重庆，一座承载着独特记忆的城市，在千百年的岁月里与悠悠长江共同演绎了无数文明的故事。永恒的河流承载着永恒的音乐，缓缓流淌，成为这座两江之城千年文明当中一笔重要的篇章，孕育了太多的历史与乡愁。时代的浪潮让重庆再次站在了世界的舞台。钓鱼嘴音乐半岛、长江音乐厅及长江音乐学院，将秉持国际一流设计目标的同时，充分融入重庆独特的地域文化特色，塑造音乐之河的中心圣殿；营造时代潮流的音乐爆点；开创互动共享的学术启幕；融汇开放活力的城市之心；最终共同彰显出重庆山水之城的世界气度，成为一个联系重庆音乐艺术文化与国际音乐文化大家庭的重要纽带。

 

概念和设计出发点

无论在过去还是当代的城市环境下，大型音乐厅、歌剧院由于其形态的独特性与文化的重要性，往往被塑造为城市的重要地标。而传统的观演建筑通常以独特的大体量伫立于城市之中，与周边的环境形成较大的剥离与差异。长江文化艺术湾区作为重庆“两江四岸”城市发展主轴的重要节点，承担了推动重庆向高质量、国际化发展的作用，同时也将创造市民高品质的城市文娱生活的功能。本次项目区位位于艺术湾区内的钓鱼嘴音乐半岛，是重庆最后一个未被开发的生态半岛，因此在重庆生态文明政策大背景下，明确树立了“共抓大保护、不搞大开发”的开发方针。因此在音乐半岛和长江音乐厅的总体设计中，我们认为应当尊重自然本底的生态条件，恪守山水之城生态优先的发展格局，延续重庆山城台地特色与半岛原始的地形风貌，并通过对大象无形、大音希声这一中国哲学的现代演绎，设计展现建筑与环境之间的相对显隐关系，使建筑宛若从山川肌理中自然延伸、浑然天成，充分融入在地性设计的同时，也秉持了国际一流音乐厅所需求的独特地标性，共同彰显这个时代赋予重庆的独一无二的城市印象。

 

规划布局

音乐厅场地选址位于钓鱼嘴半岛尽端山坳处，南侧被自然山体部分遮挡，东西两侧有着极佳的观江视野，生态资源优越。然而用地南北存在约30m地形高差，且场地中规划远期地铁线路，导致各演出厅布局需要充分避让。在设计条件的限制下，如何在场地中合理布置4个演出厅与50000平米的音乐广场，并且与环境形成充分的关联，成为本次设计的重要难点之一。此外，钓鱼嘴半岛近远期共规划音乐广场、音乐台、长江音乐学院、长江音乐营、长江音乐博物馆等多个功能区域，各板块之间虽然有着空间联系上的需求，但受限于场地周边的地形，各区域之间的可达性不强、整体性较弱。基于此，我们提出了4大设计理念——生态与整体、地域与定制、互动与共享、景观与观景。

 

生态与整体

钓鱼嘴半岛在上位规划中被定位为音乐半岛，聚集全套的音乐产业，各个地块内规划的功能之间联系程度较为紧密。然而现状场地被道路和城市绿地、高差等分割，因此我们认为方案应当为以音乐厅为核心的整体，用主流线串联起音乐学院、音乐广场、音乐台与码头以及未来规划的音乐博物馆和音乐营,增强半岛内各个功能之间的可达性，营造整体的开放无界空间。

 

地域与定制

重庆，以其独特的城市风貌屹立于中国城市群体中，是一个独特的存在，其充满江湖气的江城文化，多层次多台地的山地建筑群体，复杂立体的交通方式，都是重庆独特的地域性标志，方案中应当加强对地域性元素的表达，强调对重庆地方特色的挖掘，重视建筑叙事性的打造，为重庆和钓鱼嘴半岛量身定制方案设计，凸显重庆个性。

 

互动与共享

音乐厅、音乐台、音乐学院、音乐营之间存在功能之间的联系，应当通过方案设计加强功能之间的互动，达到1+1＞2的目的。音乐厅、音乐广场与音乐学院之间功能共享互补，协同运营。音乐节期间，音乐学院的运动场及配套功能可以提供给音乐节作为分会场使用；非演出时段，音乐厅的部分演出厅与配套功能也可以供音乐学院的师生进行排练及演出使用，提高功能共享的同时优化整体的建设量，加强场地的使用率，使音乐学院与长江音乐厅形成功能互补，开放共享的整体关系。

 

观景与景观

音乐厅场地三面环江，东西两侧拥有极佳的观江视野，方案设计充分利用周边的景观元素打造多层次、多角度的观江景观面，将音乐厅塑造为一个拥有众多“衔远山，吞长江”自然意境的观景“平台”。此外，对于江上的往来船只及两岸的市民而言，音乐厅造型充分展示了国际一流的标志性和景观性，隔江相望形象优美震撼，给原本“不经修饰”的半岛增添独特的标志性和全新的景观元素。

