建筑設(shè)計(jì)：PES建筑設(shè)計(jì)事務(wù)所

ARCHITECTS∶ PES-Architects

1 鳥瞰/Aerial view（攝影/Photo∶ PAN Weijun）

2 8片“蝶翅”/8 wings

3 “蝶翅”透視/Wing perspective

4 細(xì)部/Detail（攝影/Photo∶ Martin Lukasczyk）

1.介紹

對(duì)于我們建筑設(shè)計(jì)事務(wù)所而言，無(wú)錫大劇院項(xiàng)目在很多方面都獨(dú)具特色。通過(guò)與當(dāng)?shù)氐脑O(shè)計(jì)研究院的密切合作，特別是與客戶的無(wú)間合作，讓我們有機(jī)會(huì)積極投身于整座建筑物的設(shè)計(jì)和修建之中。在客戶的長(zhǎng)期大力支持下，我們實(shí)現(xiàn)了幾乎所有的定制設(shè)計(jì)理念，并自始至終將其灌注于現(xiàn)場(chǎng)的建筑工程之中。

2.8片“蝶翅”形狀的鋼結(jié)構(gòu)

2.1.材料和結(jié)構(gòu)

8 片翅膀勾勒出了該建筑的主要建筑形象，然而，從建筑學(xué)上來(lái)說(shuō)，這些翅膀的建造卻是最為苛刻的。我們很清楚，修建如此巨大并帶有復(fù)雜曲線結(jié)構(gòu)的建筑物將會(huì)面臨多大的困難，因此，我們一直將其作為設(shè)計(jì)任務(wù)的重中之重，從我們的芬蘭設(shè)計(jì)團(tuán)隊(duì)設(shè)計(jì)翅膀的經(jīng)濟(jì)型結(jié)構(gòu)的伊始，直至方案設(shè)計(jì)階段繪制出能夠詮釋我們關(guān)于組裝和飾面的設(shè)計(jì)理念的原理圖。我們?cè)谠O(shè)計(jì)階段的早期決定采用鋅材對(duì)翅膀的頂部進(jìn)行飾面處理，并采用穿孔鋁材來(lái)處理翅膀的底部。

2.2.制造和安裝

在設(shè)計(jì)階段的初期，有一點(diǎn)非常清楚，即我們必須尋找頂尖的鋼結(jié)構(gòu)，耐風(fēng)雨型屋頂頂面材料和底面穿孔鋁質(zhì)板材的生產(chǎn)商。

對(duì)于鋼結(jié)構(gòu)，我們幸運(yùn)地找到了一家有能力生產(chǎn)和安裝上萬(wàn)根雙曲鋼管的當(dāng)?shù)毓尽Ｔ谧畛醯臅r(shí)候，我們堅(jiān)持開發(fā)一種不需要在現(xiàn)場(chǎng)進(jìn)行焊接的組裝系統(tǒng)，這樣的好處是可以防止銹蝕，還可以保證建筑的耐久度達(dá)到一個(gè)理想的水平，但是，最終由于當(dāng)?shù)氐牧?xí)慣，我們同意在工廠車間環(huán)境內(nèi)完成最大面積的焊接和涂覆工作，這樣只需在現(xiàn)場(chǎng)進(jìn)行最少的焊接就能完成組裝工作。我們匯同阿克蘇諾貝爾涂料公司一起定期檢查所有的涂漆和焊接質(zhì)量。

我們?cè)谠O(shè)計(jì)的初期階段就選擇了德國(guó)的萊茵辛克公司，并要求其提供翅膀部分的蓋頂材料。我們?cè)谠O(shè)計(jì)階段試驗(yàn)了大量的1∶1 比例的實(shí)物模型，以尋求解決此類大型的雙曲翅膀表面的無(wú)縫覆面問(wèn)題。

