間離劇以獨(dú)特的形態(tài)，為觀眾提供了別具一格的體驗(yàn)。劇院的構(gòu)思要求建筑師對(duì)空間、事件和運(yùn)動(dòng)進(jìn)行仔細(xì)地思考和設(shè)計(jì)，從建筑層面處理個(gè)中關(guān)系。MDO在深思熟慮后，決定以夸張的形式、燈光和流線，來(lái)應(yīng)對(duì)這一挑戰(zhàn)。建筑師將黑色電影的藝術(shù)表達(dá)和強(qiáng)化的戲劇感融入到設(shè)計(jì)中，創(chuàng)造出一系列對(duì)比性極強(qiáng)的空間；身臨其中，就好似在欣賞一組膠片鏡頭蒙太奇。

 

 

The Jianliju theatre company, in an interesting examination of typology, offers a unique spectator experience where the audience plays an integral part of their performances and productions, as such the brief for their new premises in Shanghai demands a careful architectural approach to the relationships between space, event and movement. MDO, the architects selected to take on this mantle, have addressed these conditions with a deliberate and exaggerated exploration of form, lighting and circulation. The practice has taken the cinematic expression of film noir and applied its heightened sense of drama to the atmosphere within to create a sequence of contrasting spaces that read as a montage of screenshots from a film reel. 

 

 

 

伯納德·屈米先生的建筑理論，尤其是1976年的著作《電影劇本》，對(duì)此類項(xiàng)目有著深遠(yuǎn)的影響。MDO采用的諸多策略都參考了電影編輯的概念以及建筑的時(shí)空特性。幾位知名的黑色電影導(dǎo)演常常用到的變形、重復(fù)和疊加等手段，都被建筑師運(yùn)用起來(lái)，以營(yíng)造五十年代好萊塢情節(jié)電影的氛圍。
 

 

 

With work of this nature, the architectural theory of Tschumi, especially the 1976 Screenplays project, is never far away and many of the formal strategies employed by MDO directly reference the parallels with screen editing and the time-space nature of architecture. Tools such as distortion, repetition and superimposition often used by the great directors of the film noir scene have all been applied as a method to soak the interior with all the atmosphere of a 50s Hollywood melodrama.
 

 

劇院位在上海市中心一條不顯眼的街道上，大門隱藏在一家古董家具商店后側(cè)。到場(chǎng)的觀眾會(huì)首先收到時(shí)間、地點(diǎn)和數(shù)字這三條信息。從正門進(jìn)入，一段臺(tái)階將觀眾帶入到幾乎全黑的空間內(nèi)；建筑師通過(guò)對(duì)流線的設(shè)計(jì)，使觀眾就此與外界暫別；彎曲的黑色走廊里，微暗的燈光和不對(duì)稱的構(gòu)圖造成一種迷失感，并將觀眾引向劇場(chǎng)內(nèi)部。空間按線性排列展開，促使觀眾不斷向前探索，就好像深夜里跟隨著一個(gè)未知的身影前行。

 

 

 

The theatre is accessed off a non-descript side-street in central Shanghai, the entrance door hidden at the back of an antique furniture emporium. Visitors arrive only with a time, location and number. From the door, a stair leads down into the darkness and from there the circulation seeks to create a sense of departure from the world outside, a deliberate act of disorientation initiated by a dark curved corridor that emphasizes low-key lighting and unbalanced compositions leads to the spaces inside. The functions are organized into a linear arrangement of spaces, where the visitor is prevented from going backwards, as if following an unknown figure through the street at night.

 

空間的色調(diào)連貫、單一、極簡(jiǎn)。建筑師通過(guò)對(duì)石膏表面的處理，賦予空間光澤度和層次感。明亮的大廳與此前的空間形成對(duì)比，內(nèi)墻的吸音板和沿墻長(zhǎng)椅讓這個(gè)獨(dú)立的房間略顯柔和；觀眾可以在演出開始前喘息片刻，靜靜等待高潮的來(lái)臨。 

 

 

The palette is simple throughout, monotone, minimal with a hint at texture through the treatment of the plaster to give a lustre and depth to the spaces. In contrast to the threshold sequence, the first space, the lobby, is bright and lined with acoustic paneling on the walls and benches creating a closed and soft environment, a moment of respite before the performance begins and the drama is further heightened. 

 

時(shí)辰到來(lái)，參與者各自進(jìn)入一個(gè)狹小的更衣室。針孔光圈將房間號(hào)碼投射到黑暗的走廊地面上，讓氣氛略顯詭異。更衣室內(nèi)，厚重的絨布窗簾使人不禁想到大衛(wèi)·林奇的電影場(chǎng)景。此時(shí)，參與者收到一份手稿，開始角色準(zhǔn)備。

 

When it is time, each participant in the production enters a small changing space, highlighted by an eerie number projected from a pinhole aperture on to the dark corridor floor. Here in a space reminiscent of a Lynch production set complete with heavy velvet curtains, they are provided with a script and transform into character.

 

換上服裝的表演者們走進(jìn)一條狹窄的環(huán)繞走廊，根據(jù)放大鏡里的顯眼數(shù)字找到對(duì)應(yīng)的房間。完全不對(duì)稱的走廊設(shè)計(jì)，刻意營(yíng)造不安的情緒，為接下來(lái)的表演拉開序幕。

 

They emerge from a costume change into a small anti-chamber where the four enclosing walls are asymmetrical, an unsettling space where the main focus is on a number displayed through a magnifying glass giving stage directions to the participating actors waiting in anticipation.

 

 

演出結(jié)束后，大家會(huì)來(lái)到一個(gè)全鏡面房間，并可以在此拍照留念。建筑師通過(guò)這一設(shè)計(jì)，再次向膠片和電影傳統(tǒng)致敬，并試圖詮釋和思索演員與觀眾這兩個(gè)角色間的模糊界限，同時(shí)呼應(yīng)整個(gè)空間的設(shè)計(jì)理念。

 

After the show concludes the sequence finishes with a hall of mirrors, one final nod to the film reel and the cinematic traditions that their design engages with. Given this final space is predominantly used for photographs and selfies, their last note is intentionally witty, a critical reflection perhaps on the ambiguous relationship between actor and audience that their architecture has curated throughout. 
 

 

項(xiàng)目名稱：間離劇 

事務(wù)所：More Design Office (MDO) / 木君建筑設(shè)計(jì)咨詢（上海）有限公司

網(wǎng)站：http://moredesignoffice.com/

狀態(tài)：2017年完成

面積：930平方米

地址：中國(guó)上海市閔行區(qū)紅松東路301號(hào)B1

客戶：間離劇公司

攝影：Dirk Weiblen (http://dirkweiblen.com/)

標(biāo)識(shí)設(shè)計(jì)：Evelyn Chiu