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2020-02-12 发布
建筑鸟瞰,aerial view © Iwan Baan


As the largest cultural constructionproject built in Taiwan in the last 40 years, Weiwuying Arts Center hasofficially opened to public in October 2018. The single sweeping buildingcovers a surface area of 35 acres (141,000 sqm) and is set in the spectacular116-acre (470,000 sqm) subtropical park in the heart of Kaohsiung, making itthe world’s largest performing arts centre under one roof as well as Taiwan’smost significant cultural investment in a generation. It incorporates fivestate of the art performance spaces: a 2,236-seat Opera House, a 1,981-seatConcert Hall, a 1,210-seat Playhouse, a 434-seat Recital Hall and an OutdoorTheater linking the building to the park.

河岸视角,view from the waterfront ©NAARO

高雄,人口约300万,位于台湾南部,曾经是一个重要的国际港口,现在是一个现代化、多元化的城市,有着丰富的文化内涵。它不仅是台湾第二大城市,也是世界上最大的海港之一,而且还拥有台风,高温,强降雨和定期地震的剧烈的亚热带气候。 新建的艺术中心必须应对所有这些极端情况。

Kaohsiung is an informal, lively city of almost three millioninhabitants. Not only is it the second largest city in Taiwan and one of theworld’s largest sea ports, but also host to a dramatic sub-tropical climate oftyphoons, high temperatures, heavy rainfall and regular earthquakes. The new140,000 square-metre performance complex must cope with all of theseextremes.  

Barking dogs and banyan trees

这座建筑的选址在高雄都会区中心的一处占地65公顷的军事大院内,该地原本打算建成为城市的“中央公园”。 2006年,这里曾是一个带有猎犬的军事用地, 布满了榕树,其扭曲的树干和树枝在数十年间逐渐交织在一起。 枝干在空中芽生长到土壤中,形成了额外的树干,它们分布在一个惊人的广阔区域中,像一个大伞一样。 根据当地人说,亚历山大大帝曾经将他的全部军队庇护在这些树的树冠下。

The location for this building is a former sixty-five hectaremilitary compound in the centre of the metropolitan area of Kaohsiung – a placewhich is intended to become a sort of ‘Central Park’ for the city. When wefirst visit the site in 2006 it is still a fenced-off zone of military barracksoccupied by a lot of wild, barking dogs. It’s also dense with banyan trees,their twisting trunks and branches having gradually interlocked over decades.Their aerial shoots grow down into the soil forming additional trunks,spreading over an astonishingly wide area, and the crowns of these trunksbecome one, like a huge umbrella. According to local legend, Alexander theGreat once sheltered his entire army beneath the crown of a single tree.

这些榕树的形状反映了当地的气候。 它宽大的树冠,遮日晒雨淋,是高雄潮湿空气的完美体现。在亚热带地区,太阳大约在六七点钟下山,在它消失在地平线下的时候,这座城市开始活跃起来。在这暮色中,随着气温的降低,人们在街上散步,购物,在外面吃饭。 在树冠下,人们会进行非正式的表演:跳舞,演奏音乐,表演戏剧或练习太极拳。 它们给这座城市创造一个独有的气氛,这也成为了设计的出发点。

The form of the banyan reflects the local climate. Its widecrown, providing shelter against the sun and rain, is a perfect expression of Kaohsiung’shumid atmosphere. In the sub-tropics the sun sets at around six or seveno’clock and, just as it disappears beneath the horizon, the city comes to life.During these twilight hours as the temperature cools people stroll the streets,shop for their groceries, and eat outside. Under the canopies, as well as underthe trees, informal performances occur: people dance, play music, performplays, or practice Tai Chi. What we see, hear, feel, taste and smell on thisfirst trip to Taiwan inspires us to somehow harness this unique urbanatmosphere.

