的隱喻含義，并用材料與建構語言塑造了一個脫離于現世又具有現代意義的虛幻場景，如何打造服務戲劇的極致純粹的“非真”空間是建筑師的極致追求。設計嘗試通過對古建筑進行定向拓撲切割，通過對單一元素的堆疊塑造現實中不存在的極端空間來隱喻戲劇中虛幻的場景，傳達出《牡丹亭》戲曲中“夢中之情，何必非真”的感受。

在戲劇第二幕“魂游尋夢”中，為了表現戲曲的沖突與矛盾，一些靠近水邊的傳統古建筑亭臺被垂直切割，從屋頂每一片瓦到臺梁到柱基，斷面干凈得仿佛被刀整齊裁切過。當觀眾觀戲至此，看到某個建筑局部構件孤零零地在湖心島的白沙灘上佇立，走進被整齊切割的亭臺，將從內心深處感到脫離現實的不自然感。

The park planning fully respects the current situation of the site,the retained fish pond is expanded into a 3-meter deep artificial lake,the stage art design team laid underwater walking stacks for actors,making the entire lake the main stage of the opera performance on the water.According to the story of The Peony Pavilion,the narrow space of several hundred meters is divided into three themed live performance stages: "Sweet Dream in the Garden","Soul Traveling for Dream" and "Dream Realization in Three Lifetime".

The supporting functional service area on the north side has a total construction area of 11 000 square meters,including the visitor reception hall,office area and rehearsal hall for actors and staff dormitory,etc.To harmonize with the Wenchangli historical and cultural neighborhood,the building is designed to be flexible in style,incorporating abstract elements such as the traditional "sloping roof"and "courtyard",satisfying the functional requirements of large spaces.The overall building complex connects different functional rooms through corridors,fully considering the combination of local riverway and local microclimate and wind direction,fully introducing natural ventilation and lighting,and the design of the building complex realizes the purpose of ecology and energy saving.

Opera is concerned with driving the audience's emotional changes through the "introduction,elucidation of the theme,transition to another viewpoint and summing up",which is consistent with traditional Chinese gardening techniques.By studying the story and emotion of the play,the architects' team refined the commonality between the logic of the opera and the garden layout,and the actors moved through the "scenes" carefully arranged by the architects: dancing on columns beyond the normal scale,waving their sleeves next to the cut "ruined pavilion".The architectural space transcends function itself and achieves unity between the audience's emotions and the spirit of the place by exploring the abstract perception and symbolic meaning of opera.

Material and Construction

The architects continuously thought about the metaphorical meaning conveyed by each theme of The Peony Pavilion and used the language of construction and materials to shape an illusory scene that is detached from the present world and has modern significance.It is the architect's ultimate pursuit to create the ultimate pure "non-real" space to serve the theater and drama.The design attempts to metaphorize the illusory scenes in the drama by making directional topological cuts to the ancient buildings and shaping extreme spaces that do not exist in reality through the stacking of single elements,conveying the feeling that "why the love in a dream can't be not true" in The Peony Pavilion opera.

南立面圖

內景與外景

游客接待中心緊鄰老宅修繕區，建筑造型簡潔而現代，原有老建筑磚墻立面與售票大廳主入口的玻璃幕墻形成視覺對比，混凝土的外墻更好地襯托了江南民居的白墻青瓦，新舊體量完美融合，設計手法實現了新舊建筑的對話。隨著實景演出旅游吸引力的不斷提升，新舊結合的游客服務區將有機會作為最真實的生活舞臺，吸引游客探尋撫州當地的文化，同時也將使當地居民的文化生活與經濟水平得以提升。

與普通固定座位的觀賞方式不同，游客需要隨著戲劇演出的情節推進，跟隨舞臺的切換在游覽中進行動態的觀戲，這種步移景異的觀賞方法是中國古典園林所特有的游覽方式，也給觀眾帶來了一種身臨其境的戲劇融入感。觀戲流線中，游人行走在園中，通過空間的收放變化，以及燈光明暗、高低起伏、虛實遮擋、音樂強弱等變化，使觀眾得以親身體驗錯綜曲折的劇情。

隔河相望的觀演座位與臺地景觀相結合，觀眾可席地而坐，臺地采用修葺拆除的數千片舊瓦鋪砌而成，在平地上搭建了一處類似傳統瓦屋頂的觀戲平臺，臺階依次錯落，在不同高度容納更多人觀戲，抽離于現實，取“屋頂觀戲”之意。同時，水邊懸挑的平臺、直伸入水面的古亭、游走的長廊等都成為觀戲的地點，與白墻灰瓦的屋檐呼應，喚起了墻頭看戲的體驗與古老記憶。

In the second act of the play,"Soul Traveling for Dream",in order to express the conflicts and contradictions of the opera,some of the traditional ancient pavilions near the water's edge were cut vertically,from every tile on the roof to the beams and pillar bases,the sections were as clean as if they were neatly cut by a knife.When the audience watch the play here and see some partial building component standing alone on the white sandy beach of the midlake island and walking into the neatly cut pavilion,they will feel the unnatural feeling of detachment from reality from deep inside.

Inside and Outside

The visitor reception hall is adjacent to the old mansion restoration area,where the building is simple and modern in style,the original old building’s brick fa?ade contrasts visually with the glass curtain wall at the main entrance of the ticket office,the concrete fa?ade better sets off the white walls and gray tiles of the dwellings in the regions south of the Yangtze River,the new and old volumes are perfectly integrated to dialogue between old and new buildings through the design approach.As the tourism appeal resulting from the live performance continues to grow,the combined old and new visitor service area will have the opportunity to serve as the most authentic living stage to attract visitors to explore the local culture of Fuzhou,and will also improve the cultural life and economy of the local aboriginal people.

Different from the ordinary fixed-seat viewing method,visitors need to follow the switching stage in the tour with the advancement of the plot of the drama performance for dynamic theater viewing,which is unique to classical Chinese gardens and gives the audience a sense of immersive theatrical integration.Following the plot of the drama performance,visitors walk in the garden,through the changes in space as well as changes in light and dark,ups and downs,virtual and real shading,music intensity and others,so that the audience can personally experience the intricate plot.

The seats across the river are combined with the landscape of the stage,where the audience can sit on the ground.The stage is made of thousands of old tiles that were repaired and demolished,and a platform similar to the traditional tile roof was built on the flat ground,with steps staggered to accommodate more people at different heights,which is detached from reality and takes the meaning of "viewing the play on the rooftop".Meanwhile,the overhanging platform at the water's edge,the ancient pavilion reaching straight into the water,and the wandering promenade have all become places for play watching,echoing the white-washed roofs and evoking the experience and ancient memories of watching the play on the wall.