翅膀底部表面的處理是一個(gè)非常棘手的問(wèn)題。負(fù)責(zé)生產(chǎn)和安裝的當(dāng)?shù)毓救狈ιa(chǎn)我們要求的具有此類外觀的產(chǎn)品的經(jīng)驗(yàn)，于是大家開始一起學(xué)習(xí)探索，而首要任務(wù)則是在非常緊張的時(shí)間內(nèi)找到一種生產(chǎn)和安裝上萬(wàn)張雙曲三角形穿孔鋁板的方法以及在現(xiàn)場(chǎng)以最小誤差進(jìn)行安裝的方法。解決這個(gè)問(wèn)題的唯一辦法就是采用1∶1 比例的實(shí)物模型。我們多次要求采用1∶1比例模型進(jìn)行試驗(yàn)，最終我們?cè)谝粋€(gè)完整的翅膀上完成了鑲面試驗(yàn)。只有當(dāng)這一切付諸實(shí)現(xiàn)之后，我們才能確保在剩下的翅膀上也能取得成功。

5 主觀演廳竹墻磚/Main Auditorium bamoo wall blocks

6 主觀演廳竹墻磚曲線/Main Auditorium bamoo wall curves

7 主觀演廳內(nèi)景/Interior views of Main Auditorium（攝影/Photo∶Kari Palsila,Jussi Tiainen）

8 主觀演廳內(nèi)景/Interior views of Main Auditorium（攝影/Photo∶Kari Palsila,Jussi Tiainen）

3.主觀演廳中的竹墻

3.1.材料

主觀演廳中選用竹材的理由是：通常來(lái)說(shuō)，竹子是一種理想的聲學(xué)材料，而且可以制作成非常美妙的樂(lè)器。另外，還有兩種支持竹子的有力說(shuō)法：這是一種非常環(huán)保的材料并且是真正的中國(guó)材料。而且聲學(xué)方面的要求也支持選用竹子。歌劇廳/音樂(lè)廳的表面材料的重量至少應(yīng)達(dá)到35 kg/m2左右，所有的表面必須精確地滿足聲學(xué)方面的要求，一些區(qū)域需要反聲效果，一些地方需要擴(kuò)散聲音?，F(xiàn)代技術(shù)竹材是一種重型材料，可以輕易地進(jìn)行塑形加工，故早在設(shè)計(jì)階段的初期就已經(jīng)敲定了這種材料。

主觀演廳的內(nèi)部全部采用實(shí)心竹塊飾面。我們的建筑目標(biāo)就是營(yíng)造出一種溫暖、親密的氛圍，并采用單一材料為觀眾帶來(lái)一種連貫、真實(shí)的感覺(jué)。

在設(shè)計(jì)階段初期，我們并未最終確定竹材的類型和顏色。我們從數(shù)家公司收集了不同紋理和顏色的樣本，之后，我們的赫爾辛基設(shè)計(jì)團(tuán)隊(duì)決定從以下兩種方案中選擇：

A.經(jīng)典的碳化“膠合”竹材。這種材料采用了竹子本身的自然紋理和顏色，在外觀上最具美感，而且可以采用碳化技術(shù)淡化那些不需要的黃色。

B.重竹竹材。這是一種技術(shù)更加先進(jìn)的均質(zhì)材料，由粉碎后的竹纖維壓制而成。憑借這種重竹材料，我們可以營(yíng)造出一種顏色更暗而且更具節(jié)日氣氛的環(huán)境。高壓碳化方式是一種得到期望的暗琥珀色效果的最自然的方式。

在這兩種方案之間作出的最終選擇非常容易，因?yàn)槲覀儼l(fā)現(xiàn)，只有重竹才是屬于耐火類范疇的材料。更暗一些的顏色也更適合于劇院的表現(xiàn)力。我們?cè)谠O(shè)計(jì)階段做了大量的顏色試驗(yàn)以及竹材的生產(chǎn)試驗(yàn)，以確保色調(diào)的準(zhǔn)確性以及材料中的顏色分布均勻。重竹材料比一般的竹材要重許多，更加適合于聲學(xué)效果方面的要求。

竹子作為一種內(nèi)飾材料，卻被中國(guó)的建筑師和設(shè)計(jì)師們所忽視和低估。其原因可能是，長(zhǎng)期以來(lái)中國(guó)的人們普遍把竹子稱為 “窮人的木材原料”，并且認(rèn)為這種材料不適宜用于代表性的公眾空間。

