中國國家大劇院建築設計方案

The Design Scheme of National Grand Theater, China

漢斯．豪萊建築師事務所(Hans Hollein Atelier) ； 海茲．諾曼設計團隊(Heinz Neumann Design Group)

《城市與設計學報》 13&14期 (2003/03) Pp. 431-445

https://doi.org/10.30008/CD.200303.0015

摘要

1997 年，中國政府決定由政府投資，在北京天安門廣場人民大會堂西側興建國家大劇院，於1998年4月13日開放建築設計之國際競賽 • 在一年四個月的時問裡，經過兩輪競賽和三次修改，於1999年7月22日由中央決定選用法國巴黎機場的 ADP 公司負責，北京清華大學配合之保羅 • 安德魯斯（Paul Andrea）作品。而本期刊載的漢斯 • 豪萊（Hans Hollein）領軍的設計團隊，在參與競賽及委員會的討論之後，提出一些觀察與看法。他們認為此次競賽為北京城區現代建集的大躍進，亦是國際參賽者探索神秘中國一次成功的嚐試。第一輪競賽結果公閉時，東西方的參賽者出現兩極化的表現；西方重視設計創意表現、城市脈落的多元性與辨證性、秩序層次與形式的對比，抽象與超現實的表現；相較於西方世界，中國重視包裝、不逾越天安門廣場週邊既有的斜屋頂與史達林式樣建築，探用古典美學中的相似性與象微符號寫實手法，經過討論與調整，中國評審專家接納了西方現代美學觀點、辯證性與對比性的協調美成，而西方參賽者於第二輪時也投其所好，適度加入天安門廣場週邊相似元素如紅牆、柱廊等，也利用中國 3D 繪畫責源強化包裝。倘若保羅 • 安德魯斯（P aul Andrea）最終的球體建築，在第一輪是不可能探用的，但經歷一年多的東西方互動及探索未來中國第一的期盼，應是可以被理解的作品。

並列摘要

The Chinese Government decided to invest the National Theater on the — aide of the Tian An Men square in 1997 and held an international design competition In April, 13, 1998. Finally they adopted the France ADP’s design project that was charged by Paul Andrea and Incorporated with China Tsingfra UnlveraiLy after two times competitions and undergone three — modifications. The reason that we decided to publish the design project of Hans Hoflein Atelier and Heinz Nenmsnn Design Group, were not only for introducing the two phases of design, but also concentrated on the influences of committee members’ opinions. The designers identified the competition that was a very important architectural modernization’s improvement in Beijing and recognized that was a successful attempt for exploring the mystical China. In the first term, there were huge diversifications between East and West; the former teams stressed aesthetical stylistic analogy by referenced Starling symbolism in architecture styles those surrounded the Tian An Men square and visual effects. Otherwise, the latter emphasized design creativity, dialectical relationships between urban contexts, such as: the orders and stylistic contrast, abstract and supra-realism in design. After the first phase’s presentation, the Western competitors regulated their identities to add some architectural typological elements of symbolism, such as the red walls and colonnades. Besides, they also used 3D presentation for stressed the visual effects. The records of the long-term negotiation in the two phases of competitions had provided the possibilities to understand the turning judgement in case decision-making and the acceptability of the Paul Andrea’s design.