从采石坑到石窝剧场发生了什么？

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摘要：位于威海市环翠区嵩山街道五家疃村的一座小型的被废弃的采石坑，被设计师何崴改造成一个剧场。这是一种人工与自然的和谐，也是现代城市和乡村发展的完美对接。

当设计面临自然与原始感，设计能发挥的能量到底有多大？位于威海市环翠区嵩山街道五家疃村的一座小型的被废弃的采石坑，被设计师何崴改造成一个剧场。这是一种人工与自然的和谐，也是现代城市和乡村发展的完美对接。

基地，来自对场所的阅读

A baseemerging from reading of site and location

石窝（露天）剧场的前身是一座小型采石坑，位于威海市环翠区嵩山街道五家疃村。上个世纪90年代开始，随着中国城市化的发展，威海各地出现大量的采石场，这里也曾经是其中的一个。近年来，随着国家对环保的重视，几乎所有的采石场都被关闭，此处也逐渐废弃，成为遗迹，当地人称之为：“石窝子”。

In its previouslife, the Stone Nest Amphitheatre was asmall-sized stone pit located in the Wujiatuan Village at Songshan ResidentialDistrict in the city of Weihai, Shandong Province, China. Since 1990s, alongwith the rapid urbanization of China, a great number of stone pits had emergedall over in Weihai, among which this project was one, as well. For the past fewyears, as the state is paying increasingly attention on environment protection,almost all of the stone pits have been closed. Accordingly, this place had alsobeen gradually discarded and eventually turned into a relic, given a name bythe local as “Shi Wozi (Stone Nest)”.

设计团队在考察现场时候，发现了被废弃的采石坑，也发现了它独有的魅力。采石坑规模不大，形状如同自然弯曲的手，曾经采石的痕迹经历了岁月的侵蚀，呈现出一种“人工-自然”的图景，特别是暴露在外的石壁，峥嵘奇峻，给建筑师留下了深刻的印象。如何将曾经破坏环境的采石场变为造福一方百姓的有益场所是本案着重思考的问题。

During the site exploration, the design teamfound this abandoned stone pit by accident and was amazed by its charm. Afteryears of erosion through the time, this relatively small stone pit, in a formof a naturally curved hand, renders a presence of some kind of artificialnature with its old traces of quarrying. The architect has been especiallyimpressed by the exposed jagged precipice and steep cliff. How to transfer thisstone pit that once ruined the environment into a public place that willbenefit the local people? That has been the biggest question of this project.

设计灵感，从互文开始

The design concept inspired fromintertextuality

选择这里，但这里的未来是什么？这里将作为什么功能被使用？又为周边带来什么？……古代希腊的剧场，意大利锡耶纳的坎波广场，以及南京中山陵音乐台为建筑师提供了灵感。在早年游学欧洲时候，希腊的埃庇道鲁斯露天剧场（the An ient Theatre of Epidaurus）给建筑师留下了深刻的印象，人工构筑物与自然融为一体，形成了一种独特人文-自然景观（Cultural NatureLandscape）。

Already chosen,but what does its future look like? What functions are supposed to be granted?And what will it to the surroundings bring? … The ancient Greek amphitheatres,the Piazza del Campo in Siena andthe musical stage of Dr Sun Yat-sen' Mausoleum in Nanking have inspired thearchitect. During his early years of overseas study tour in Europe, theAncient Theatre of Epidaurus in Greece, leaning against the mountains andfacing the distance, has made a profound impression on him with its unique cultural-naturallandscape, of which the artificial structures blend perfectly into the nature.

建筑师认为这里的环境虽然和希腊剧场不尽相同，但从空间逻辑上具有互文性（Intertextuality）；此外，露天剧场作为一种公共性场域（field），也会给所在的区域带来新的活力和机遇。它可以作为广场使用，为当地人提供公共集会的场所，也可举办音乐节、戏剧节等活动，形成公共交流。建筑师认为这样的处理在单纯美化景观的基础上，增加了文化和产业功能，为此类废弃工业遗存提供了新的解决思路。

Although the environment of this old stone pit is quite different from that ofthe ancient Greek amphitheatre, the architect finds a logical intertextualitybetween them and sees that an open-air theatre, as a public field, will bringfresh vigor and new opportunities to the local community, which could be usedas a public communication piazza for gatherings, musical and theatricalfestivals. More than mere simple beautification of the landscape, this kind of disposalis also supposed toaugment cultural and industrial functions to the project, whichshould provide solution concepts on these abandoned industrial remains.

建筑，人与自然的中间

Thearchitecture between human and nature

从某种意义上讲，这是一个景观性建筑（architecturein landscape）。建筑师希望以一种“轻”的姿态来处理场地，建筑的形态，以及两者之间的关系。

In a sense, thisproject is a kind of architecture in landscape. And, according to thearchitect, a “light” posture should be taken to deal with the site, thearchitectural form and their relations in between.