 

观演功能布置

功能布局推演总体分为两个步骤：首先，基于主要观演厅退让规划地铁线路及追求最大景观视野的设计要求，我们确定了对称式、偏置式和斜对称式三种布局模式。偏置式的功能布局对观江视野影响较大，观众厅VIP休息厅很难有较好的观江视野，音乐广场也只能看到西南侧的江景，且使音乐广场与远期规划的音乐博物馆一侧背离，降低了二者空间和视觉上的联系。斜对称式的布局使得建筑体量位于场地中心，具有较好的标志性，轴线也较为明确，然而布局过于靠近中心导致无法形成集中的音乐广场，进而导致广场只能分散布置，不利于后期举办音乐节等室外活动，丧失实用性。而对称式的功能布局则在保证形象完整的同时，兼具良好的景观视野，也能够保证音乐广场的完整性，因此选择在对称式的基础上进行深化调整。根据各观演厅的不同布局，又形成了集约式、分散式、并列式的三种模式，结合对各观演厅可否独立运营以及观江视野层面的比较，最终确定了总体顺应场地的相对对称集约的布局方式。

 

整体造型的推演伴随功能组织的变化不断地进行调整，设计周期内形成了以重庆之门、江畔鱼跃、黄葛晚唱、大地音符、山水渔音为主的不同概念方案和造型。最终基于整体的设计考虑，确定了以音乐之河、长江之歌为概念的总体布局。长江音乐厅是“音乐之河”汇聚的中心，整体的曲线形态似江水潺潺；重庆山城台地的形态赋予了层峦退台的建筑形体，整体气势大气磅礴；由对称式布局而形成的“音乐之门”引领人们踏入音乐的殿堂；同时以重庆当地特色的纤夫石作为立面肌理的表现方式。纤夫背负纤绳躬身俯于长江边，竭力牵绊的绳索与石头不断的摩擦形成了人工与自然合力留下的永恒的记忆，面对滔滔江水，吼出的川江号子成就了重庆过往岁月的独特音乐历史记忆，共同展现出刚柔并济的山城形象与独一无二、不可复制的城市名片。音乐厅、歌剧院和入口观众厅的室内设计延续了室外的元素，以流水冲刷江畔岩石为灵感，通过材料和尺度的变化构成了各个厅的不同感受，从造型和空间上演绎出了独属重庆地域性表达的二重奏。

 

结语

每个音乐人都拥有一条属于自己的音乐之路。在音乐学院和博物馆学习技能与文化，在音乐营聆听自然的声音，在音乐厅的世界舞台上演绎与欣赏，在音乐广场和音乐台融入潮流与庆典。音乐的一生，仿佛溪流汇聚，融入音乐之河永恒流淌。建筑师与建筑之路亦是如此。建筑师的成长依附于作品，每个作品都需要经历反复的推敲、打磨，在实践中验证，并经过大众的审视，最终才能成为永恒的场所象征。这个过程中一定有精彩、有遗憾，建筑师往往是在这个过程中收获与成长。建筑与音乐都是具有遗憾的艺术，因有遗憾而能深入人心，也因遗憾而更加珍视，审视自我，不断地探索与进步。

 

项目信息：

项目名称：长江音乐厅 、长江音乐学院

项目时间：2020年12月-2021年3月

项目状态：国际竞赛，在29家申请单位中的4家入围单位之一

项目面积：长江音乐厅：95357平方米、长江音乐学院：122323平方米

项目类型：剧院项目、学校项目

项目客户： 重庆市规划和自然资源局、重庆市地产集团

合作伙伴：中国建筑西南设计研究院有限公司

项目地点：重庆

设计团队：

芬兰PES建筑设计事务所：Pekka Salminen、Tuomas Silvennoinen、Jyri Eskola、Emanuel Lopes、Simon Richardus、赖林莉、李伟、 Martin Lukasczyk、彭彦、赵亦周、谢方洁、 MÖLLER Henrik （声学顾问）、Eckhard Kahle, （声学顾问）

中国建筑西南设计研究院有限公司：邱小勇、卜银、吴鑫、李沂原、陈文强、黄南天、王泽平、邓邦祈、周宗宇、唐锦旋、李辉

 

 

 

Chongqing, a city with unique memories, has performed numerous stories of civilization together with the long Yangtze River in the past thousands of years. The eternal river, carrying the eternal music, slowly flows and becomes an important chapter in the millennia-old civilization of this city of two rivers, breeding abundant history and nostalgia. The progression of history makes Chongqing stand on the world stage again. While adhering to the goal of world-class design, Diaoyuzui Peninsula, Yangtze Concert Hall and Yangtze Conservatory of Music will fully integrate the unique regional cultural characteristics of Chongqing to create a central sanctuary of the river of music. It will create the music trend of The Times; Create an interactive and communicative academic opening; Integrate the open and dynamic heart of the city; and finally, it will jointly show the world bearing of Chongqing, a city of mountains and rivers, and become an important link between Chongqing music art culture and the international music culture.

