Chapel of Sound, Chengde, China

中國承德市 山谷音樂廳

OPEN Architecture

Nestled in a mountainous valley two hours away by car from the center of Beijing, The Chapel of Sound is a monolithic open-air concert hall with views to the ruins of the Ming Dynasty-era Great Wall. Designed by Beijing-based architecture office, OPEN, to look as a mysterious boulder that had gently fallen into place, the building is built entirely from concrete that is enriched with an aggregate of local mineral-rich rocks, and encompasses a semi-outdoor amphitheater, outdoor stage, viewing platforms, and a green room. While designed to capture the unfamiliar and deeply touching experience of music performed in the cradle of nature, the architects also wanted people just to calm down and listen to the sound of nature, which they believe is profoundly inspiring and healing. When there is no performance, the concert hall is also a tranquil space for contemplation and community gatherings with stunning views of the sky and the surrounding landscape.

 

OPEN’s founding partners Li Hu and Huang Wenjing were driven by a desire to minimise the footprint of the concert hall in the valley, creating a structure that was in dialogue with impressive natural landscape, while also feeling undeniably man made. The resulting rock-like structure is composed of an inner and outer shell with the space between operating like a truss, and was ultimately achieved through close collaboration with international engineering firm, Arup. Formed from concrete, each striation cantilevers out from the previous layer to create the inverted cone shape. Winding staircases weave through the building to a rooftop platform that offers panoramic views of the valley and Great Wall. In the interior spaces, accents of bronze for details such as handrails and doors are used to create a warm contrast against the concrete. The brief for the project was very open which inspired the architects to research all aspects of performance, looking at how the behaviors of sound could be a driving force behind the final shape of a building; Li and Huang described wanting to: “see the shape of sound”. Ultimately, they were drawn to the ways sound reverberates in natural spaces such as caves. Having designed theaters and concert halls, they knew the challenges here was how to create excellent acoustic environment without introducing additional sound absorbing materials. Working with acoustic engineers, OPEN looked at the many ways people will experience sound in the concert hall and defined openings that act both as the sound absorption areas and providing a connection with the exterior environment.

 

OPEN Said: “We were very aware of the responsibility we had to contribute a thoughtful structure that fits naturally into such a unique landscape. We wanted to create something different, and more importantly, something meaningful. We are now at a time that the question of our relationship with nature as human beings is more acute than ever. Can we be humble enough to hear what nature is murmuring to us? The symphony of nature is what we really wanted people to experience here.” There is an inherent air of mystery around the Chapel of Sound that draws you in as you approach the building. This extends to how people will interact with the space, from being a place for individual reflection to a venue for large-scale concerts, the structure can be experienced in many different ways. Huang said: “We wanted the definition of the space to be not so absolute, thus allowing for possibilities. Solitary or communal, music or sound of nature, gazing into the starry sky or connecting with one’s inner self - it’s open to the interpretation of the users”. With no heating or air-conditioning, the Chapel of Sound consumes minimum energy, something OPEN was very conscious of when designing the building. The openings also allow the natural elements to come inside, a void in the centre of the rooftop allows daylight to enter the structure and naturally illuminates the performance spaces. When it rains the water will also cascade through the void, however, inspired by the Pantheon, OPEN designed a drainage system that quickly drains the water away.

 

Li and Huang spent over 10 years training and working in the United States and as a result are very conscious of moving away from traditionally “Eastern” or “Western” ideas of architecture, particularly when it comes to cultural spaces. OPEN understands that the perceived differences in how cultures experience events and spaces are overstated and through their architecture strive to demonstrate that architecture has the power to connect people with each other, with nature, and with our own past and future.

 

山谷音樂廳位於距北京市區約 2 小時車程的河北承德金山嶺,建築如同一塊來自遠古的巨石,降落在可以遠眺長城的山谷。該專案由OPEN創始合夥人李虎和黃文菁主持設計,兩位建築師表示:「這是一座由聲音出發、由內而外雕刻而成的建築。我們稱它為 Chapel of Sound,希望人們可以『看到』聲音的形狀,或者『聽到』寂靜的聲響。」建築師希望這座音樂廳可以成為一處庇護所,建立人與自然的深層連接。在這裡,人們能感知到陽光、雨雪和四季的變化,或者聽到平常忽略掉的鳥叫蟲鳴。

 

建築包含一個半室外音樂廳、幾處面向山谷的觀景平台、一個朝向草坡的室外舞台和音樂家工作室等少量室內空間,既能承載室內樂、音樂節、舞蹈等不同形式的專業演出,也可用於獨處沉思或社區聚會。北方山區的冬季人跡罕至,因此音樂廳只在相對溫暖的季節開放,以避免大規模的能源消耗,這也讓半室外成為可能 。音樂廳中朝向天空和山巒的開洞,不僅是建築的──將光線和風景一道引入空間中,更是聲學的──它們承載著了吸聲的作用,其大小和形狀經過嚴謹的聲學計算,與折疊的混凝土表面形成的反聲面一起,為演出呈現最佳的音響效果。在沒有演出的時候,人們可以坐在音樂廳裡,靜靜聆聽鳥叫蟬鳴、微風拂過,或是追尋陽光遊走跳躍的足跡,欣賞大自然的交響樂。

