江西撫州尋夢(mèng)牡丹亭 中國(guó)江西

業(yè)主：撫州市文化旅游投資發(fā)展有限責(zé)任公司

設(shè)計(jì)單位：中國(guó)建筑設(shè)計(jì)研究院有限公司

設(shè)計(jì)團(tuán)隊(duì)：王冠，李欣葉，孫群，范佳，劉倩，王嘉婧，孫超，王建武

用地面積：153 000 平方米

建筑面積：11 000 平方米

設(shè)計(jì)時(shí)間：2017年

竣工時(shí)間：2019年

Client: Fuzhou Cultural Tourism Investment Development Co.,Ltd

Architect: China Architectural Design and Research Group

Design team: Wang Guan,Li Xinye,Sun Qun,Fan Jia,Liu Qian,Wang Jiajing,Sun Chao,Wang Jianwu

Site Aera: 153,000 m2

Built: 11,000 m2

Design Date: 2017

Completion Date: 2019

設(shè)計(jì)與構(gòu)思

“尋夢(mèng)牡丹亭”實(shí)景演出文化公園選址于文學(xué)家湯顯祖故鄉(xiāng)江西撫州臨川文昌里，總占地面積11 萬(wàn)平方米，從北至南由配套功能服務(wù)區(qū)、演出游園區(qū)以及歷史保護(hù)街區(qū)三部分組成。該片區(qū)由于交通不便，成為城市發(fā)展中被邊緣化的老舊城區(qū)，隨著新興小商業(yè)的發(fā)展，老舊建筑面臨被拆除的困境。項(xiàng)目旨在活化傳統(tǒng)戲劇，結(jié)合老舊街區(qū)改造，激活城市更新。

“千年湯顯祖，尋夢(mèng)牡丹亭”，長(zhǎng)達(dá)500 米的三幕實(shí)景互動(dòng)性演出，承載了建筑師對(duì)現(xiàn)實(shí)、地獄與天堂體驗(yàn)的極致想象。建筑師致力于將中國(guó)古典戲劇故事抽象為融傳統(tǒng)造園和建筑于一體的意境空間，依托周邊具有歷史感的老屋舊宅，使現(xiàn)實(shí)夢(mèng)境化、使夢(mèng)境詩(shī)意化，創(chuàng)造出具有中國(guó)古典氣質(zhì)的真實(shí)烏托邦。項(xiàng)目作為規(guī)劃建筑景觀舞美一體化設(shè)計(jì)，巧妙詮釋了新與舊、商業(yè)與文化、現(xiàn)實(shí)與幻想的融合，園區(qū)設(shè)計(jì)滿足了“白天游園，夜晚觀演”的復(fù)合化使用要求，提供了全天候的沉浸式表演與游園空間。

新建的演出游園區(qū)緊鄰文昌里歷史老街區(qū)，力求讓修葺后的老宅能夠承載部分文化配套功能，例如小型戲曲歷史展覽廳、公共休息廳、演員化妝室、商業(yè)零售等，將新的功能業(yè)態(tài)植入老街區(qū)，使之呈現(xiàn)出別樣的更新發(fā)展方式，促進(jìn)老舊街區(qū)的復(fù)興與有機(jī)更新。

傳統(tǒng)戲曲與老舊街區(qū)只有被活化利用才能長(zhǎng)久存留，其文化價(jià)值也才能得以充分展現(xiàn)。撫州作為湯顯祖創(chuàng)作《牡丹亭》的故地，項(xiàng)目不僅需要滿足實(shí)景舞臺(tái)布景的需要，更面臨如何重拾文化遺珠，在建筑學(xué)語(yǔ)境下重新演繹百年《牡丹亭》戲劇靈魂的責(zé)任。

