项目小组Jan-Christoph Lindert(协理，项目经理)，Nicholas Lyons(协理，项目建筑师)，Stefan Goeddertz(协理，项目建筑师)，Stephan Widrich(协理)，Christian Riemenschneider(协理)，Carsten Hppl(协理)，Kay Strehlke(首席数字技术)，Stephan Achermann，Sabine Althaber，Christian ane Anding，Thomas Arnhardt，Petra Arnold，Tobias Becker，Johannes Beinhauer，Uta Beissert，Lina Belling，Andreas Benischke，Inga Benkendorf，Christine Binswanger(Partner)，Johannes Bregel，Francesco Brenta，Jehann Brunk，Julia Katrin Buse，Ignacio Cabezas，Jean-Claude Cadalbert，Sergio CobosÁlvarez，Massimo Corradi，Guillaume Delemazure，Annika Delorette，Fabian Dieterle，Annette Donat，Patrick Ehrhardt，Carmen Eichenberger，Stephanie Eickelmann，Magdalena Agata Falska，Daniel Fernandez，Hans Focketyn，Birgit Föllmer，Bernhard Forthaus，Andreas Fries，Asko Fromm，Catherine Gay Menzel，Marco Gelsomini，Ulrich Grenz，Jan Grosch，Jana Grundmann，Hendrik Gruss，Luís Guzmán Grossberger，Christian Hahn，Yvonne Hahn，Naghmeh Haji Beik，David Hammer，Michael Hansmeyer，Nikolai Happ，Bernd Heidlindemann，Jutta Heinze，Magdalena Hellmann，Anne-Kathrin Hellermann，Mirco Hirsch，Volker Helm，Lars H ffgen，Robert H sl(合伙人)，Philip Hogrebe，Ulrike horn，Michael Iking，Ina Jansen，Nils Jarre，Jürgen Johner(协理)，Leweni Kalentzi，Andreas Kimmel，Anja Klein，Frank Klimk，Julia Kniess，Uwe Klintworth，Alexander Kolbinger，Benjamin Korea n，Tomas Kraus，Jonas Kreis，Nicole Lambrich，Jens Lehmann，Matthias Lehmann，Monika Lietz，Felix Morczinek，Philipp Loeper，Thomas Lorenz，Christina Loweg，Florian Loweg，Femke Lübcke，Tim Lüdtke，Lilian Lyons，Klaus Marten，Jan Maasjosthusmann，Petrina Meier，Götz Menzel，Alexander Meyer，Simone Meyer，Henning Michelsen，Alexander Montero Herberth，Felix Morczinek，Jana Münsterteicher，Christiane Netz，Andreas Niessen，Monika Niggemeyer，Monica Ors Romagosa，Argel Padilla Figueroa，Benedikt Pedde，Sebastian Pellatz，Malte Petersen，Jorge Picas de Carvalho，Philipp Poppe，Alrun Porkert，Yanbin钱，Robin Quaas，Leila Reese，Constance von Rège，Chantal Reichenbach，Thorge Reinke，Ina Riemann，Nina Rittmeier，Dimitra Riza，Miquel Rodríguez(协理)，Christoph R ttinger，Guido Roth，Henning Rothfuss，Peter Scherz，Sabine Schling，Chasper Schmidlin，Alexandra Schmitz，Martin Schneider，里奥Schneidewind，马尔特·肖梅克，卡特琳·施瓦兹，亨宁·西弗曼，纳丁·斯泰克林纳，马库斯·斯特恩，Se