 

建築室內外連通,讓耐候的混凝土成為了最合適的材料選擇。整座建築由深灰色混凝土澆築,混凝土骨料混合了當地富含礦物質的岩石。立面分層的靈感來源於周圍山脈的沉積岩,層層堆疊的方式和平整的切割則表達了人工建造的理性,而非對石頭形態的簡單模仿。建築的形態是對場地的直接回應:上大下小的倒錐形的結構,既順應著山谷的形態,也以最小的足跡輕輕地落在山谷底部,將對周邊環境的影響降到最少。同時,它也是音樂廳內部階梯狀觀眾席的外在表達。結構工程師奧雅納(Arup)與 OPEN 密切合作,完成了極富挑戰性的結構設計:立面的層層懸挑,最遠處達 12 米,如懸崖峭壁般撲面而來;結構由兩層混凝土殼體組成,兩層殼體之間在重要受力部位相互聯結。無論是定制的不銹鋼大門,還是青銅的標識牌、扶手,甚至手工打磨的衛生間銅鏡,都以其溫潤的光澤和觸感,與粗糲的混凝土形成強烈對比。剛勁的線條突出了混凝土的力量感,無數折面讓建築在陽光的雕刻下有了金屬的光澤。在室內洞穴般原始的氛圍中,也充滿了精心設計的細節。雨水可以從屋頂的洞口落下來,並沿著設計好的路徑迅速流走,不影響大部分觀眾席。

 

經由「峽谷」──內外兩層混凝土殼體之間蜿蜒的樓梯──上至屋頂平台,眼前將豁然開朗。層疊的遠山形成一幅氣勢磅礴的山水畫卷,建築置身其中,如同一隻朝向天空的耳朵,聆聽遙遠寂靜的空穀之音。在建築師的統籌和協調下,這是一次建築師與工程師、顧問、建造者相互尊重密切配合的實踐。建築即結構、建築即聲學、建築即室內,這是一個完全整合的工程設計。

案例影像

Principal Architects: Li Hu, Huang Wenjing

Structural Engineering: Arup

Character of Space: Semi-outdoor Amphitheater, Green Room, Viewing Terrace, Outdoor Stage

Building Area: 790㎡

Principal Structure: Concrete

Location: Chengde, Hebei Province, China

Photos: Jonathan Leijonhufvud, Zhu Runzi

Text: OPEN Architecture

Collator: Katrina Wong

 

主要建築師:李虎、黃文菁

結構工程:奧雅納工程顧問

空間性質:半室外音樂廳、音樂家工作室、觀景平台、室外舞台

建築面積:790平方公尺

主要結構:混凝土

座落位置:中國河北省承德市

影像:Jonathan Leijonhufvud、朱潤資

文字:OPEN建築事務所

整理:黃瑋靖

OPEN Architecture
世界是一個複雜的元素系統,
不斷相互作用且不斷變化。
建築是一種容器,一種媒介,透過它來解釋
工作中日益複雜的問題。
這是一種以有意義的方式聚集和聯繫的方式


我們一直耐心地尋找
開放的建築,它 在這種交會的力量
之間建立了複雜的關係。 將我們與人們聯繫起來的建築物——見面、交流和分享。 建築將我們與大自然連結起來——樹木和鳥類、海洋和陸地、空氣和光線。 將我們與我們自己聯繫起來的建築。




這些連結說明了我們如何想像
我們自己以及世界上其他人之間的人類存在。
在我們分享的對話時刻,
新的知識和友誼形成,新的想法和反思出現。

到達這一點是一段發現之旅。
對於每個專案來說,都有一個新的開始。
我們用眼睛尋找隱藏的跡象,用耳朵捕捉難以察覺的聲音。
我們必須在每個專案中發現真正需要什麼、
要求什麼以及必須成為什麼。

所有現有的公式、語言以及所有被視為理所當然的東西都
必須重新考慮和挑戰,
直到我們到達新發現的陌生領域。

我們正在遠離既定的、當代的和預期的,
遠離形象塑造和平穩運作。
我們的工作從內部開始,從核心開始,從內部開始;
然後我們憑藉著想像力開闢出路。

建築必須是激進的,但仍充滿詩意。
它必須提出激進的問題,尋求激進的解決方案,
實施變革,要求參與,
提高意識,並要求反思。

詩歌存在於崇高和神秘之中,
存在於對時間流逝的體驗中,存在於對微小細節的感知中。
建築觸及自身及其周圍的生活。
它創造了體驗空間和時間的深度。

建築必須真實、接地氣、
簡單、輕鬆。它必須保護自己的完整性,
以便居住在其中的人們能夠有尊嚴地做自己。

建築必須是謙虛的。
它消耗最少的資源,最大限度地減少對自然環境的影響,
鼓勵思想和行動上的慷慨,
以包容、保護、照顧和培育。

架構不需要完全完成。
它應該為即興創作
和未來變革的必然性留出空間。
建築也必須
有點幽默、令人驚訝和非正式。

最終,建築會為自己說話,
有自己的生命,
說自己的故事。

這就是OPEN的架構。
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