園區(qū)規(guī)劃充分尊重場(chǎng)地現(xiàn)狀，將保留魚(yú)塘開(kāi)挖擴(kuò)大為水深3米的人工湖，舞美設(shè)計(jì)團(tuán)隊(duì)鋪設(shè)水下演員行走棧道，整個(gè)湖面成為戲曲演出的水上主舞臺(tái)。根據(jù)《牡丹亭》戲曲的故事內(nèi)容，幾百米的狹長(zhǎng)場(chǎng)地被劃分為“游園驚夢(mèng)”“魂游尋夢(mèng)”“三生圓夢(mèng)”三個(gè)主題演出實(shí)景舞臺(tái)。

一層平面圖

Design Concept

The site of the "Dream of Peony Pavilion" live performance cultural park was chosen in Wenchangli,Linchuan,Fuzhou,Jiangxi Province,the hometown of the litterateur Tang Xianzu.the large-scale live performance park covers a total area of 110 000 square meters,and it is divided into three sections from the north to the south,namely the supporting Functional Service Area,Performance Park Area and Historical Protection Blocks.The area has become an old and marginalized part of the urban development due to its inconvenient traffic.With the development of new small businesses,the old buildings are facing the dilemma of being demolished.The project is designated to revitalize traditional theater,and activate urban regeneration in combination with old city renovation

“With Tang Xianzu a Thousand Years Ago,Seeking the Dream of Peony Pavilion".The 500-meterlong three-act interactive performance carries the architect's experience for the ultimate imagination of reality,hell and heaven.The architect is committed to abstracting the classical Chinese play into an imaginative space featuring "the traditional gardening and architecture”,relying on the surrounding old houses with a sense of history to dream the reality and poeticize the dream,creating a real utopia with classical Chinese temperament.As the design integrates planning architecture,landscape and stage art,the project skillfully interprets the fusion of new and old,business and culture,reality and fantasy,and the park is designed to have composite functions integrating night performance and daytime garden tour are both satisfied,providing an all-weather immersive performance and gardening tour space.

The new performance park area is adjacent to the old Wenchangli historical neighborhood,and seeks to enable the restored old mansion to accommodate some of the cultural supporting functions,such as a small theater history exhibition hall,public lounge,actors' dressing rooms,commercial retail,etc.with new functional formats implanted into the old neighborhood,so that it can present a different way of regeneration and development,and promotes the revival and organic regeneration of the old city.

Only when the traditional opera and old neighborhoods are revitalized and utilized can they survive for a long time,and their cultural value can be fully revealed.As the hometown of Tang Xianzu to create The Peony Pavilion,the project is not only to meet the needs of live stage sets,but also to shoulder the responsibility of regaining the cultural heritage and retranslating the soul of the century-old Peony Pavilion opera in an architectural context.

西立面圖

北側(cè)配套功能服務(wù)區(qū)總建筑面積1.1 萬(wàn)平米，包括游客接待中心、辦公區(qū)及演員排練廳和員工宿舍等。為了與文昌里歷史文化街區(qū)相互協(xié)調(diào)，建筑造型設(shè)計(jì)收放自如，融入傳統(tǒng)“坡屋頂”與“合院”等抽象元素，并滿足大空間的功能需求。整體建筑群通過(guò)連廊連接不同功能用房，充分考慮結(jié)合地方河道與局地小氣候與風(fēng)向，引入自然通風(fēng)和采光，實(shí)現(xiàn)生態(tài)與節(jié)能。

戲曲講究通過(guò)“起承轉(zhuǎn)合”帶動(dòng)觀眾的情緒變化，這與中國(guó)傳統(tǒng)造園的手法是一致的。通過(guò)深入研究劇本內(nèi)容與情感，建筑師團(tuán)隊(duì)提煉出戲曲邏輯與園林布局邏輯的共通之處，演員們?cè)诮ㄖ熅牟贾玫摹皥?chǎng)景”中穿梭：站在超出正常尺度的柱上舞蹈，在被切割過(guò)的“殘亭”旁揮舞衣袖。建筑空間超越了功能本身，通過(guò)探究戲曲的抽象知覺(jué)與象征意義，達(dá)到觀者情感與場(chǎng)所精神在一定程度上的統(tǒng)一。