Project Team Jan-Christoph Lindert (Associate, Project Manager), Nicholas Lyons (Associate, Project Architect), Stefan Goeddertz (Associate, Project Architect), Stephan Wedrich (Associate), Christian Riemenschneider (Associate), Carsten Happel (Associate), Kai Strehlke (Head Digital Technologies), Stephan Achermann, Sabine Althaber, Christiane Anding, Thomas Arnhardt, Petra Arnold, Tobias Becker, Johannes Beinhauer, Uta Beissert, Lina Belling, Andreas Benischke, Inga Benkendorf, Christine Binswanger (Partner), Johannes Bregel, Francesco Brenta, Jehann Brunk, Julia Katrin Buse, Ignacio Cabezas, Jean-Claude Cadalbert, Sergio Cobos Álvarez, Massimo Corradi, Guillaume Delemazure, Annika Delorette, Fabian Dieterle, Annette Donat, Patrick Ehrhardt, Carmen Eichenberger, Stephanie Eickelmann, Magdalena Agata Falska, Daniel Fernandez, Hans Focketyn, Birgit Föllmer, Bernhard Forthaus, Andreas Fries, Asko Fromm, Catherine Gay Menzel, Marco Gelsomini, Ulrich Grenz, Jan Grosch, Jana Grundmann, Hendrik Gruss, Luís Guzmán Grossberger, Christian Hahn, Yvonne Hahn, Naghmeh Haji Beik, David Hammer, Michael Hansmeyer, Nikolai Happ, Bernd Heidlindemann, Jutta Heinze, Magdalena Hellmann, Anne-Kathrin Hellermann, Mirco Hirsch, Volker Helm, Lars Höffgen, Robert Hösl (Partner), Philip Hogrebe, Ulrike Horn, Michael Iking, Ina Jansen, Nils Jarre, Jürgen Johner (Associate), Leweni Kalentzi, Andreas Kimmel, Anja Klein, Frank Klimek, Julia Kniess, Uwe Klintworth, Alexander Kolbinger, Benjamin Koren, Tomas Kraus, Jonas Kreis, Nicole Lambrich, Jens Lehmann, Matthias Lehmann, Monika Lietz, Felix Morczinek, Philipp Loeper, Thomas Lorenz, Christina Loweg, Florian Loweg, Femke Lübcke, Tim Lüdtke, Lilian Lyons, Klaus Marten, Jan Maasjosthusmann, Petrina Meier, Götz Menzel, Alexander Meyer, Simone Meyer, Henning Michelsen, Alexander Montero Herberth, Felix Morczinek, Jana Münsterteicher, Christiane Netz, Andreas Niessen, Monika Niggemeyer, Monica Ors Romagosa, Argel Padilla Figueroa, Benedikt Pedde, Sebastian Pellatz, Malte Petersen, Jorge Picas de Carvalho, Philipp Poppe, Alrun Porkert, Yanbin Qian, Robin Quaas, Leila Reese, Constance von Rège, Chantal Reichenbach, Thorge Reinke, Ina Riemann, Nina Rittmeier, Dimitra Riza, Miquel Rodríguez (Associate), Christoph Röttinger, Guido Roth, Henning Rothfuss, Peter Scherz, Sabine Schilling, Chasper Schmidlin, Alexandra Schmitz, Martin Schneider, Leo Schneidewind, Malte Schoemaker, Katrin Schwarz, Henning Severmann, Nadine Stecklina, Markus Stern, Sebastian Stich, Sophie Stöbe, Stephanie Stratmann, Ulf Sturm, Stefano Tagliacarne, Anke Thestorf, Katharina Thielmann, Kerstin Treiber, Florian Tschacher, Chih-Bin Tseng, Jan Ulbricht, Florian Voigt, Maximilian Vomhof, Christof Weber, Lise Wendler, Philipp Wetzel, Douwe Wieërs, Julius Wienholt, Julia Wildfeuer, Boris Wolf, Patrick Yong, Kai Zang, Xiang Zhou, Bettina Zimmermann, Christian Zöllner, Marco Zürn Client Freie und Hansestadt Hamburg, Germany; represented by ReGe Hamburg Project-Realisierungsgesellschaft mbH, Hamburg, Germany General Designer Consortium PlanerArge Elbphilharmonie Hamburg: - Herzog & de Meuron GmbH, Hamburg, Germany - H+P Planungsgesellschaft mbH & Co. KG, Aachen, Germany - Hochtief Solutions AG, Essen, Germany Acoustics Nagata Acoustics Inc., Los Angeles / Tokyo, USA / Japan Manufacturers Loading... More Specs Less Specs

 © Maxim Schulz

马克西姆·舒尔茨(Maxim Schulz)

在汉赛亚Hub和Hafencity之间，Kaispeicher上的ElbPhilharmonie标志着汉堡中大多数人都知道但从未真正注意到的位置。现在，它将成为汉堡和世界各地的游客的社会、文化和日常生活的新中心。

Between Hanseatic Hub and HafenCity The Elbphilharmonie on the Kaispeicher marks a location that most people in Hamburg know about but have never really noticed. It is now set to become a new centre of social, cultural and daily life for the people of Hamburg and for visitors from all over the world.

