臺北表演藝術中心中國臺北

項目狀況：2022 年竣工

業主單位：臺北市政府，文化事務部，快速運輸系統部，公眾事業部

項目面積：總面積58 658 平方米，一個1 500 座劇場和二個800 座劇場

主管合伙人：大衛·希艾萊特，雷姆·庫哈斯

項目總監：Chiaju Lin

合作者：Paolo Caracini,Inge Goudsmit,Daan Ooievaar

結構、MEP、建筑物理、消防工程：奧雅納

結構工程：長榮工程咨詢有限公司

照明顧問：Chroma 33

攝影：? OMA by Chris Stowers;

? Shephotoerd Co.Photography,courtesy of OMA

Status:Completion 2022

孤島采油廠通過選設“班組輿情疏導員”，加強自我教育法在思想政治工作中的實踐應用，充分激發了干部員工以油為業的使命感、以廠為榮的自豪感、以隊為家的責任感，為孤島采油廠科學和諧發展注入了強大的動力和活力。

Client:Authority in charge:Taipei City Government;Executive Departments:Department of Cultural Affairs,Department of Rapid Transit Systems (First District Project Office),Public Works Department (New Construction Office)

Area:Total 58,658 m2.One 1,500-seat theatre and two 800-seat theatres

Partners in Charge:David Gianotten and Rem Koolhaas

Project Director:Chiaju Lin

Associates:Paolo Caracini,Inge Goudsmit,Daan Ooievaar

Landscape Designer,Interior Designer:Inside Outside

Structure,MEP,Building Physics,Fire Engineer:Arup

Structural Engineer:Evergreen Consulting Engineering Inc.

Lighting Consultant:Chroma 33

Landscape Consultant:CNHW

Photography:? OMA by Chris Stowers;? Shephotoerd Co.Photography,courtesy of OMA

歷史上，劇場是讓公民參與的藝術媒介。在現代世界，劇場卻日漸發展成專屬文人雅仕的活動場所，令劇場在日常生活中的意義日漸減退。劇場空間的價值往往取決于其容納正規表演的功能，而非包容、引發改變、把握當下的力量。當代劇場空間日趨公式化：由兩個不同大小的表演廳以及一個黑盒劇場組合起來，其內部運作遵循守舊并為正規作品而設的原則。公共劇場空間仍然可以大度寬容，同時容納經典與遇然、高雅與大眾、藝術與日常，從而成為每個人創作生命的舞臺嗎？

臺北表演藝術中心位于以鮮活日常文化著稱的士林夜市，是一所于邊界之間游走的建筑：專門卻靈活、不受打擾卻開放、不經意卻成為地標。三個劇場嵌入中央立方體，讓劇場空間可以組合起來造就新體驗。立方體從地面升高，讓臺北的日常生活透過項目的公眾路線環，在北藝所在地繼續延伸。劇場嶄新的內部可能和空間連結，在創作人、觀眾及大眾之間產生各種關系，同時凝聚成一個耳目一新的標志。

中央立方體將三個劇場的舞臺、后臺及其他設施，以及為觀眾而設的公共空間，整合成一個高效的單元。劇場可以改裝或組合一起，造就意想不到的場景和功能。800席位球形劇場由里層和外層構成，這個球形的劇場彷佛一個星球，?？坑诹⒎襟w旁。球形劇場內層與中央立方體交接的位置，形成獨特的臺口，讓創作人實驗舞臺景觀的不同可能性。球形劇場內層和外層之間，是通往觀眾席的動線。大劇院的形狀稍為不對稱，顛覆傳統的盒形設計。這個 1500 席的劇場空間，容納不同類型的表演藝術。大劇院對面是840 席位的藍盒子，是最具實驗性作品的場所。大劇院和藍盒子可以組合起來成為超級大劇場，這個巨大的空間有著工業建筑的特性，可以容納一般只能在非正規、意外發現的場地所進行的表演。前所未有的組合方式和舞臺設置，啟發出人意表及即興的創作。

An ancient art form for civic participation,theater has evolved into the modern world as a vocation of the culturally refined,with its significance in daily life diminished.Theater space is valued for its potency for formal cultural productions,rather than its power to include and divert,and to be instantaneous.Contemporary performance theaters increasingly become standardized:a combination of two differentsized auditoria and a black box,with conservative internal operation principles for authentic work.Can a public theater still be inclusive,accommodating the classic and the serendipitous,the highbrow and the masses,the artistic and the social—a place for the creative life of all?

Located at Taipei’s Shilin Night Market marked by its vibrant street culture,Taipei Performing Arts Center is an architecture in limbo:specific yet flexible,undisrupted yet public,iconic without being conceived as such.Three theaters plugged into a central cube allow performing spaces to be coupled for new theatrical possibilities.The cube is lifted off the ground for a Public Loop to extend street life of Taipei on site.New internal possibilities and connections of the theater generate different relationships between producers,spectators,and the public,also a critical mass that works as a fresh,intelligent icon.

The central cube consolidates the stages,back stages,support spaces of the three theaters,and the public spaces for spectators into a single and efficient whole.The theaters can be modified or merged for unsuspected scenarios and uses.The spherical 800-seat Globe Playhouse,with an inner shell and an outer shell,resembles a planet docking against the cube.Intersection between the inner shell and the cube forms a unique proscenium for experimentation with stage framing.Between the two layers of shells is the circulation space that brings visitors to the auditorium.The Grand Theater,slightly asymmetrical in shape and defying the standard shoebox design,is a 1500-seat theater space for different performing arts genres.Opposite to it and on the same level is the 840-seat Blue Theater for the most experimental performances.When coupled,the two theatres become the Super Theater—a massive space with factory quality that can accommodate productions that are otherwise only possible in found spaces.New possibilities of theater configurations and stage settings inspire productions in unimagined and spontaneous forms.

By Frans Parthesius ? OMA

By Frans Parthesius ? OMA

OMA/ ArtefactoryLab ?

公眾路線環向持票與否的大眾敞開進入北藝的大門，路線環貫穿通常被隱藏的劇場基礎設施和制作空間，沿途設有劇場風景窗，讓參觀者看到劇場里的表演，以及劇場之間的技術支持空間。

與一般表演藝術中心不同，北藝有幾個不同的面向，均由從中央立方體凸出、彷佛凌空的劇場定義出來。中央立方體立面為曲面玻璃，而立面不透光的劇場仿如神秘的量體，靠于豐富多變而明亮的立方體。小巧緊湊的劇場空間的之下是地面景觀廣場，為臺北這片密集而充滿活力的區域，帶來又一個讓大眾匯聚的舞臺。

The general public—with or without a ticket—are invited into the theater through a Public Loop,which runs through the theater’s infrastructure and spaces of production that are typically hidden.Portal windows along the Public Loop allow visitors to look at performances inside and technical spaces in between the theaters.

Different than typical performance centers that have a front and a back side,Taipei Performing Arts Center has multiple faces defined by the theaters protruding above ground.With opaque facades,these theaters appear as mysterious elements against the animated and illuminated central cube clad in corrugated glass.A landscaped plaza beneath the compact theatre is a further stage for the public to gather,at this dense and vibrant part of Taipei.

舞臺劇場斷層透視 Sectional perspective Proscenium Playhouse

超級劇場斷層透視 Sectional perspective Super Theatre