我們相信我們已經(jīng)在中國(guó)刮起了一股“竹子風(fēng)暴”。我們推薦采用竹子，這是因?yàn)槲覀冋J(rèn)為，在未來(lái)這種材料將大行其道，并且我們還力圖復(fù)興這種美學(xué)特質(zhì)?，F(xiàn)代的計(jì)算機(jī)設(shè)計(jì)技術(shù)以及制造工具將有助重拾傳統(tǒng)的中國(guó)木藝，并助其更上一層樓。

3.2.制造

內(nèi)飾竹材的復(fù)雜幾何形狀和制造得益于工藝現(xiàn)代數(shù)字技術(shù)。我們使用了Rhinoceros 三維模型軟件，并利用最新的數(shù)控切割技術(shù)（CNC）將竹材切割成900mm 長(zhǎng)、100mm高和約80mm厚的竹塊。共計(jì)約有1.7 萬(wàn)塊竹塊，每一塊都是單獨(dú)設(shè)計(jì)，各不相同。

我們不僅研制了制造方法，而且還研發(fā)了一套現(xiàn)場(chǎng)組裝這些竹塊的技術(shù)。每一塊竹塊都采用CNC 車床鉆出兩個(gè)11mm 的孔。我們將10mm 的螺紋鋼條穿入這些孔中，并將其固定在竹墻后面的次級(jí)鋼結(jié)構(gòu)之上。

經(jīng)實(shí)踐證明，重竹是一種適宜于制造和安裝的理想材料。當(dāng)粉碎后的竹纖維在超高壓的條件下被壓制成塊時(shí)，竹子就失去了其天然的形狀并成為了一種新的材料，從而可以按照各種設(shè)想進(jìn)行試驗(yàn)和加工。所以擁有一名優(yōu)秀的生產(chǎn)商伙伴對(duì)于我們而言是至關(guān)重要的，這種伙伴可以直接協(xié)助我們開展這類必需的試驗(yàn)。我們的材料選擇工作始終與制造、建筑和組裝技術(shù)緊密相連。這些技術(shù)通過(guò)設(shè)計(jì)階段的大量1∶1 實(shí)物模型試驗(yàn)不斷改進(jìn)。只有這樣，才能避免在最后的安裝階段中可能出現(xiàn)的大多數(shù)問(wèn)題。

通過(guò)在生產(chǎn)階段向材料中加入無(wú)毒阻燃劑的方式使其達(dá)到消防安全方面的標(biāo)準(zhǔn)。

9 玻璃磚浪墻/Glass Brick Wave Wall（攝影/Photo∶ Kari Palsila）

10 玻璃磚浪墻/Glass Brick Wave Wall（攝影/Photo∶ Jussi Tiainen）

11 玻璃磚浪墻/Glass Brick Wave Wall（攝影/Photo∶ Jussi Tiainen）

12 玻璃磚浪墻立面/平面/剖面細(xì)部/Glass Brick Wave Wall elevation/plan/section detail

3.3.安裝

我們主要關(guān)心的是由于原材料生產(chǎn)延誤，導(dǎo)致主觀演廳的竹塊組裝時(shí)間非常緊迫，而且我們還非常擔(dān)心如何達(dá)到滿意效果的問(wèn)題。我們了解到在中國(guó)，設(shè)計(jì)和建筑細(xì)節(jié)都可以達(dá)到非常高的國(guó)際水準(zhǔn)，但是由于主觀演廳的內(nèi)飾是整個(gè)建筑最為重要的部分，而且我們的要求苛刻，自然而然地對(duì)于竹材內(nèi)飾抱有很高的期望。