 © Maxim Schulz

马克西姆·舒尔茨(Maxim Schulz)

通常，一个新的文化中心似乎能迎合少数特权阶层。为了使新的爱乐乐团成为真正的公共吸引力，不仅必须提供有吸引力的建筑，而且要提供具有吸引力的城市用途组合。大楼内设有爱乐音乐厅、室内音乐厅、餐厅、酒吧、可欣赏汉堡和海港景观的全景露台、公寓、酒店和停车场。这些不同的用途结合在一个建筑物中，就像在一个城市里一样。就像一座城市，凯斯佩切尔和爱乐乐团的两座相互矛盾和重叠的建筑确保了令人兴奋的、多样的空间序列：一方面，凯斯佩克尔的原始和古老的感觉，以它与海港的关系为特征；另一方面，交响乐团富丽堂皇、优雅的世界。在这两者之间，公共空间和私人空间之间有着广阔的地形，所有这些空间的性质和规模都不一样：凯斯佩克尔的大露台，就像一个新的公共广场，回应了建在上面的爱乐乐团的内在世界。

Too often a new cultural centre appears to cater to the privileged few. In order to make the new Philharmonic a genuinely public attraction, it is imperative to provide not only attractive architecture but also an attractive mix of urban uses. The building complex accommodates a philharmonic hall, a chamber music hall, restaurants, bars, a panorama terrace with views of Hamburg and the harbour, apartments, a hotel and parking facilities. These varied uses are combined in one building as they are in a city. And like a city, the two contradictory and superimposed architectures of the Kaispeicher and the Philharmonic ensure exciting, varied spatial sequences: on the one hand, the original and archaic feel of the Kaispeicher marked by its relationship to the harbour; on the other, the sumptuous, elegant world of the Philharmonic. In between, there is an expansive topography of public and private spaces, all differing in character and scale: the large terrace of the Kaispeicher, extending like a new public plaza, responds to the inwardly oriented world of the Philharmonic built above it.

 © Maxim Schulz

马克西姆·舒尔茨(Maxim Schulz)

情结的核心是爱尔布夫和弦本身。一个空间已经出现，预先的音乐听众和音乐制造者在一定程度上，共同，他们实际上代表了建筑。爱乐乐团的建筑类型学经历了建筑改造，这是非常激进的，因为它前所未有地强调艺术家和观众之间的接近-几乎就像一个足球场。

The heart of the complex is the Elbphilharmonie itself. A space has emerged that foregrounds music listeners and music makers to such an extent that, together, they actually represent the architecture. The philharmonic building typology has undergone architectural reformulation that is exceptionally radical in its unprecedented emphasis on the proximity between artist and audience – almost like a football stadium.

 © Iwan Baan

(Iwan Baan)

新的爱乐乐团不仅仅是一个音乐场所，它是一个成熟的住宅和文化综合体。容纳550名听众的音乐厅、座位2100和室内乐厅都嵌在豪华公寓和一家五星级酒店之间，酒店内有餐厅、健康和健身中心、会议设施等内置服务。凯斯佩彻A号长期以来一直是战后时代的一座无声纪念碑，偶尔也会举办边缘活动，如今它已经变成了一个充满活力的国际音乐爱好者中心，吸引着游客和商界人士。爱尔布菲和声将成为汉堡市的一个里程碑，也将成为整个德国的灯塔。它将使蓬勃发展的哈芬城的邻里恢复活力，确保它不仅是汉萨古城的一颗卫星，而且本身也是一个新的城区。

Urban Architecture for Lovers of Culture The new philharmonic is not just a site for music; it is a full-fledged residential and cultural complex. The concert hall, seating 2100, and the chamber music hall for 550 listeners are embedded in between luxury flats and a five-star hotel with built-in services such as restaurants, a health and fitness centre, conference facilities. Long a mute monument of the post-war era that occasionally hosted fringe events, the Kaispeicher A has now been transformed into a vibrant, international centre for music lovers, a magnet for both tourists and the business world. The Elbphilharmonie will become a landmark of the city of Hamburg and a beacon for all of Germany. It will vitalize the neighbourhood of the burgeoning HafenCity, ensuring that it is not merely a satellite of the venerable Hanseatic city but a new urban district in its own right.

 © Iwan Baan

(Iwan Baan)

 © Iwan Baan

(Iwan Baan)

古老的Kaispeicher，Kaispeicher A，由WernerKallmorgen设计，建于1963年至1966年，直到上个世纪末才被用作仓库。它最初是为了承受数千袋可可豆的重量而建造的，现在它的坚固结构用于支持新的爱乐乐团。这座旧建筑的结构潜力和强度已被用来承担位于其上的新质量的重量。

The Archaic Kaispeicher The Kaispeicher A, designed by Werner Kallmorgen, was constructed between 1963 and 1966 and used as a warehouse until close to the end of the last century. Originally built to bear the weight of thousands of heavy bags of cocoa beans, it now lends its solid construction to supporting the new Philharmonic. The structural potential and strength of the old building has been enlisted to bear the weight of the new mass resting on top of it.