材料與建構(gòu)

建筑師不斷思考《牡丹亭》每段主題所傳達(dá)出的隱喻含義，并用材料與建構(gòu)語(yǔ)言塑造了一個(gè)脫離于現(xiàn)世又具有現(xiàn)代意義的虛幻場(chǎng)景，如何打造服務(wù)戲劇的極致純粹的“非真”空間是建筑師的極致追求。設(shè)計(jì)嘗試通過(guò)對(duì)古建筑進(jìn)行定向拓?fù)淝懈?，通過(guò)對(duì)單一元素的堆疊塑造現(xiàn)實(shí)中不存在的極端空間來(lái)隱喻戲劇中虛幻的場(chǎng)景，傳達(dá)出《牡丹亭》戲曲中“夢(mèng)中之情，何必非真”的感受。

在戲劇第二幕“魂游尋夢(mèng)”中，為了表現(xiàn)戲曲的沖突與矛盾，一些靠近水邊的傳統(tǒng)古建筑亭臺(tái)被垂直切割，從屋頂每一片瓦到臺(tái)梁到柱基，斷面干凈得仿佛被刀整齊裁切過(guò)。當(dāng)觀眾觀戲至此，看到某個(gè)建筑局部構(gòu)件孤零零地在湖心島的白沙灘上佇立，走進(jìn)被整齊切割的亭臺(tái)，將從內(nèi)心深處感到脫離現(xiàn)實(shí)的不自然感。

The park planning fully respects the current situation of the site,the retained fish pond is expanded into a 3-meter deep artificial lake,the stage art design team laid underwater walking stacks for actors,making the entire lake the main stage of the opera performance on the water.According to the story of The Peony Pavilion,the narrow space of several hundred meters is divided into three themed live performance stages: "Sweet Dream in the Garden","Soul Traveling for Dream" and "Dream Realization in Three Lifetime".

The supporting functional service area on the north side has a total construction area of 11 000 square meters,including the visitor reception hall,office area and rehearsal hall for actors and staff dormitory,etc.To harmonize with the Wenchangli historical and cultural neighborhood,the building is designed to be flexible in style,incorporating abstract elements such as the traditional "sloping roof"and "courtyard",satisfying the functional requirements of large spaces.The overall building complex connects different functional rooms through corridors,fully considering the combination of local riverway and local microclimate and wind direction,fully introducing natural ventilation and lighting,and the design of the building complex realizes the purpose of ecology and energy saving.

Opera is concerned with driving the audience's emotional changes through the "introduction,elucidation of the theme,transition to another viewpoint and summing up",which is consistent with traditional Chinese gardening techniques.By studying the story and emotion of the play,the architects' team refined the commonality between the logic of the opera and the garden layout,and the actors moved through the "scenes" carefully arranged by the architects: dancing on columns beyond the normal scale,waving their sleeves next to the cut "ruined pavilion".The architectural space transcends function itself and achieves unity between the audience's emotions and the spirit of the place by exploring the abstract perception and symbolic meaning of opera.

Material and Construction

The architects continuously thought about the metaphorical meaning conveyed by each theme of The Peony Pavilion and used the language of construction and materials to shape an illusory scene that is detached from the present world and has modern significance.It is the architect's ultimate pursuit to create the ultimate pure "non-real" space to serve the theater and drama.The design attempts to metaphorize the illusory scenes in the drama by making directional topological cuts to the ancient buildings and shaping extreme spaces that do not exist in reality through the stacking of single elements,conveying the feeling that "why the love in a dream can't be not true" in The Peony Pavilion opera.