主觀演廳中的大部分竹塊都是相互連接和鎖定的，因此為現(xiàn)場(chǎng)的工人研制整體性的組裝方法尤為重要，嚴(yán)格遵守這些紀(jì)律對(duì)于成功而言也是非常重要的。為了精確保證由計(jì)算機(jī)生成所需要的形狀，嚴(yán)禁在現(xiàn)場(chǎng)以任何手工形式調(diào)整這些由計(jì)算機(jī)精確切割的竹塊。我們對(duì)每一塊都進(jìn)行了編號(hào)，并在三維圖紙中予以標(biāo)注，以方便工人快速、準(zhǔn)確地尋找和安裝竹塊。有缺陷的竹塊則立即重新制作，以避免耽誤安裝工作。安裝時(shí)，每塊竹塊的最大允許誤差為1/2mm。觀演廳的結(jié)構(gòu)性混凝土墻上的那些較大的自然形成的建筑誤差，采用竹墻之后的具有彈性的二次結(jié)構(gòu)予以彌補(bǔ)。我們建議采用將竹塊自身作為定位模具的辦法來(lái)解決安裝工期過(guò)短的問(wèn)題。在開始階段，先小心地安裝3 層竹塊，確保所有的竹塊保持水平并且安裝準(zhǔn)確到位。之后可以在無(wú)需進(jìn)行大規(guī)模調(diào)整的情況下，快速地將剩下的竹塊安裝到位。

4.主觀演廳臨湖廳中的玻璃磚浪墻

4.1.材料和制造

最初為“浪墻”選擇的材料為紅色瓷磚。由于客戶反對(duì)這種方案，因此我們提出了在墻面上使用玻璃材料的建議。

我們與赫爾辛基的阿爾托大學(xué)一道研究了手工制作玻璃磚的可行性，制作出了一系列的試驗(yàn)樣品，在此階段敲定了最終的形狀和波浪樣式的概念。

選擇圖案和安裝技術(shù)的靈感源自于主觀演廳中的竹塊墻以及近在咫尺的蠡湖的水面波紋。

我們與蘇州大學(xué)一道研制出了完美的“浪形玻璃磚”。并對(duì)波浪圖案不斷濃縮深化而且還改善了安裝方式。最終生產(chǎn)出2.5 萬(wàn)塊玻璃磚并送抵現(xiàn)場(chǎng)進(jìn)行安裝。

4.2.安裝

由于浪形玻璃磚只能以兩種方案使用：1）完整的磚塊；2）1/2 磚塊，因此為了避免出現(xiàn)裝飾不當(dāng)?shù)默F(xiàn)象，必須按照浪形玻璃磚的樣式對(duì)整個(gè)墻體立面（包括所有的技術(shù)安裝部分）進(jìn)行調(diào)整。

安裝原理與竹墻安裝差不多。每一塊完整的玻璃磚中都穿入了兩根10mm 的螺紋鋼條，并由此將其固定在浪形玻璃磚墻后面的次級(jí)鋼結(jié)構(gòu)之上。之后以白色涂料填涂次級(jí)機(jī)構(gòu)。

在安裝階段以及對(duì)于一些1∶1 實(shí)物模型的檢查表明，解決玻璃磚的照明問(wèn)題非常重要。我們反對(duì)任何采用彩色LED 照明的辦法并堅(jiān)持僅使用白色洗墻燈照明系統(tǒng)的方案，在這種方案中，需要將照明系統(tǒng)安裝并隱藏于玻璃磚墻上方的天花板上，而且試驗(yàn)也表明這是一種最佳的方案。

5.主觀演廳中的金色京劇臉譜反聲頂

在設(shè)計(jì)階段的初期，我們就有了為主觀演廳設(shè)計(jì)反聲頂?shù)南敕ǎ@種設(shè)計(jì)既能夠體現(xiàn)當(dāng)?shù)氐奈幕?，又能成為觀演廳空間中的一個(gè)主要的焦點(diǎn)，正如古典歌劇廳中的傳統(tǒng)枝形吊燈一般，而且對(duì)于觀眾而言，更能體現(xiàn)其作為慶典場(chǎng)所的主要功能。我們借鑒了流水以及中國(guó)京劇臉譜中的流線形狀，設(shè)計(jì)出了曲紋圖案，并且最后我們還將其命名為“京劇臉譜”。這種設(shè)計(jì)理念將反射頂上的那些賦有流動(dòng)感的條紋與金色的葉形圖案結(jié)合起來(lái)，并采用了特殊的可調(diào)光暗的輪廓照明設(shè)備為這一部分提供照明，從而能夠在表演之夜根據(jù)觀眾的要求營(yíng)造出不同的氣氛。燈光效果的設(shè)計(jì)能夠烘托出京劇臉譜的形狀，映入眼簾的是漆黑色背景之上的纖細(xì)、輕巧的金色輪廓。