场地中原有石壁被完整的保留，不做任何处理，成为剧场的背景墙。石壁因为开采石料形成弧形，使其具有很好的声学效果。在建筑师看来，石壁本身就是观演最重要的内容，它不仅是舞台背景，也是演出者本身，石壁的存在决定了整个剧场的性格和气氛，是空间的起点。看台环抱石壁设立，从舞台地平面逐渐抬高，与石壁一起形成聚拢的场。舞台和看台的形状根据原有地形设置，并不追求对称；看台的台阶被设计成自由的折线状态，进一步加强了场地的景观性。

The cliff of thesite is intactly preserved, without any processing, as the background wall ofthe amphitheatre, which, with its arc-shaped form produced by quarrying,realizes excellent acoustics. From the architect’s point of view, the cliffitself is the most significant content of entire the performance, which is notonly the background of the stage, but also one of the major performers. Itsexistence, as the start point of the whole space, determines the characteristicsand atmosphere of the theatre. The audience area is set up hemming in thecliff, of which the height is gently elevated starting from the horizontalplane of the stage, forming a rounding up field. The shapes of the stage andthe audience area are fitted to the original terrains, not pursuing symmetry.The seat terraces of the audience area are designed as free broken lines tostrengthen the landscape efficacy of the venue.

原场地地坪呈从石壁向下的斜坡，与看台的抬起趋势相反。依循这个特征，看台下面被藏入了一个新的建筑体量。它与看台共用支撑结构，在功能上包括储藏、公共卫生间和咖啡厅，可以为剧场提供后勤和公共配套服务。为了不遮挡和抢夺石壁的“主角”地位，建筑高度尽量压低，外形也趋于规整。建筑正立面由一系列落地窗洞组成，窗洞与窗洞之间的墙面厚度被有意强化，建筑师希望给人一种洞穴的感觉，回应场地原有采石坑的历史。建筑两侧设有台阶和坡道，供人们进出舞台区域。台阶和坡道被高大的墙包围，或略显压迫，或曲折，成为进入主区域之前的过渡空间，起到了“欲扬先抑”的效果。建筑材料选用毛石，磊筑，而其中的大部分石块来自于平整场地时候挖掘出的石头。建筑师希望从形式和物理属性上表达建筑是从场地中生长而出的概念。

The ground of the original site is a slopedescending downhill from the cliff, contrary to the ascend tendency of theaudience area. Complied with this feature, a new architectural structure isadded under the audience area, and they share the same supporting system, withfunctions of storage, public restrooms and café, providing the theatre withlogistics and public supporting services. To avoid taking away the protagoniststatus of the cliff, the height of the architecture has been brought down aspossible and its exterior appearance tends to be relatively orderly and neat. Aseries of French windows form the front architectural façade. And, withintentionally consolidated thick walls between the windows, the architect hopesto give a feeling of a cave, echoing its history as stone pit. On both sides ofthe building, steps and ramps are arranged for people’s entering and leavingthe stage zone, surrounded by high and big walls and slightly oppressive or circuitous,becoming transitional space before entering the main space, which cause aneffect of “refraining before highlighting”. Rubbles are chosen as buildingmaterials for masonry construction, among which most of the rubbles come fromthe stones excavated during site formation. Through this, the architect hopesto express the concept that, both in terms of form and physical attributes, thearchitecture naturally grows out of the site.

在此处，景观并不是一个独立存在的内容，建筑也不是。两者之间存在着相互转化的可能性。建筑前的绿地被石头铺装的小径分割成大小不一的区块，与看台的台阶划分形成呼应；进入剧场的流线呈现一个弯曲的弧，人们在登上看台之前，需要绕建筑至少半周，这也强化了场所的仪式感。

Here, thelandscape is not an independent content, and neither is the architecture,between which a possibility of mutual transformation exists. The green belt beforethe architecture is divided into sections uneven in size by stone pathways,echoing the terrace partition of the audience area. And the traffic lineleading into the theatre takes shape of a curve, demanding that people have towalk around the whole architecture for at least a half circle before enteringthe theatre, which strengthens the sense of ritual, as well.

室内，略显粗犷的慵懒

Theinterior in a rough but languorous style

建筑的室内空间不大，空间布局相对简单，倾斜的屋顶，不规则的天窗暗示了建筑与看台的关系，又加强了室内的戏剧性。建筑师希望空间气氛上给人以热烈、硬朗的感觉：洞穴、矿坑和工业感是室内设计的基本意向。石材、略显粗犷的木材、皮革、金属成为塑造空间的首选材料，工业风的灯具和家具也进一步加强了这种氛围；暴露的光源形成让人迷离的炫光，配合东西两侧墙面的橙黄和天窗内壁的宝石蓝，建筑室内给人一种复古的慵懒感。

The interiorspace of the architecture is small and relatively simply planned, with slantingroof, on which the irregular skylights imply the connection of the building tothe audience area while enhancing the dramaticism indoors. Through thefundamental intension of cave, pit and industrial sense for the interiorarchitecture design, the architect hopes to endow the spatial atmosphere withan ardent and hard touch. Stone, slightly rough timer, leather and metal becomethe preferred materials for the spatial moulding. Lamps and furniture in industrialstyle also intensify this aura. Exposed light sources produce enchanting dazzlelighting. Coupled with the orange hue on the east and west walls and the sapphiretone on the inner walls of the skylights, the interior architecture emits aretro lethargic sense.

石窝剧场为周边村民提供公共集会，文化休闲活动等社区服务，解决本区长期缺乏公共社区场地的问题。同时，新建筑也可举办音乐节、戏剧节等活动，为当地带来活力，经济收入，并形成公共交流。建筑投入使用后，已经举办多次乡村音乐节，并得到了当地居民的积极回应。

The amphitheater will providecommunity services for the surrounding villagers, such as public gatherings,cultural and leisure activities, to solve the long-term lack of publiccommunity space in the area. At the same time, music festivals, drama festivalsand other activities can also be held in the new building, bringing vitality,economic income and public exchanges to the local area. After the building wasput into use, several country music festivals have been held there and receivedpositive response from the local residents and villagers.