南立面圖

內(nèi)景與外景

游客接待中心緊鄰老宅修繕區(qū)，建筑造型簡(jiǎn)潔而現(xiàn)代，原有老建筑磚墻立面與售票大廳主入口的玻璃幕墻形成視覺(jué)對(duì)比，混凝土的外墻更好地襯托了江南民居的白墻青瓦，新舊體量完美融合，設(shè)計(jì)手法實(shí)現(xiàn)了新舊建筑的對(duì)話。隨著實(shí)景演出旅游吸引力的不斷提升，新舊結(jié)合的游客服務(wù)區(qū)將有機(jī)會(huì)作為最真實(shí)的生活舞臺(tái)，吸引游客探尋撫州當(dāng)?shù)氐奈幕?，同時(shí)也將使當(dāng)?shù)鼐用竦奈幕钆c經(jīng)濟(jì)水平得以提升。

與普通固定座位的觀賞方式不同，游客需要隨著戲劇演出的情節(jié)推進(jìn)，跟隨舞臺(tái)的切換在游覽中進(jìn)行動(dòng)態(tài)的觀戲，這種步移景異的觀賞方法是中國(guó)古典園林所特有的游覽方式，也給觀眾帶來(lái)了一種身臨其境的戲劇融入感。觀戲流線中，游人行走在園中，通過(guò)空間的收放變化，以及燈光明暗、高低起伏、虛實(shí)遮擋、音樂(lè)強(qiáng)弱等變化，使觀眾得以親身體驗(yàn)錯(cuò)綜曲折的劇情。

隔河相望的觀演座位與臺(tái)地景觀相結(jié)合，觀眾可席地而坐，臺(tái)地采用修葺拆除的數(shù)千片舊瓦鋪砌而成，在平地上搭建了一處類似傳統(tǒng)瓦屋頂?shù)挠^戲平臺(tái)，臺(tái)階依次錯(cuò)落，在不同高度容納更多人觀戲，抽離于現(xiàn)實(shí)，取“屋頂觀戲”之意。同時(shí)，水邊懸挑的平臺(tái)、直伸入水面的古亭、游走的長(zhǎng)廊等都成為觀戲的地點(diǎn)，與白墻灰瓦的屋檐呼應(yīng)，喚起了墻頭看戲的體驗(yàn)與古老記憶。

In the second act of the play,"Soul Traveling for Dream",in order to express the conflicts and contradictions of the opera,some of the traditional ancient pavilions near the water's edge were cut vertically,from every tile on the roof to the beams and pillar bases,the sections were as clean as if they were neatly cut by a knife.When the audience watch the play here and see some partial building component standing alone on the white sandy beach of the midlake island and walking into the neatly cut pavilion,they will feel the unnatural feeling of detachment from reality from deep inside.

Inside and Outside

The visitor reception hall is adjacent to the old mansion restoration area,where the building is simple and modern in style,the original old building’s brick fa?ade contrasts visually with the glass curtain wall at the main entrance of the ticket office,the concrete fa?ade better sets off the white walls and gray tiles of the dwellings in the regions south of the Yangtze River,the new and old volumes are perfectly integrated to dialogue between old and new buildings through the design approach.As the tourism appeal resulting from the live performance continues to grow,the combined old and new visitor service area will have the opportunity to serve as the most authentic living stage to attract visitors to explore the local culture of Fuzhou,and will also improve the cultural life and economy of the local aboriginal people.

Different from the ordinary fixed-seat viewing method,visitors need to follow the switching stage in the tour with the advancement of the plot of the drama performance for dynamic theater viewing,which is unique to classical Chinese gardens and gives the audience a sense of immersive theatrical integration.Following the plot of the drama performance,visitors walk in the garden,through the changes in space as well as changes in light and dark,ups and downs,virtual and real shading,music intensity and others,so that the audience can personally experience the intricate plot.

The seats across the river are combined with the landscape of the stage,where the audience can sit on the ground.The stage is made of thousands of old tiles that were repaired and demolished,and a platform similar to the traditional tile roof was built on the flat ground,with steps staggered to accommodate more people at different heights,which is detached from reality and takes the meaning of "viewing the play on the rooftop".Meanwhile,the overhanging platform at the water's edge,the ancient pavilion reaching straight into the water,and the wandering promenade have all become places for play watching,echoing the white-washed roofs and evoking the experience and ancient memories of watching the play on the wall.