與此同時(shí)，我們還必須滿足聲學(xué)方面對(duì)于反射頂?shù)囊??！拔覀兣c聲學(xué)顧問(wèn)一道設(shè)計(jì)了反射頂?shù)某叽?、重量和最終形狀。”

京劇臉譜反射頂?shù)淖罱K形態(tài)給人一種如此強(qiáng)烈和形象的感覺(jué)，以致于客戶要求我們制作兩套這樣的藝術(shù)品，此類藝術(shù)品采用與劇院中使用的實(shí)心竹材相同的材料，經(jīng)CNC 切割之后組成京劇臉譜的形狀。如今這兩塊墻雕正安置于大劇院的兩個(gè)VIP 接待主廳之中。□

1.Introduction

The Wuxi Grand Theater was in many ways a special project for our office.Our close collaboration with the local design institutes and especially with the client made it possible for us to be actively involved in the design and construction of the complete building.With the client supporting our work at all times we realized nearly all of our custom design ideas and guided the process all the way to the installation work on site.

2.Steel Structure of the 8 “Butterf ly Wings”

2.1.Material and structure

The eight wings are forming the main architectural gesture of the building,and they are architecturally the most demanding.We knew about the difficulties which came with building such mega structures with a complicated curvature,and therefore we always put our highest priority on this design task.Our Finnish design team worked from the very start on developing an economic structure for the wings,and already in the schematic design phase we made principle drawings to illustrate our ideas about assembly and cladding. We also decided early in the design stage that we want to use zinc material for the cladding of the wing top and a perforated aluminium for the wing bottom.

2.2.Fabrication and Installation

Very early in the design phase it became clear that we have to search for the top producers of steel structures,the top weather proof roofing material and the bottom perforated Aluminium paneling.

For the steel structures we were lucky to find a local company which was able to produce and install thousands of double curved steel pipes.We insisted from the beginning on to develop an assembly system which will not use welding on site to prevent rusting and to ensure a long durability of the structure,but finally,and due to local customs,we agreed to weld and paint elements with maximum dimensions in a workshop environment which could then be assembled with a minimum welding effort on site.Together with the Akzo Nobel painting company we checked all painting and welding regularly to ensure the top quality.

We chose the German based Rheinzink company very early in the design process to provide the material for the roofing of the wings.During the design process we tested with numerous 1∶1 mockup models how to solve the problems of covering the large and double curved wing surfaces seamlessly.

The bottom surface of the wings proved to be the most difficult task to solve.The local company responsible for the production and installation was un-experienced to produce the type of facade product we demanded.The project became a learning process for us all. The task was to find a way to produce and install thousands of double curved triangular perforated aluminium panels and to install them on site with minimal tolerance in a very tight schedule.The only way we could solve the problem was to work with 1∶1 mockup models.We demanded the production of such 1∶1 test several times,and finally we were able to test the paneling on one complete wing.Only after seeing this in reality we were sure to succeed with the remaining wings.

3.Bamboo Wall in Main Auditorium

3.1.Material

The reason for choosing bamboo in the Main Auditorium was the fact that wood in general is an ideal material for acoustics and it relates to a beautiful wooden instrument.Additionally,two strong arguments speak for bamboo∶ it is ecological and it is truly a Chinese material.Also acoustical demands spoke for choosing bamboo.The weight of the surface materials in the opera hall/concert hall should be at least around 35 kg/m2,and all surfaces need to react precisely to acoustical requirements,some areas need to be reflective and some diffusing.Modern technical bamboo is a heavy material which is easy to shape and it was chosen very early in the design process.

The interior of the main opera auditorium is completely clad with solid bamboo blocks.Our architectural goal was to create a warm and intimate atmosphere for the audience and with a coherent and authentic feeling by using only one single material.

The final type and color of bamboo was not clear in the beginning of the design process.We collected samples with different patterns and colors from several companies,and our design team in Helsinki came to the conclusion to choose from two options∶

A.Classical“glue-lam” bamboo,carbonized.Using the well-known natural pattern and color of the bamboo makes for the most authentic appearance of the material,and the undesirable yellow color could be weakened with the carbonization technique.