 

CONCEPT AND ORIGINALITY

In both the past and the present urban environments, large concert halls and opera houses are often shaped as important landmarks of the city due to their unique forms and cultural importance. However, the traditional performance buildings usually stand in the city with a huge volume, which forms a great separation and difference with the surrounding environment. As an important node of the urban development axis of "two rivers and four banks" in Chongqing, the Yangtze Cultural and Art Bay Area has undertaken the role of promoting the high-quality and international development of Chongqing, and at the same time will create high-quality urban cultural and recreational life for citizens. The location of this project is located in the Diaoyuzui Peninsula within the Art Bay Area, which is the last undeveloped ecological peninsula in Chongqing. Therefore, under the background of Chongqing's ecological civilization policy, the development policy of "jointly promoting protection and avoid huge development" has been clearly established. So in music peninsula and the general design of the Yangtze river hall, we believe that the design shall respect the natural background of ecological condition, the planning principle that natural sustainability comes first, and the continuation of terrace and peninsula feature of the site. Through the Chinese philosophy that “great form has no form, great sound has no tone”, our design shows the blending relationship between buildings and environment, so that the building looks like a natural extension from the texture of mountains and rivers, fully integrated into the local design, but also uphold the unique landmark required by the international first-class concert hall, and jointly show the unique city impression given to Chongqing by this era.

 

PLANNING AND LAYOUT

The venue of the concert hall is located in the valley at the end of the Diaozuiyu Peninsula. The south side is partially covered by natural mountains, and the east and west sides have excellent views of the river, with superior ecological resources. However, there is an approximately 30m terrain height difference between the north and south of the site, and the long-term subway lines are planned in the site, leading to the need that the performance hall need to be moved elsewhere. Under the limitation of site conditions, how to reasonably arrange 4 performance halls and music square of 50000 square meters in the site, and to form sufficient correlation with the environment, are the most important difficulties in the design. In addition, in the near and long term, multiple functional areas such as music square, music stage, Yangtze Conservatory of Music, Yangtze Music Camp and Yangtze Museum are planned in Diaozuiyu Peninsula. Although there is a demand for spatial connection between each plate, the accessibility between each area is not strong and the integrity is weak due to the limitation of the terrain around the site. Based on this, we put forward four design concepts -- ecology and wholeness, region and customization, interaction and sharing, landscape and view.

 

ECOLOGY AND WHOLENESS

In the upper planning, Diaozuiyu Peninsula is positioned as a music peninsula, gathering a full set of music industry, and the planning functions of each plot are closely connected. But the current site condition is fragmented by roads and urban green space and elevation difference. Our proposal put the hall as the core of the whole, and use main circulation to connect the music Conservatory, music square, music stage and tourist wharf, and the forth-coming music museum and music camp, in order to enhance accessibility between each function and build an integral and border-less space.

 

LOCATION AND CUSTOMIZATION

Chongqing, with its unique urban style stands in the Chinese city group, is a unique being. Its extensive river culture, multi-level terrain building congregation, and more complex three-dimensional forms of transportation, are all Chongqing’s unique regional symbol. The design scheme shall strengthen the expression of regional elements, emphasize on digging Chongqing local characteristics, focus on building narrative, fit in the site condition of Diaozuiyu Peninsula, and highlight the personality of Chongqing.

 

INTERACATION AND COMMUNICATION

Concert hall, bandstand, conservatory of music and music camp are related to each other, so the interaction between the functions should be strengthened through the scheme design to achieve the effect of 1+1＞2. The concert hall, music square and conservatory share complementary functions and cooperate in operation. During the festival, the sports ground and supporting functions of the conservatory can be provided for the music festival as a branch venue. During non-performance period, part of the performance hall and supporting functions of the concert hall can also be used by teachers and students of the Conservatory of Music for rehearsal and performance, so as to improve the sharing of functions and optimize the overall construction volume, strengthen the utilization rate of the site, and form an overall relationship of complementary functions and open sharing between the Conservatory of Music and the Yangtze River Concert Hall.

