柏林爱乐音乐厅

架构师提供的文本描述。汉斯·沙伦是德国著名的建筑师，他在德国柏林的柏林爱乐音乐厅的设计是最著名的。完成于1963年，夏伦的有机和未来主义美学解释的音乐会是取代了以前的爱乐乐团，在第二次世界大战中被摧毁。

Text description provided by the architects. Hans Scharoun is a well known German architect best known for his design of the Berlin Philharmonic concert hall in Berlin, Germany. Completed in 1963, Scharoun’s organic and futuristic aesthetic interpretation for the concert was a replacement for the previous Philharmonic that was destroyed in WWII.

Text description provided by the architects. Hans Scharoun is a well known German architect best known for his design of the Berlin Philharmonic concert hall in Berlin, Germany. Completed in 1963, Scharoun’s organic and futuristic aesthetic interpretation for the concert was a replacement for the previous Philharmonic that was destroyed in WWII.

Scharoun的设计相当直截了当，他把音乐放在设计的中心，无论是在概念上还是在物理上都是如此。从中心，音乐将被放大和过滤整个礼堂。

Scharoun’s design was fairly straightforward that focused on placing music at the center of his design, both conceptually and physically. From the center, the music would be amplified and filtered throughout the auditorium.

Scharoun’s design was fairly straightforward that focused on placing music at the center of his design, both conceptually and physically. From the center, the music would be amplified and filtered throughout the auditorium.

汉斯·沙伦的作品在柏林爱乐音乐厅的设计之外，并没有得到广泛的认可。作为一名建筑师，沙龙是有机建筑的主要拥护者，他的现代建筑作品致力于在自然与建筑之间创造一种平衡与和谐。对于柏林爱乐乐团来说，所建造的形式与里面所包含的音乐建立了一种平衡与和谐。

Hans Scharoun’s work is not widely recognized outside of his design of the Berlin Philharmonic concert hall. As an architect, Scharoun was a main proponent of organic architecture whose modern architectural works strive to create a balance and harmony between nature and architecture. For the Berlin Philharmonic, the built form establishes a balance and harmony with the music contained within.

Hans Scharoun’s work is not widely recognized outside of his design of the Berlin Philharmonic concert hall. As an architect, Scharoun was a main proponent of organic architecture whose modern architectural works strive to create a balance and harmony between nature and architecture. For the Berlin Philharmonic, the built form establishes a balance and harmony with the music contained within.

柏林爱乐乐团的节目非常直接和简单化，需要两个音乐厅：一个主礼堂，可容纳大约2500人，还有一个较小的会议厅音乐厅，可容纳1200人左右；然而，并不是这个节目让这个项目有趣，而是Scharoun在空间上对这个节目所做的事情，创造了如此动态的氛围。

The Berlin Philharmonic’s program is very direct and simplistic requiring two music halls: a main auditorium that seats approximately 2,500 people, as well as a smaller Chamber music hall that would seat around 1,200 people; however, it’s not the program that makes this project interesting, but it is what Scharoun does spatially with the program that creates such a dynamic presence.

The Berlin Philharmonic’s program is very direct and simplistic requiring two music halls: a main auditorium that seats approximately 2,500 people, as well as a smaller Chamber music hall that would seat around 1,200 people; however, it’s not the program that makes this project interesting, but it is what Scharoun does spatially with the program that creates such a dynamic presence.

在主礼堂，舞台位于大厅的中心，座位通过一系列的偏移平台布置在舞台周围，以达到最佳的声学性能。在部分，礼堂就像一个凹形鱼缸，把音乐投射到各个方向。天花板的角度和窗帘戏剧性地覆盖着礼堂的空间，以有节奏的方式捕捉和投射声音。

In the main auditorium, the stage is located at the center of the hall with the seating arranged around the stage through a series of offset terraces that were positioned for optimal acoustic performance.  In section, the auditorium appears as a concave fish bowl that projects the music in every direction.  The ceiling angles and drapes dramatically over the auditorium space capturing and projecting the sound in a rhythmic fashion.

In the main auditorium, the stage is located at the center of the hall with the seating arranged around the stage through a series of offset terraces that were positioned for optimal acoustic performance.  In section, the auditorium appears as a concave fish bowl that projects the music in every direction.  The ceiling angles and drapes dramatically over the auditorium space capturing and projecting the sound in a rhythmic fashion.

© Courtesy of Wikimedia Commons

维基媒体公域的礼貌

虽然建筑设计简单，但在形式上柏林爱乐乐团是复杂的，因为表现性的室内空间反映在建筑的外部。内部的悬垂和角度组成被纳入每个大厅体积的正式设计。角度和俯冲的帐篷般的结构创造了一个有趣但包含的美学，赞美内部的空间条件。

Although the building is programmatically simple, formally the Berlin Philharmonic is complex in that the expressive interior spaces are reflected on the exterior of the building. The interior’s draping and angular composition are carried into the formal design of each halls volume. The angles and the swooping tent-like structure create a playful yet contained aesthetic that compliments the interior spatial conditions.

Although the building is programmatically simple, formally the Berlin Philharmonic is complex in that the expressive interior spaces are reflected on the exterior of the building. The interior’s draping and angular composition are carried into the formal design of each halls volume. The angles and the swooping tent-like structure create a playful yet contained aesthetic that compliments the interior spatial conditions.

外立面充满活力，并与柏林的蒂尔加滕(Tiergarten)建立了关系。蒂尔加滕位于爱乐乐团的北面。有角度和弯曲的立面模仿森林景观的“软”美学。正面黄色的金属材料保持着自然的景观，颜色和形式的平衡。

The exteriors dynamic façades compliment and establish a relationship with the Berlin’s Tiergarten, which is located immediately to the north of the Philharmonic. The angled and curvy facades mimic the “soft” aesthetic of the forested landscape. The facades yellow hued metal material maintains an earthy balance of landscape, color and form.

The exteriors dynamic façades compliment and establish a relationship with the Berlin’s Tiergarten, which is located immediately to the north of the Philharmonic. The angled and curvy facades mimic the “soft” aesthetic of the forested landscape. The facades yellow hued metal material maintains an earthy balance of landscape, color and form.

柏林爱乐乐团可能是汉斯·夏伦最著名的项目，但它证明了有机建筑的目标，即建立一种和谐，以修正音乐的概念、程序和背景、蒂尔加滕和建筑的学科。

The Berlin Philharmonic may be Hans Scharoun’s most well known project, but it is a testament to the aims of organic architecture that establishes a harmony that mends concept, program, and context of music, the Tiergarten, and the discipline of architecture.

The Berlin Philharmonic may be Hans Scharoun’s most well known project, but it is a testament to the aims of organic architecture that establishes a harmony that mends concept, program, and context of music, the Tiergarten, and the discipline of architecture.