B.Strand-woven bamboo.This is a more modern an homogenous material made of crushed and pressed bamboo fibers.By using the strandwoven solid bamboo material we could achieve a darker color and more festive atmosphere.The method of high pressure carbonization was the most natural way to achieve the desired dark amber color.

The final choice between these two options was rather easy,as we found out that the strandwoven bamboo was the only one,which gets the fire resistant classification.The darker color also suits best for theater performances.We made numerous color tests during the design process together with the bamboo produces to ensure that the colour tone is right,and the colour distribution in the material is even and homogenous.Strand-woven bamboo is substantially heavier than classical bamboo which gives it an acoustical advantage as well.

13 金色臉譜反射頂/Golden Opera Mask ceiling reflector（攝影/Photo∶Jussi Tiainen）

14 臉譜聲學(xué)反射頂/Opera Mask acoustic ceiling reflector

Bamboo as an interior material has been neglected and under-estimated by Chinese architects and designers.The reason might be that for centuries bamboo was known as a“poor man's timber” in China,and not suitable for representative public spaces.

We believe that we have started a “Bamboo Boom” in China.We promote bamboo,as we think it is in many ways the material of the future,and we try to revive its aesthetical qualities.Modern computer-based design and fabrication tools can help to reconnect to and re-invent traditional Chinese wood craftsmanship.

3.2.Fabrication

The complex geometry and the manufacturing process of the bamboo interior are based on modern digital technology.We have used Rhinoceros 3D-modelling software,and the bamboo blocks,on average 900 mm long,100 mm high and about 80 mm thick,are cut using latest CNC technology.In total there are about 17 000 bamboo blocks,each unique and different from each other.

Along with the fabrication method we developed a technique for assembling the blocks on site.Each bamboo block has two 11 mm holes cut by the CNC machine.10 mm threaded steel rods are fitted through these holes and structurally attached to the secondary steel structure behind the bamboo wall.

The strand-woven bamboo proved to be the ideal material for the fabrication and installation process.When crushing the bamboo fibers and pressing them into blocks with extremely high pressure,the bamboo loses its natural shape and becomes a new material,ready to be experimented with and shaped in whichever way one can think of.It was crucial to have a good production partner on our side,which could assist in these necessary experiments in a straight forward way.Our material choice was at all times developed closely together with fabrication,construction and assembly techniques.These were refined throughout the design process with a help of numerous 1∶1 mockup models.Only like this most problems could be avoided before the final installation process.

The fire safety standard was met by adding non-toxic fire retarder agent to the material during the manufacturing process.

3.3.Installation

Our main concern was that the time for assembling the bamboo blocks of the Main Auditorium was very short due to a production delay of the raw material,and we worried a lot,how it would be possible to reach a very good result.We learned that it is possible in China to design and build details with very high international quality,but since the interior of the main auditorium was the most important part of the whole building,and our tolerance expectations were very demanding,we naturally had higher expectations for the bamboo interior.

As the main part of the bamboo blocks in the Main Auditorium are all connected and interlocked it was important to develop holistic assembly instructions for the workers on site,and high discipline in following these instructions was important for the success.All manual adjustments of the precisely computer cut bamboo blocks on site were strictly forbidden to achieve the desired precise computer generated formation.Each block was to be numbered and marked in a 3D drawing for the workers to find and install the correct blocks quickly.Faulty blocks were to be reproduced quickly to avoid time delay during installation.The bamboo block shapes allowed for a maximum of only 1/2 mm installation tolerance for each block.The naturally larger construction tolerances of the structural concrete walls of the auditorium were compensated by the flexible secondary structure behind the bamboo wall.We proposed to solve the problem of the tight installation schedule by using the bamboo blocks themselves as a jig for the correct location.As a start 3 layers of blocks were to be installed on site carefully,making sure that all is level and in the precise location within the space.Then the remaining blocks could drop into place with no large adjustments and at high speed.

4.Glass Brick Wave Wall in the Main Auditorium lake side lobby

4.1.Material and fabrication

The original material choice for the “wave wall” was red tinted ceramic tiles.As this was opposed by the client we proposed the use of glass on this wall.