 

INTERACATION AND SHARING

The concert hall is surrounded by the river on three sides and has excellent views of the river on the east and west sides. The design makes full use of the surrounding landscape elements to create a multi-level and multi-angle view of the river, shaping the concert hall into a viewing "platform" with many natural artistic conception of "embracing the distant mountains and the Yangtze River". In addition, for the ships and citizens on both sides of the river, the shape of the concert hall fully displays the international first-class landmark and landscape. The building profile from across the river is beautiful and powerful, adding a unique landmark and a new landscape element to the "undecorated" peninsula.

 

PERFORMANCE FUNCTIONS

The functional layout deduction is generally divided into two steps. First, based on the design requirements of the subway line planning and the maximal view of the landscape in the concession of the main auditorium, we determined three layout modes of symmetric, biased and oblique symmetry. Offset functional layout has a great impact on the view of the river. It is difficult for the audience hall and VIP lounge to have a good view of the river, and the music square can only see the river view in the southwest, which deviates the music square from the music museum in the long-term planning and reduces the spatial and visual connection between the two. The oblique and symmetrical layout makes the building volume located in the center of the site, which has a good symbol and a clear axis. However, the layout is too close to the center to form a centralized music square, which leads to the scattered layout of the square, which is not conducive to holding outdoor activities such as music festival in the later stage and loses its practicality. Symmetrical functional layout not only ensures the integrity of the image, but also has a good view of the landscape, and also ensures the integrity of the music square. Therefore, we chose to develop the scheme based on the symmetrical layout. According to the different layouts of the auditoria-halls, three modes of intensive, decentralized and parallel layout were formed. Combined with the comparison of whether the auditorium-halls could operate independently and the view of the river, a relatively symmetrical and tight layout that generally complies with the site was finally determined.

 

The deductions of the body shape are constantly adjusted with the changes of the functional organization. In the design cycle, different conceptual schemes and shapes are formed, such as the Gate of Chongqing, the Fish Dip by the River, the Late Singing of Huangge, the Music of the Earth, and the Fishery Sound of the Mountains and Rivers. Finally, based on the overall design considerations, the overall layout of the concept of the river of music and the song of the Yangtze River is determined. The Yangtze Concert Hall is the center of the convergence of the "River of Music". The overall curved shape is like the gurgling river water. The shape of the terraces in the mountain city of Chongqing gives the architectural shape of the mountain retreat terrace, and the overall momentum is magnificent. The "Gate of Music" formed by the symmetrical layout leads people into the palace of music; At the same time, Chongqing local characteristics of the trackers stone as a way of expression of the facade texture. The trackers working on the Changjing River bound, the stone pattern caused by the friction between the rope and ground, and the song trackers sing when they drag the boats, altogether form the unique cultural memory of Chongqing, creating singular city symbol. The interior design of the Concert Hall, the Opera House and the entrance auditorium continues the outdoor elements. Inspired by the scour of water by the rocks along the river, the different feelings of each hall are formed through the changes of materials and scales, and a duet of unique regional expressions of Chongqing is presented in terms of shape and space.

 

CONCLUSION

Every musician has his or her own musical path. Learn skills and culture in conservatories and museums, listen to the sounds of nature in music camps, perform and appreciate on the world stage in concert halls, embrace trends and celebrations in music squares and bandstands. The life of music, like the gathering of stream, flows into the eternal river of music culture. The same is true of architects and the road to architecture. The growth of architects is dependent on their works. Each work needs to go through repeated scrutiny, polishing, verification in practice, and scrutiny by the public before it can finally become an eternal symbol of the place. There must be wonderful and regrettable in this process, and architects often gain and grow in this process. Both architecture and music are art with regret. They can be deeply rooted in people's hearts because of regret, and they can also be cherished more because of regret. They can examine themselves and constantly explore and make progress.

 

 

Project Information:

Project Name: Yangtze Concert Hall and Yangtze Conservatory of Music

Project Time：December, 2020 – March, 2021

Project Status: International Competition，one of the 4 shortlisted applicants from 29 applicants during open tender;

Project Size: Yangtze Concert Hall 95,357㎡, Yangtze Conservatory of Music 122,323㎡

Project Programme: Theatre and education project

Project Client: Chongqing planning and Natural Resources Bureau, Chongqing Real Estate Group Co.,LTD.

Project Partner: CSWADI

Project Location: Chongqing

Designer Team:

PES-Architects: Pekka Salminen, Tuomas Silvennoinen, Jyri Eskola, Emanuel Lopes, Simon Richardus, Linli Lai, Wei Li, Martin Lukasczyk, Yan Peng, Yizhou Zhao, Fangjie Xie, MÖLLER Henrik(Acoustic consultant), Eckhard Kahle, (Acoustic consultant)

CSWADI: Xiaoyong Qiu, Yin Bu, Xin Wu, Yiyuan Li, Wenqiang Chen,Nantian Huang, Zeiping Wang, Bangqi Deng, Zhou Zongyu, Jinxuan Tang, Hui Li