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由比亞克·英格爾斯集團（BIG）設(shè)計的新漢堡國家歌劇院將為國家歌劇院和漢堡芭蕾舞團建立一個當(dāng)代的家。該項目將位于HafenCity的baakenh&oumft半島，這是一個龐大的海濱開發(fā)項目，將取代該公司在Dammtorstra? e上世紀中葉的房子。它將延續(xù)德國城市將文化建筑與港口開闊視野相結(jié)合的悠久傳統(tǒng)。
The new Hamburg State Opera by Bjarke Ingels Group (BIG) will establish a contemporary home for the State Opera and Hamburg Ballet. The project is set to be located on the Baakenh?ft peninsula in HafenCity — a sprawling waterfront development — and will replace the company’s mid-century house on Dammtorstra?e. It will extend the German city’s long tradition of pairing cultural architecture with the harbor’s open horizon.
這座45000平方米的建筑將制作、排練和表演空間與一個延伸到河邊的新公園結(jié)合在一起，既是一個工作歌劇院，也是一個城市景觀。
Imagined as both a working opera house and a civic landscape, the 45,000-square-meter building combines production, rehearsal, and performance spaces with a new public park that reaches to the river’s edge.
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BIG&rsquo的方案得到了評審團的一致認可，評審團認為BIG&rsquo的方案能夠?qū)⒅饕幕瘷C構(gòu)的需求與海港城市的流動城市結(jié)構(gòu)結(jié)合起來。歌劇院被設(shè)想為一個島嶼結(jié)構(gòu)的梯田綠色屋頂和漢堡濱水改造的新樞紐。
BIG’s proposal was selected by unanimous jury decision, recognizing its ability to synthesize the demands of a major cultural institution with the fluid urban fabric of HafenCity. The opera is envisioned as an island structure of terraced green roofs and a new hinge in Hamburg’s waterfront transformation.
該設(shè)計形成了一個連接城市和水的梯田景觀（Yanis Amasri）
the design forms a terraced landscape that links city and water | visualizations ? Yanis Amasri
建筑師Bjarke Ingels將該設(shè)計描述為一個同心露臺的景觀，像水面上的漣漪一樣從主廳向外擴展。建筑的屋頂形成了一個連續(xù)的圓形幾何形狀，向港口開放，創(chuàng)造了一系列從多個方向進入的露臺。
Architect Bjarke Ingels describes the design as ‘a(chǎn) landscape of concentric terraces,’ expanding outward from the main hall like ripples on the surface of the water. The building’s roofline forms a continuous, circular geometry that opens toward the harbor, creating a sequence of terraces accessible from multiple directions.
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這些景觀路徑在花園、廣場和瞭望臺之間編織，將整個場地變成一個三維公園，全天向居民和游客開放。
These landscaped paths weave between gardens, plazas, and lookout points, turning the entire site into a three-dimensional park open to residents and visitors throughout the day.
從外部到內(nèi)部的過渡是流暢的。公園的石頭人行道延伸到門廳，將地面和建筑統(tǒng)一起來。這個巨大的、內(nèi)襯木材的大廳作為城市客廳，由兩個上升到上層的中央樓梯激活。每個主層都直接連接到室外露臺，可以舉辦活動或作為俯瞰易北河和城市天際線的非正式聚會空間。
The transition from exterior to interior is fluid. Stone pavements from the park extend into the foyer, unifying ground and building. This large, timber-lined hall functions as an urban living room, animated by two central staircases that rise toward upper levels. Every main floor connects directly to outdoor terraces, which can host events or serve as informal gathering spaces overlooking the Elbe and the city skyline.
一個連續(xù)的圓形屋頂線塑造了一個橫跨建筑的可步行地形
a continuous circular roofline shapes a walkable topography across the building
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在漢堡國家歌劇院的中心，主禮堂被水平分層的木材帶包圍，這些木材調(diào)節(jié)了視線和聲音。木材表面創(chuàng)造了一個溫暖的色調(diào)，在視覺上將陽臺和墻壁連接成一個單一的流動形式。
At the heart of the Hamburg State Opera, the main auditorium is enveloped in bands of horizontally layered timber that modulate both sightlines and sound. The wood surfaces create a warm tonal register, visually linking balconies and walls into a single flowing form.
BIG的合作伙伴Jakob Sand說：“主廳是項目的核心空間，擁有最先進的聲學(xué)和完美的舞臺視線。同心圓木環(huán)塑造了大廳及其陽臺，并消除了表演者和觀眾之間的隔閡。”
BIG partner Jakob Sand says: ‘The main hall is the heart of the project – — space with state-of-the-art acoustics and perfect sightlines to the stage.’ Concentric wooden rings shape the hall and its balconies and dissolve the divide between performers and audience.
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門廳作為一個城市客廳，由中央木樓梯激活the foyer acts as an urban living room animated by central timber staircases配套空間包括一個較小的工作室舞臺、排練室和工作室，這些空間被直接安排在主廳的后面，使準備和表演之間無縫銜接。該計劃反映了BIG&rsquo正在進行的探索，將建筑作為連接活動的網(wǎng)絡(luò)，而不是固定的前后層次結(jié)構(gòu)。
Supporting spaces — including a smaller studio stage, rehearsal rooms, and workshops — are organized directly behind the main hall, enabling seamless movement between preparation and performance. The plan reflects BIG’s ongoing exploration of buildings as networks of connected activity rather than fixed hierarchies of front and back.
合作伙伴David Zahle強調(diào)了這種開放性：游客可以沿著立面移動，瞥見門廳、排練室、后臺區(qū)域和辦公室，揭示了歌劇院工作背后的復(fù)雜性。
Partner David Zahle emphasizes this openness: ‘Visitors can move along the facades and glimpse into the foyer, rehearsal rooms, backstage areas and offices, revealing the complexity behind a working opera house.’
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BIG landscape的設(shè)計將歌劇院的設(shè)計語言延伸到周邊的公園中。洪水管理是通過梯田、種植沙丘和濕地系統(tǒng)來整合的，這些系統(tǒng)可以吸收和減緩水流。雨水池收集和過濾徑流，為當(dāng)?shù)貏又参飫?chuàng)造棲息地。通過這種方式，創(chuàng)建了一個有彈性的生態(tài)區(qū)，該生態(tài)區(qū)響應(yīng)易北河的潮汐，同時將歌劇作為自然運動形成的生活景觀。
BIG Landscape’s design extends the opera’s design language into the surrounding park. Flood management is integrated through a system of terraces, planted dunes, and wetlands that absorb and slow water flow. Rain basins collect and filter runoff, creating habitats for local flora and fauna. This way, a resilient ecological zone is created which responds to the tides of the Elbe while framing the opera as a living landscape shaped by natural movement.