 © Iwan Baan

(Iwan Baan)

我们对仓库的兴趣不仅在于它未被开发的结构潜力，而且在于它的架构。坚固的，几乎超然的建筑为新的爱乐厅提供了一个令人惊讶的理想基础。它似乎是景观的一部分，还没有真正成为城市的一部分，现在这座城市终于被推向了这个位置。19世纪港口仓库的设计与城市历史外墙的词汇相呼应：它们的窗户、地基、山墙和各种装饰元素都符合当时的建筑风格。从易北河上看，它们与城市的天际线融为一体，尽管它们是无人居住的仓库，既不需要也不需要阳光、空气和阳光。

Our interest in the warehouse lies not only in its unexploited structural potential but also in its architecture. The robust, almost aloof building provides a surprisingly ideal foundation for the new philharmonic hall. It seems to be part of the landscape and is not yet really part of the city, which has now finally pushed forward to this location. The harbour warehouses of the 19th century were designed to echo the vocabulary of the city’s historical façades: their windows, foundations, gables and various decorative elements are all in keeping with the architectural style of the time. Seen from the River Elbe, they were meant to blend in with the city’s skyline despite the fact that they were uninhabited storehouses that neither required nor invited the presence of light, air and sun.

 © Iwan Baan

(Iwan Baan)

但凯斯佩切尔A：这是一个沉重的，巨大的砖建筑，像许多其他仓库在汉堡港，但它古老的外观是抽象和超然。这座建筑的规则网格大小为50×75厘米，不能称之为窗户；它们比开口更有结构。

But not the Kaispeicher A: it is a heavy, massive brick building like many other warehouses in the Hamburg harbour, but its archaic façades are abstract and aloof. The building’s regular grid of holes measuring 50 x 75 cm cannot be called windows; they are more structure than opening.

 © Iwan Baan

(Iwan Baan)

新的玻璃建筑新建筑是从凯斯比彻的形状挤压出来的，它的地面平面与旧建筑的砖块完全相同，它的上方是砖块。然而，在顶部和底部，这座新建筑采取了与下面这座仓库安静而朴素的形状不同的风格：屋顶起伏，从下东端上升到凯斯皮策(半岛顶端)108米的高度。从远处看，爱尔比和弦是一个可以看到的地标，这给汉堡市的水平布局增添了全新的垂直重音。这里有一个更大的空间，在这个新的城市位置，产生的水和工业规模的海船。

The New Glass Building The new building has been extruded from the shape of the Kaispeicher; it is identical in ground plan with the brick block of the older building, above which it rises. However, at the top and bottom, the new structure takes a different tack from the quiet, plain shape of the warehouse below: the undulating sweep of the roof rises from the lower eastern end to its full height of 108 metres at the Kaispitze (the tip of the peninsula). The Elbphilharmonie is a landmark visible from afar, lending an entirely new vertical accent to the horizontal layout that characterises the city of Hamburg. There is a greater sense of space here in this new urban location, generated by the expanse of the water and the industrial scale of the seagoing vessels.

 © Maxim Schulz

马克西姆·舒尔茨(Maxim Schulz)

这座玻璃外墙由部分弯曲的面板组成，其中一些是开放的。它将坐落在旧建筑顶上的新建筑变成了一个巨大的、闪闪发光的水晶，它的外观不断变化，因为它捕捉到了天空、水和城市的倒影。

The glass façade, consisting in part of curved panels, some of them carved open, transforms the new building, perched on top of the old one, into a gigantic, iridescent crystal, whose appearance keeps changing as it catches the reflections of the sky, the water and the city.

 © Iwan Baan

(Iwan Baan)

上层建筑底部也有表现力。沿着它的边缘，可以从广场通过拱顶形的开口看到天空，创造了壮观的，戏剧性的景观，无论是易北河和汉堡市中心。在更深的内部，深垂直开口提供了不断变化的视觉关系之间的广场和门厅在不同的水平。

The bottom of the superstructure also has an expressive dynamic. Along its edges, the sky can be seen from the Plaza through vault-shaped openings, creating spectacular, theatrical views of both the River Elbe and downtown Hamburg. Further inside, deep vertical openings provide ever-changing visual relations between the Plaza and the foyers on different levels.

