[建筑设计]Philharmonic Hall, Szczecin / Estudio Barozzi Veiga
[重温，原文发布于2014年12月17日]（该项目获得2015年欧盟建筑奖(European Union’s architecture prize),密斯凡德罗奖 ( Mies van der Rohe Award 2015)，故位置提前）白色群峰---波兰什切青爱乐音乐厅
波兰老城新成员---什切青爱乐音乐厅位于在二战时被摧毁的老音乐厅位置之上，建筑内部主要包括
一个1000席位的交响乐大厅，200席位的音乐厅，展览会议多功能空间以及宽敞可用于举办各种活
动的门厅。
The new Philharmonic Hall of Szczecin is located (arises) on the historical site of the“Konzerthaus”,
which was destroyed during Second World War and recomposes an urban corner ina neighborhood
near to the historic city. The building houses a symphony hall for 1.000 spectators, ahall for
chamber music for 200 spectators, a multifunctional space for exhibitions and conferences,and a
wide foyer, which can also be used to host events.
建筑三面有出入口，公共主要出入口位于南侧。音乐厅具有十分显眼和具有识别性的外观，白色的
方形体量，顶部是抢眼的几何椎体群屋顶造型，以独特的方式呼应着老城市环境和绵延不绝的坡屋
顶建筑。建筑的外表皮是乳白色的玻璃，夜幕时分，内部的光线从内向外渗出，建筑因此成为温馨
的发光体。建筑内部交通空间简洁的将紧凑的功能区串联。交响乐大厅的内部装饰将折面体元素高
差不一的平和，塑造出具有东欧古典音乐传统风韵，且同时美观并具有优良声乐环境的现代音乐音
乐欣赏空间。
The building is confi gured by a synthetic, but at the same time complex volume, which is resolved
through a continuous promenade, which connects all these functions along a single public path
through all the levels of the building. Externally, as in the adjacent preexistence, the verticality and
geometry of the roof prevail. These characteristics identify the Philharmonic Hall with its
surrounding context.
The plan composition is defi ned by a perimetral ring. This element mostly hosts service spaces. On
the one hand this allows to defi ne a large void within which gravitate the symphony hall and the
hall for chamber music, on the other hand to shape the relationship of the building with its
surroundings. The serial modulation of the roof represents the only other expressive element, that
permits the integration of the new building within the fragmented urban profi le of the city.
In its materiality, the building is perceived as a light element: the glass facade, illuminated from
inside, depending on the use allows diff erent perceptions. The exterior austerity and the simple
composition of the interior circulation spaces contrast with the expressiveness of the main hall. In
accordance with the central European tradition of the classical concert halls, decoration becomes
ornament and function. The hall is composed following a Fibonacci sequence whose fragmentation
increases with the distance from the scene, and gives shape to an ornamental space which reminds
of the classical tradition through its gold-leaf covering.
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