Together with the Aalto University in Helsinki we studied the possibility to fabricate each glass brick by hand,and we made a series of test pieces.We decided at that stage on the final shape and wave pattern concept.

The choice of pattern and installation technique was inspired by both the bamboo block wall inside the Main Auditorium and by waves on water,with the WuLi Lake in close proximity.

Together with the Shuzhou University we developed the “wave glass brick” element to perfection.The wave pattern was refined and the installation method improved.Final 25 000 glass bricks were produced and sent to site for installation

4.2.Installation

As the wave glass bricks only came in two options;1) the complete brick and 2) 1/2 brick,it was necessary to adjust the complete wall elevation including all technical installations according to the wave glass brick pattern in order to avoid inappropriate detailing.

The installation principle is related to the bamboo wall installation detail.Each full glass brick has two holes. 10mm threaded steel rods are fitted through these holes and structurally attached to the secondary steel structure behind the wave glass brick wall.The secondary structure is later covered with a white cover.

During the installation and several 1∶1 mockup inspections it became clear that it was very important to solve the lighting of the glass bricks.We opposed all ideas to use colored LED lighting and insisted to use only a white wall washing lighting system which is installed and concealed in the ceiling above the glass brick wall as it proved to be the best option during the testing.

5.Golden Opera Mask ceiling ref lector in the Main Auditorium

Very early in the design process we had the idea to design a ceiling reflector in the Main Auditorium which would reflect the local culture and which would become one of the main focal points in the auditorium space,similar to the tradition chandeliers in classical opera halls and which could have a function of a ceremonial master for the audience.We used the references of water and the flowing shapes of the traditional Chinese opera masks to come up with the pattern of curved stripes,and we finally also named it the "Opera Mask".The idea was to cover flowing stripes of the reflector with leaf gold and use special dimmable profile lighting to illuminate the piece so that it will create different atmospheres timed according to the audience schedule during a performance evening.The lighting was designed so that the figure of the Opera Mask will be visible as a thin and light weight golden surface in front of a pitch black background.

At the same time we had to fulfill acoustical demands of the reflector.Together with our acoustic consultants we developed the dimensions,weight and final shape of the reflector.

The final image of the Opera Mask ceiling reflector became so strong and iconic that the client asked us to produce two art pieces which resemble the opera mask which were CNC cut from the same solid bamboo material used in the opera.These two wall sculptures are now hanging in the two main VIP reception lobbies in the building.□

客戶/Client∶ 無(wú)錫市城市重點(diǎn)工程建設(shè)辦公室/范春雨、周鑒/Office for the Important Urban Projects in Wuxi/Fan Chunyu,Zhou Jian

用戶/User∶ 無(wú)錫市文化藝術(shù)管理中心/Wuxi Culture and Art Administration Center

占地面積/Floor Area∶ 78 000 m2

竣工時(shí)間/Year of Completion∶ 2012

結(jié)構(gòu)設(shè)計(jì)/Structural Design∶Vahanen Group;SIADR(Shanghai)

燈光設(shè)計(jì)/Lighting Design∶ Valoa Design;Enjoy(Shanghai)

聲學(xué)設(shè)計(jì)/Acoustic Design∶ Akukon &Kahle Acoustics;Zhang Kuiseng (Shanghai)

舞臺(tái)設(shè)計(jì)/Stage Design∶ Akukon;SBS(Beijing)

其他參與者/Other Participants∶ 竹工藝/Bamboo∶ Yrj? Kukkapuro,Fang Hai;空間策劃/Space Programme∶Finnish National Opera/Timo Tuovila;玻璃磚工藝/Special Glass Bricks∶ Tapio Yli-Viikari and Kirsti Taiviola (Aalto University),Niu Fanzheng,Lu Ye;玻璃柱顧問(wèn)/Glass Column Consulting∶ Glaston/Pekka Nieminen

當(dāng)?shù)睾献髡?Local Partners∶ 上海建筑設(shè)計(jì)研究院/Shanghai Institute of Architectural Design and Research Co;蘇州金螳螂建筑裝飾股份有限公司/Gold Mantis,Suzhou;上海聯(lián)創(chuàng)建筑設(shè)計(jì)有限公司/United Design Group Co UDG,Shanghai