A continuation of the park

Mecanoo想知道榕树是否可以创建出一个正式和非正式的表演空间。这样一来,这座建筑就会24小时充满生机,成为公园的自然延续。好的公共建筑需要好的公共空间,这是Mecanoo对待城市建筑的核心理念。例如伯明翰下沉的圆形剧场图书馆,或是拉洛特贾德勒莱达的城市舞台,利用相邻建筑的楼梯作为观众席。 这三座建筑的形式品质有很大不同,但它们有一个共同点:它们完美地匹配了各自的地理位置,文化和气候。

We wonder whether the banyan tree could help us to create acombination of formal and informal performance spaces. In this way the buildingwould be full of life around the clock; a natural continuation of the park. Weknow that good public buildings need good public space, a mantra which iscentral to our approach to civic architecture: think of the Library ofBirmingham’s sunken amphitheatre, or La Llotja de Lleida’s urban stage beneatha cantilever, using the stairs of an adjacent building as audience seating. Theformal qualities of these three buildings are very different but they have onething in common: they are a perfect match with their respective locations,cultures and climates.


The open, protective shape of the banyan tree becomes aspringboard for the design. Its expansive sheltered crown becomes the BanyanPlaza, a partially enclosed public space where the cooling wind can freelyflow. Between the four formal performance halls, which form the ‘trunks’ thatsupport the undulating roof, a topography rising from ground level to plus fivemetres becomes part of the park’s landscape. Where the roof touches the earththe building becomes an amphitheatre, open towards the surrounding parklandwhich, in turn, becomes both its stage and its set.


Each performance venue and foyer has its own unique atmosphereand together create one fluidly connected space. The walls and continuousceiling surface of the Banyan Plaza is a neutral white, allowing for artificiallight and projections to alter the mood. With twelve chandeliers suspendedagainst the billowing form of the plaza, the building can really dress up forthe night!


An open-air theatre nestles on the roof where the structure curves to the ground, with the surrounding park forming the stage. Designed with the subtropical climate in mind, the open structure allows the wind to blow freely through Banyan Plaza. The seamless flow between interior and exterior creates opportunities for crossovers between formal and informal performances.

The four halls

四个表演厅中的每一个都有自己的声学挑战,设计团队与声学家Albert Xu合作。 构建了一个1:10比例模型,以测试最复杂的场地(可容纳1981个座位的音乐厅)的性能。 尽管规模如此之大,他们还是希望剧院具有亲切的感觉。 如果每个听众都能看到钢琴家的手,那不是很好吗? 剧院的阶梯选择了葡萄园的形状,以舞台为中心,使不同楼层高度的露台环绕着讲台。 舞台四面都有座位,观众非常靠近表演舞台。 观众从一楼进入排队的橡树地板,螺旋形的坡道将他们引向黄金座位。

Each of the four performance halls has its own acousticchallenge, and so we collaborate with acoustician Albert Xu. He constructs a1:10 scale model to test the performance of the most complicated venue: the1,981-seat Concert Hall. Despite its size we want the theatre to have anintimate feel. Wouldn’t it be great if every member of the audience could seethe hands of the pianist? We choose the shape of a stepped vineyard with astage at its centre, so that terraces at different floor heights encircle thepodium. With seating on all sides of the stage, the audience is in closeproximity to the performance itself. The public enters the oak-lined from theground floor and spiraling ramps lead them to their golden seats.


The 2,236-seat Opera House is arranged in the form of ahorseshoe with three circled balconies. The seating is upholstered in a mixtureof red and purple fabrics with a pattern of Taiwanese flowers, contrasting withthe darker walls. This theatre is not only suitable for Western opera, with anorchestra of over seventy musicians, but can also be acoustically adapted toaccommodate Chinese opera by manoeuvring a suspended acoustic canopy.


The Playhouse, with its 1,210 seats in Mecanoo Blue, isdesigned to host a variety of drama and dance performances. Flexibility is thecore element in the design of this multifunctional space. The layout isadaptable and can be changed from a typical proscenium stage with the audiencein front, to a thrust stage with the audience on three sides.


The 434-seat Recital Hall has the most intimate atmosphere ofthe four. With its asymmetrical composition and seating across two levels, itis designed for chamber music and recital performances. The seats have the samegolden fabric as the Concert Hall and oak lines the walls. The upper part ofthis hall is enclosed by a circle of sound absorbing curtains, allowing for thereverberation time within the space to be tuned to specific types ofperformance.