 © Iwan Baan

(Iwan Baan)

入口和广场凯斯佩彻建筑群的正门在东方。一条特别长的自动扶梯通向广场；它描述了一条轻微的曲线，使它从一端到另一端都看不见。这本身就是一种空间体验，它直接穿过整个凯斯彼彻，经过一个大的全景窗，有一个阳台，可以看到海港的景色，然后一直延伸到广场。后者，坐在凯斯佩克尔的顶上，在新的建筑下，就像新旧之间的一个巨大的枢纽。这是一个新的公共空间，提供一个独特的全景。餐厅、酒吧、售票处和酒店大堂都设在这里，还有通往新爱乐乐团门厅的通道。

Entrance and Plaza The main entrance to the Kaispeicher complex lies to the east. An exceptionally long escalator leads up to the Plaza; it describes a slight curve so that it cannot be seen in full from one end to the other. It is a spatial experience in itself; it cuts straight through the entire Kaispeicher, passing a large panorama window with a balcony that affords a view of the harbour before continuing on up to the Plaza. The latter, sitting on top of the Kaispeicher and under the new building, is like a gigantic hinge between old and new. It is a new public space that offers a unique panorama. Restaurants, bars, ticket office and hotel lobby are located here, as well as access to the foyers of the new philharmonic.

 © Iwan Baan

(Iwan Baan)

 © Iwan Baan

(Iwan Baan)

爱乐乐团将是一个什么样的空间？建筑中有哪些声学和建筑方面的问题？和其他新的地方相比，比如东京和洛杉矶，或者柏林的模特，这个大厅里有什么传统。很快就清楚了，汉堡爱乐乐团将不同于我们的模式，即夏伦爱乐乐团。仅是这一场所-即港口和现有仓库-就意味着变革。这是一个21世纪的工程，以前是无法想象的。我们所保留的是爱乐乐团的基本理念，即管弦乐队和指挥家位于观众中间的空间：在这里，层次的结构和安排从音乐、表演者和观众的听觉和视觉感受的逻辑中得到启示。但这种逻辑导致了另一个结论。层次分明，墙壁和天花板形成了空间的统一体。人，即观众和音乐家的结合，决定了空间；空间似乎只由人组成。在这方面，它类似于我们近年来发展起来的足球场的类型，目的是让观众和球员之间几乎是互动的接近。我们还研究了古老的戏剧形式，比如莎士比亚的“环球”，目的是发掘戏剧的垂直维度。大厅的复杂几何学把有机流动与锐利的、接近静态的形状结合起来。走路，站着，坐着，看见，被看见，听着.音乐厅中人们的所有活动和需求都在空间的建筑中得到了明确的表达。这一空间，垂直上升，几乎像一个帐篷，提供2100人聚集的空间，以享受制作和听音乐。大厅的高耸形状决定了建筑整体的静态结构，并在整个建筑的轮廓中得到了相应的回响。

The Elbphilharmonie What kind of a space will the philharmonic be? What acoustic and architectural concerns have gone into its construction? What tradition resonates in this hall in comparison to other new locations, say, in Tokyo and Los Angeles or the ur-model in Berlin. It soon became clear that the Hamburg Philharmonic would be different from that ur-model, the Scharoun Philharmonic. The premises alone – the radical givens of the location, namely the harbour and the existing warehouse – invite change. This is a project of the 21st century that would have been inconceivable before. What has been retained is the fundamental idea of the Philharmonic as a space where orchestra and conductor are located in the midst of the audience, as it were: here the architecture and the arrangement of the tiers take their cue from the logic of the acoustic and visual perception of music, performers and audience. But that logic leads to another conclusion. The tiers are more pervasive; tiers, walls and ceiling form a spatial unity. The people, that is the combination of audience and musicians, determine the space; the space seems to consist only of people. In this respect, it resembles the typology of the football stadium that we have developed in recent years, with the goal of allowing an almost interactive proximity between audience and players. We also studied archaic forms of theatre, like Shakespeare’s Globe, with a view to exploiting the vertical dimension. The complex geometry of the hall unites organic flow with incisive, near static shape. Walking, standing, sitting, seeing, being seen, listening... all the activities and needs of people in a concert hall are explicitly expressed in the architecture of the space. This space, rising vertically almost like a tent, offers room for 2100 people to congregate for the enjoyment of making and listening to music. The towering shape of the hall defines the static structure of the entire volume of the building and is correspondingly echoed in the silhouette of the building as a whole.

 © Maxim Schulz

马克西姆·舒尔茨(Maxim Schulz)

Architects Herzog & de Meuron

Location Platz der Deutschen Einheit 1-5, 20457 Hamburg, Germany

Category Theaters & Performance

Partners Jacques Herzog, Pierre de Meuron, Ascan Mergenthaler (Partner in Charge), David Koch (Partner in Charge)

Site Area 10.540 m2

Gross Floor Area 125.512 m2

Footprint 5.745 m2

Project Year 2016

Photographs Iwan Baan , Maxim Schulz

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